| Inxs Switch | Epic 82876751892 |
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Everyone should know how the band got to this place. It was certainly one of the more publicized selections of a new frontman in memory. The 5 original members of Inxs chose new frontman Canadian singer JD Fortune on their reality TV series RockStar: Inxs. As someone who watched the show from the outset, JD stood out as the candidate who wanted it most of all. He was the most driven of all the singers gathered and despite a rocky and 'unstable' beginning; he grew in promise and emerged as the person that would be a bold choice for the band. I was always worried Inxs would choose a safer route, but the band clearly recognized that the rock edge and clear vulnerability of JD was the more interesting option. After a failed start with Noiseworks vocalist Jon Stevens provided only one very average single, I was worried the songwriting prowess of the band might have seen better days. Even the last couple of Michael Hutchence fronted albums were patchy. Could the guys come together and find new life? It seems as if they have, with this album carrying certain energy and some solid songs. Inxs are responsible for some very fine pop rock (or dance rock) tunes, but their early career was firmly planted in pub rock. With JD in the fold, I had high hopes that the band would return with more of a rock edge. This is partially true I would have liked to have heard more of a harder edge, but as many bands with long and varied careers do, the guys hedge their bets somewhat with an album of tracks that draw influences from across their career. What is surprising though is how much the band has evolved into something new and how modern this album sounds in places. Switch is an apt title, as the band switches vocalists and approach, moving more into a U2 inspired modern rock style, while still drawing influences from their classic rock style and the more high-tech pop style that brought them their biggest international success. This album mixes early influences from the likes of The Swing, through their breakthrough US hit album Kick and then on again in a more modern direction. At times one can hear Hutchence channeling his distinctive vocal style through JD, but he is no clone. What elevates him beyond a mere copycat singer is his unquestionable passion and rock n roll attitude. On a critical note, I would have liked the album to rock just a little harder and I would also have liked to seen more writing input from JD, as it's clear he has a lot to offer. I hope the band don't see this as a one album/one tour deal as the next Inxs album should be even better with JD firmly entrenched as frontman. Track By Track: Devil's Party is typical Inxs. A little brass, a big groove and a smoldering moody vocal. JD proves to be the perfect fit within 30 seconds of the album opening. I like what he brings to this party and I'm even more pleased to see his name in the writing credits. The chorus is subtle, as is most of the song, but it has a certain intensity, which is JD's trademark. At times he sounds uncannily like the late, great Michael Hutchence. Everyone should know the lead single Pretty Vegas. I love this rocking tune. The lyrics were written by JD with two of the other contestants from RockStar, but the song is JD's. He owns this track and its story. Incredibly catchy, the song is one of my favourite tunes of 2005. Afterglow is the first hint of something new for Inxs. This soft, modern rock ballad sounds like something from U2's The Joshua Tree, updated for 2005. JD proves to be a vocalist with versatility as he explores an intense, moody musical landscape which builds into an emotional climax. The track has every chance at being a hit should radio programmers (and fans) want to accept Inxs sounding this way. It's a gamble by the band and the similarities to U2 are plain to see, yet it is still a winner. Interestingly, the track is co-written by Andrew Farriss and Desmond Child. The moody, modern and sometimes uptempo pop/rocker Hot Girls is co-written by Andrew Farriss, producer Guy Chambers (Robie Williams) and The Matrix (Avril Lavigne). Once again there is a definite intensity here and I was surprised to learn that JD had no hand in writing it, as it just seemed to be a song perfectly suited to his personality. The song features some funny lyrics and is somewhat suggestive without being direct, which was a Hutchence/Inxs trademark. Perfect Stranger is another strong Inxs classic, turning back to their 80s vibe, with the modern production of the new album. Hutchence again comes to mind with the vocals of JD and the uptempo chorus is another highlight of the album. The album takes a left turn for Remember Who's Your Man. This is a different side of the band and of JD as a vocalist. Can't say I'm into this track which is an example of the band hedging their bets stylistically speaking. Suddenly I feel that I'm listing to a Richie Kotzen album! Mix in a little Lenny Kravitz and you get an interesting soul/pop song, but it is a little out of place with the rest of the material. Next up is Hungry possibly my favourite track of the album. This is a super intense brooding modern rocker that builds to an explosive chorus. The song is drenched in keyboards and is another song that defines the new Inxs and given a chance, could be a radio hit. Never Let You Go is another track that steps away from the general sound of the album, but fits for some reason. I don't love it, but I won't skip it either, just because the funky pop groove is interesting and JD gets another chance to do something different. Like It or Not is a layered, effects filled uptempo pop rocker with a strong chorus and a good beat. A mix of the old and the new, there is something very familiar about the drum sound for old fans of the band. Us is another slightly funky number with that Richie Kotzen comparisons again in place. A very pop verse leads to a strong uptempo chorus. The album closes with the very interesting mellow modern rock track God's Top Ten. Alongside JD, the song features a female lead vocal from fellow RockStar contestant Suzie McNeil. She suits the song, which is a tribute to Michael Hutchence.
Thickly layered instrumentation and some authorative lead vocals support strong (if not varied) material, which together forms a very good album. This isn't going to appeal to everyone, as it is a little diverse and not entirely aimed at the band's original core audience. It really could and should have rocked even more, but there is a lot to like about the album. A dozen listens in, I am convinced it is as good an album as we could expect and probably the best album since Kick. They got the vocalist spot on and the material just about right.
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| Night Ranger Hits, Acoustic & Rarities | iRock Records |
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Why would any band want to re-record the most treasured songs of a long, illustrious career? Many have done it over the years and you will only see it happen more and more as classic rock artists discover there is still a strong market for their music after all this time, but their back catalogue is tied up in draconian label deals that don't give access to the artists themselves. Re-recording your own hits without the original label taking all the money is a great way to sell records and get instant rewards through the songwriters publishing returns. It is also an easy way to get new music to fans without having to write a full album of new music. In the case of Night Ranger a new US record label approached them with the idea, which the guys loved. It was also a way to get new music to fans while we wait for the all new studio album due out in the first half of 2006. A new US release in stores increases a band's touring prospects as promoters like the fact a band has a new release to promote. The downside is the fact that any band doing an album such as this is messing with a long established musical legacy and the fact that it is nearly impossible to add to that legacy. These much loved tracks that have been with fans for years. In fact, some tracks here are now 23 years old. Has it really been that long? Some artists change style formats, some strip things back with an acoustic album, but in Night Ranger's case, the guys have decided for the full band approach, reprising the originals faithfully. So what is the point? Well, for long time fans, it is something cool to check out and it in this instance it shows how the band have matured and how years of touring has given these songs a slightly different shape. And for the first time, we get to hear new keyboard player Michael Lardie at work. The former Great White member replaces original keyboardist Alan Fitzgerald, who is busy working on the Bruce Springsteen tour as keyboard tech (he's formerly toured with Van Halen also). On Hits, Acoustic & Rarities the band treats their songs with faithful renditions, with a little newly added flair here and there. The production is good, albeit much less polished than the originals and has a live-in-the-studio organic feel, but the harmony vocals are still layers deep. Talking of the tracks recorded, Don't Tell Me You Love Me features a harder hitting drum sound with some extra fills and also a harder edge guitar riff. Sentimental Street is a little heavier, with a nice update on the guitar solo and Lardie's piano tone is slightly different to that of Alan Fitzgerald's. The guys change the end of the song just a little to be more in line with what they do live which I love. Four In The Morning features a rawer and more laid back vocal from Jack Blades, who has changed the phrasing of certain words a little. And Rumors in the Air sounds pretty fresh too. Lardie's keyboards make their presence felt and the guys add a little grunt to the song with some extra guitar fills. Goodbye closes out the full band re-recordings. I like this new version a lot. Kelly's voice sounds great and has a raw emotional quality. I also like the way the song closes, with some additional parts added as the song is done live. On a less positive note, the band's signature hit Sister Christian doesn't sound that great. Here Kelly Keagy is missing that raspy quality to his voice and to be honest it doesn't even sound like him in a couple of places. Sing Me Away is similar although a little better. I'm not sure what vocal effects were used, or whatever reasons the vocal is what it is, but I expect long time fans to complain about this as the result isn't too pleasing to these ears. The acoustic version of Sister Christian actually features a better, grittier vocal. The 7 minute plus Don't Tell Me You Love Me is from the band's 2003 Japanese tour and is part of an entire live album and DVD which remains unreleased. Time to get moving on that boys! The vocal harmonies throughout the album are terrific as they should be. But some of the lead vocals don't have the power of the originals. Some rawer, more emotional performances counter balance that negative.
Two small complaints to close with - the title really isn't the best - I doubt it would mean much to any potential buyer that wasn't already aware of the information behind it fan or otherwise. I also really would have loved some more tracks than just the 9 full band tracks featured. a 15 track release featuring something from the all too often ignored Big Life and Man In Motion releases would have been better value.
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The Darkness One Way Ticket To Hell...And Back |
Atlantic Records |
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There is an element of The Darkness' fanbase which proclaims the band as the all conquering saviours of rock n roll. Then there is the opposing side, which thinks the band is nothing but an over hyped one-trick pony. The truth lies somewhere in between. No one can argue the fact that the band are putting melodic rock n roll back into the charts, but little flow on effect for other artists can be expected due to the gimmicky nature of their style. That gimmick the falsetto vocals of frontman Justin Hawkins has seen them sell a truck load of records in the UK and even achieve success in the difficult to penetrate US market. But the vocal controversy alone has not sold the band to the masses. That aspect merely opened doors for them in attracting media attention and the support of a record label. At the heart of the matter, the band writes very catchy rock songs. But they do tend to overplay the importance of the vocal gimmick, making this album impossible to appreciate for those that just can't get past Justin Hawkins' unique style. The breakthrough debut Permission To Land was ok it contained a few great songs, a few which were overrun with falsetto vocals and a few fillers. This is an important album for the band as they have to prove to everyone they are capable of living up to the hype a second time around. Teaming up with legendary producer Roy Thomas Baker was the band's best move. I think the combination of some strong material and a slight change in approach has made this a better and more enjoyable album. It follows the formula of the debut, but impresses more so as I for one have had a lot of time to live with that album and better understand the band. Baker is best known for his work with Queen and as we all know, Freddy Mercury was the king of camp over the top vocals, although it certainly wasn't his only trick. Freddy had it all. But in this case, Baker has helped Justin Hawkins to better focus his talents and has helped add extra flair to the songs. He goes more over the top than ever, but in most cases when it is needed rather than all the time. And in some parts, he actually tones down the falsetto to deliver a great regular vocal. While the debut album played up to an AC/DC style of riffing hard rock, One Way Ticket To Hell And Back cashes in on Roy Thomas Baker's experience with Queen. There are so many Queen-isms within this album which will no doubt fire up debate further. Which ever side of the fence you are on - not too many British rock bands in this day and age get a worldwide simultaneous CD release. Track By Track: In typical piss-taking fashion the grand intro of the album features a short panpipe solo, before getting underway with the lead single One Way Ticket. You couldn't ask for much more from a lead single. Solid riff big chorus those vocals! Knockers is one of the examples of Justin reigning in his voice for the benefit of the song. The chorus vocal is totally over the top and features a fully fledged wail, but the verse is subtle and melodic to great effect. Is It Just Me mirrors the style of Growing On Me from the debut a big swaggering rocker with a tight groove and one of those over the top falsetto filled choruses. It's all good fun and the guitar soloing has a certain Brian May flair. Dinner Lady Arms is another example of restraint and is possibly the band's most melodic track to date. I think I actually prefer the verse, which sees Justin singing quite soulfully, over the more dramatic chorus but in any regard, the song should rate highly with fans. Seemed Like A Good Idea At The Time is the first of two big ballads and is the first where the famous Roy Thomas Baker / Queen orchestration comes into play. Flamboyant vocals throughout, the song features lush orchestral moments and should be the next single from the album. Another hit I have no doubt. Hazel Eyes probably represents everything that some people hate about this band. Subtlety be dammed! Add over the top vocals, bagpipes, guitar solos and marching drums please sir! Funny catchy, but not a song that can be played all the time. Bald is one of the band's darker and more aggressive songs to date and again plays down the vocals (just a little). It makes a nice balancing track between two quite insane tracks. Girlfriend on the other hand is totally the opposite, with those vocals all over the track, not to mention horns and a very pop style. This is where the album starts to loose me just as happened with the debut, as there is only so much over the top falsetto vocalling one can take. English Country Garden continues this trend, but of interest is the massive Queen styled harmony vocals and musical arrangement the track has. The album closes with the second big ballad. Blind Man is even more over the top than the first ballad and once again features a huge Queen styled vocal harmony. It's musically interesting even if thoroughly ripped off from Queen, but is more over the top for the sake of it than actually being a heartfelt ballad and has a lackluster ending.
The band delivers a strong sequel to the debut, but don't really take on the challenges of moving out of the pigeon hole they have been painted into. Those that loved the debut will love this and those that didn't get the band first time around still won't get them now. I suspect the debut will continue with neither side giving any ground! I must add that any album that clocks in at 35 minutes walks a very fine line. Of the tracks featured, should 1 or 2 be fillers for any reason to a particular listener, which leaves a mere 29 or so minutes of music, which is very hard to pass off as value for money.
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| 91 Suite Times They Change | Vicious Records VIC006 |
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This, quite simply, is an instant classic. I'm a big fan of albums that grow on you as you get to know them, but sometimes you need one to jump right out of the speakers the very first spin smack you one. I can see a lot of melodic rock fans getting very excited over this album. Spain's 91 Suite made their mark with a very strong debut album, but blow it out of the water with this even more impressive affair. The guys have toughened their sound just a touch and moved away from the Journey-esque comparisons of their debut to a bigger stadium friendly sound more in line with the type of melodic Bon Jovi style hard rock perfected by Johnny Lima and Jaded Heart. And it gets even better. For fans awaiting Harem Scarem to return to the sound of their first two albums don't worry, 91 Suite do it for you. There is a strong dose of classic Harem Scarem in the guitar parts on this album. And for those who have discovered the very melodic but rocking UK band Pride - 91 Suite's sound will definitely have a familiarity to it. There is so much for fans of classic melodic rock and AOR to love about this release. The songs are well written and equally balanced between moodier melodic numbers and the more guitar driven uptempo tracks. The album sequence is such that there isn't a single weak moment and the album flows beautifully from track to track. Track By Track: The guys open up with the rocker Seal It With A Kiss, which showcases the new direction. The angst ridden track has all the passion one could hope for and reminds me of the layered melodies of Pride. I Wanna Be In Love is even better. With a touch of Harem Scarem in the guitar parts and more complex melodies, the song soars through the chorus. Tell Me Why is a more aggressive uptempo rocker, with a heavier guitar role throughout. Far Away is the first ballad of the album and is everything melodic rock fans could hope for especially those Johnny Lima and Michael Bormann fans out there. Times They Change is utterly brilliant. It features a classic chorus, Pete Lesperance guitar riffs and is nice and moody. Every Day Goes By follows on seamlessly and is another memorable song, but it is Hopes And Dreams that like the title track, blows me away. Beautiful soaring vocals, a strong guitar riff and a killer chorus. Again this reminds me of UK rockers Pride, but regardless is brilliant and is in line for song of the year. Another Reason is perhaps the most Harem Scarem like track of the album and is a definite nod to the Mood Swings album just check out the soloing! Wings Of Fire sounds like a Johnny Lima anthem another classy song with a great chorus. Stand Beside You is a slow and passionate power ballad that AOR fans will love. Hard To Forget is a straight ahead guitar fuelled rocker that will again please Lima/Jovi fans, and what a vocal performance. Will You Ever is another uptempo, but moody melodic rocker with a very catchy, very memorable AOR chorus. Remember The Good Times closes the album just as you would hope a breezy uptempo rocker with plenty of keyboards and another strong chorus.
You will of course notice a lot of comparisons drawn while reviewing the album. Times May Change is an apt title, times may change indeed, but there is not need to change a winning formula when it is done this well. Classic style melodic rock dished up in a very classy package.
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| Tony Martin Scream | MTM Music 0681-149 |
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Former Black Sabbath vocalist Tony Martin has spent the last few years drifting between various projects, but in 2005 he is finally releasing his second solo album. It has been some 13 years since his solo debut, the rather marvelous and surprisingly mellow and melodic Back Where I Belong. On the new album Scream, Tony does just that he has returned back to the sound that made him famous. There are only 9 new songs on offer here - a couple of tracks short of what should be - but the style is a fan pleasing mix of his time with Black Sabbath and that classic British metal sound. Former Sabbath member Geoff Nicholls contributes some song co-writing duties and Martin's youngest son Joe Harford provides most of the Sabbath-heavy guitar riffs. The late, great Cozy Powell appears via an old drum track on Raising Hell. Highlights include the organ drenched Rainbow style hard rocker Raising Hell, which opens the album in style; the slow and heavy Sabbath styled Bitter Sweet and Scream, which features a short, but catchy chorus, a strong vocal and what appears to be a violin solo - definitely worth a listen! Stepping outside the comfort zone, Martin slows things right down for the Zeppelinesque acoustic ballad Wherever You Go and closes the album with the epic Field Of Lies. I don't think it has the best sound quality achievable, but some varied instrumentation makes it an interesting listen. The quirky The Kids Of Today is a good example of more engaging songwriting.
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| Bad Habit Hear-say | Frontiers Records FRCD267 |
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This is another album which required a fair bit of listening to in order to best appreciate. I feel that this album is almost split into two styles with the less favorable of the two dominating the track list. The guys of Bad Habit have toughened up their sound here and as always they deliver some high-tech European AOR, but on Hear-say that sound is peppered with a stronger guitar presence and some heavy programmed beats. The sound makes for some interesting listening. I think this is a good album, but in some ways old fans of the band might find the change in sound not to their liking, while fans of heavier European melodic rock might miss this release due to the preconceived idea that the band are normally softer than what they are here. The album kicks off with one of the stronger tracks of the album. To Love You features a thumping beat and a strong chorus and a bass heavy beat, not to mention noticeably heavier guitars. The sonic bombardment continues through I Swear, Walk Of Life and Reason. The trouble is I'm finding the almost relentless heavy beats to be a bit of a turn off. On the flip side, the more melodic and commercial All That I Want is a more comfortable number for traditional Bad Habit fans as is the very good ballad I Want To Know, which is another lush fan-friendly track. I'll Be The One is another track where the beats let up and the melodic vocals and keyboards are given more of a chance to shine. The band closes the album on a high note with the feel good uptempo anthem The Air That I Breathe. This is only the fourth track of the album that features the more AOR friendly style and I must say that these four tracks stand out as the definite highlights. If only there album was more styled around these four tracks rather than the techno-heavy rhythm of the heavier tracks.
The four lush AOR tracks are brilliant, but what fans make of the rest will depend on personal taste. Overall a strong performance, but I think the album could have been even better with a slight change of approach.
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| Legs Diamond Diamonds Are Forever | AOR Heaven 00019 |
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This album took longer to digest than I anticipated. I'm not one to rush a review if I can't get an accurate feel for an album. This record is quite varied in style and I have been trying to figure out how Legs Diamond should sound in 2005, albeit with a different line-up than when we last heard from them. I think in some ways the band is trying to figure this out as well, as the contrast between tracks is quite stark and at the end of the day, I think this works against the band. The songwriting is great in places, but a little bland in other areas. Where the guys sound at best is when they are being true to their classic sound and style, whereas at other times they just sound like they are trying to be something they aren't. This is a different band than they were on Town Bad Girl or Out On Bail. Most obviously, there is a new frontman in former Wild Horses frontman John Levesque. I really like what John brings to the band. I haven't always been a fan of his, but his performance at Firefest this year was dead on (as was all the band) and having seen him live with the band, I knew he was a great fit and I have looked forward to this album ever since. John varies his vocal delivery as much as the songs vary in style and his energy is a key element in the likeability of this record. His role should not be understated and I remain a converted fan of his. Diamonds Are Forever is a long record. There's an hour of music here, comprised of songs ranging from three minutesto nearly 8 minutes in length . It is thoroughly hard rocking affair so much so that it surprised me just how heavy it is in places. The style moves from an updated classic Legs Diamond pomp rock influenced sound where the guys sound most at home, to a more straight ahead riff driven AC/DC sound and occasionally to a more heavy and contemporary sound both of which don't quite sound as comfortable a fit. Like I said, it is a quite varied record. For me the two best tracks open the album, but there are more goodies inside. Don't Turn Away is a angst filled modern heavy rocker with a pounding beat and a pleading chorus and introduces the new Legs Diamond to all. John Levesque's powerful vocals make the song. Time Will Never Change is my pick of the whole album, with a classic keyboard intro that builds tempo with the rest of the band and subtly rises in intensity to a great chorus. Over the course of six minutes the song get a little more complex and features another great lead vocal from Levesque and some complex keyboard patterns from Michael Prince. The haunting and more melodic Loneliness is another strong track for me, which I think captures the essence on Diamond's moodier rock personality. The epic 8 minute plus Will You Remember is another track long time fans should appreciate. The mid-tempo rock ballad This Time Around has a similar vibe, swathed in organ and a darker Gary Barden style vocal. As noted, the band also have a stripped down, raw AC/DC streak to their sound on this record and that is best demonstrated on the growling Good Time, Let It Go and even the darker and heavier Trouble, which itself is musically interesting, but could have used a better chorus. Funny to hear Michael Prince describe King Of Speed as a tribute to Deep Purple, as that is what I thought immediately upon hearing it for the first time. I think the classic organ and bluesy swagger gives that away still a cool song. The remaining tracks offer good support, but could be considered fillers for some. They certainly aren't the essential tracks on the album, nor the ones which show the band in their best light.
One would hope a few more live shows and a quick return to the studio will deliver the classic I know they are capable of.
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| Flagship Maiden Voyage | Metal Heaven 00011 |
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There is quite a favorable word following these guys around and I must echo that sentiment. While I think this is a very good record, I must also stipulate that it is not a record that will appeal to everyone. To be precise, its style is such that it is only going to appeal to a very set segment of the melodic rock community. Who is Flagship? The band comprises two main individuals Narnia's Linus Kεse & Christian Rivel (yes, the Tommy Denander of the prog/metal world) and several guests none bigger than Kansas' own Kerry Livgren, who plays the guitar solo on his own composition Ground Zero (originally from 1980), in a new arrangement written by Linus. This is a musically adventurous and complex record that mirrors the pomp glory days of the 70s and such masters of the game as Kansas, Queen and even early Magnum and Styx. I could type for a week and still not describe everything that is going on within this pomp-tastic release. Only 7 tracks are on offer, but the album runs some 47 minutes, so there is plenty of music on offer. Christian Rivel revels in his role as vocalist, delivering something a little different, even for him and on occasion some fine falsetto vocals. He is certainly an outstanding vocalist, not to mention versatile.
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| Terra Nova Best Of + 5 | Frontiers Records FRCD268 |
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Terra Nova close out a comeback year with a compilation gathering their 12 'best' tracks coupled with 5 previously unreleased tunes. While this release is clearly aimed at established fans, there is quite a lot on offer here for those less familiar with the European pomp/AOR outfit. The benefit of a compilation is that it trims the fat and present here is the very best the band has to offer. I have previously commented that each album from the band features a few fillers and that the guys in general play it very safe with their songwriting. There is nothing here that changes my mind in that regard, but you can't argue the fact that these are some of the bands finest songs and that makes a perfect entry point for curious melodic rock fans. The five bonus tracks are all culled from the band's 1997 recording sessions for what was to become their debut album Break Away. The band has mellowed over the years and this look back in time has unearthed a harder edge now lost. The first bonus track I Wanna Know actually opens the album and does it in fine bombastic melodic rock style. Hard to imagine why that has been left behind until now. Normally tracks remain unreleased for a reason, but these tunes hold up pretty well with the exception of Reminiscing, which does nothing for me. The unpolished Holy Water features an organ and has a nice organic feel to it.
This is a pretty straight forward compilation with 5 unreleased tracks to please long time fans and a solid collection of songs to interest newcomers.
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| Line Of Fire Line Of Fire | Tribunal Records TRB068 |
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It's difficult to put an original spin on traditional AOR, especially when your sound finds influences from one of AOR's biggest ever acts Journey, as do so many other acts. But somehow Line Of Fire manage to bring the best elements of familiarity into their music and mix it with a uniqueness that allows the band to stand out in the crowd. There are some straight ahead commercial friendly numbers featured on the band's debut, but just around the corner from those are some more intricate and complex tracks which form a nice balance across the album. The contrasts are stark, but the consistency of the album means they are not out of place. For example Faith In Fire is melodic, progressive and even features a little pomp glory. Live & Let Go is a simply fabulous commercial AOR number in the vein of Shotgun Symphony meets Journey while Fade is a dark and brooding track which requires several listens to get to know. Then you have Paradise, which builds out of the darkness of Fade into a more commercial AOR track with a glorious chorus, but still featuring a melancholy soul. The song also features some great vocals and a definite nod to Steve Perry and Neal Schon within the song. Remind Me moves away from the Journey influences, showing further diversity within the record, with the band using a more acoustic driven approach, as they also do on the big ballad Can't You See and the moodier Salvation's Edge a few tracks later. Thing get a little more technical and certainly move away from the AOR of some of the earlier tracks on Falling Down, which is a well thought out harder rocking track. And to show the depth of musical understanding these guys have, the closing rock ballad Time To Say Goodbye. The diversity of the tracks is held together by a balanced production and some fine performances, not least of which are the very AOR friendly and powerful vocals of Shawn Petula.
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| Mark Spiro Mighty Blue Ocean | Atenzia Records ATZ02038 |
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I had no idea that Mark Spiro has spent the best part of the last couple of years battling cancer. As he says himself within the lyrics of Band Of Angels he is one of the lucky ones. I love albums which deal with personal topics and show the raw angst and emotion that is life. Artists such as John Waite and Rick Springfield are masters of wrapping their emotions at the time in music and taking the listener on that journey with them. Add Mark Spiro to that list. It seems a contradiction in terms that anyone should benefit from any other persons misfortune, but Spiro turns the life altering challenge of battling a potentially fatal illness into one of his best albums to date and gives fans a record to treasure. All songs and all the music within was crafted and recorded by Spiro in a frank and honest setting both lyrically and musically. The album has that one man band feel to it, but under the circumstances that matches the mood and vibe perfectly. Spiro's lyrics have always told a story, but the 11 tracks of Mighty Blue Ocean depict a man battling the odds and coming out the other side. It's an emotional journey at times joyous and uplifting, at other times more introspective as Spiro reflects over his life. You just don't get better than the uplifting pop anthem Mighty Blue Ocean, or the guitar and piano driven melodic rock of the reflective When She Cries. Another highlight is the moody Band Of Angels, which deals both with the time of being diagnosed as well as the time of the all-clear. The acoustic The Beautiful One is as good a ballad as Spiro can write and the uptempo Bits And Pieces is classic AOR. Perfect Wave may be a little soft, but is sonically perfect and is a little more lush than the often musically sparse record. The feel good uptempo pop of My Velocity and The Life That I Live closes the album perfectly.
But what it lacks sonically it makes up for ten fold in heart and soul. This is how you write lyrics folks. Credit to Spiro for being so open and forthcoming, He may be one of the lucky ones, but with this record now available, so are his fans.
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| Divinefire Hero | Metal Heaven 00013 |
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Divinefire are perhaps a little outside the scope normally covered on this site and are not something I would normally listen to if I didn't have to.
Divinefire is a power metal trio comprising the ever versatile singer extraordinaire Christian Rivel teaming with another member of his Narnia project, this time bassist Andreas Olsson with wiz guitarist Patrik Gardberg. I think the guys tread the fine line between delivering something amazing and going right over the top and becoming a parody of themselves. I say that, as at times it does get a bit much on here there are only two speeds used to deliver these 10 tunes flat out and faster! Divinefire have that whole symphonic speed metal thing down pat, with some furious flaying of guitars, constant double kick-drums and wailing high pitched vocals mixed with gruff death metal style growling added almost it seems to act as a counter balance. It's an interesting album and if you love everything turned up to 11 and delivered at super sonic speeds, this album should appeal. Of notable interest is the last track, which is a cover of the Queen classic The Show Must Go On. This track is also delivered at almost top speed and features Swedish pop singer Maria Radsen on duet vocals alongside Thomas Vikstrom.
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| Green Of Love And Soul | Ivory Gates / Frontiers |
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To remind folks, Green is an Italian progressive hard rock outfit that released their debut album Life in 2003. Two years later they are back with a new bassist, a second guitarist and a different, updated sound for the sophomore release Of Love And Soul. To be honest, the debut was ok, but largely forgettable among the vast competition in the market place especially looking back 2 years later. But I'm definitely more impressed with this release and think the guys have chosen a better style for themselves. Life was far too scattered and featured too many styles, where as this album is far more focused. Of Love And Soul sees the band toughening up their sound. It is heavier, less progressive and features a strong modern rock edge. The guys have their own style, but you can hear a little Nickelback mixing with some Queen-esque pomp/prog elements, which is an interesting mix. Check out the potential radio hit Fight For Truth and the orchest backed Do It Now. he guys don't give up totally on their prog base, with some songs like There's No Wind featuring some good musical twists and there is no escaping the near 10 minute epic title track Of Love Or Soul which closes the album. But elsewhere, it is more or less straight ahead modern rock with melodies playing a vital role. I still think they will appeal more to European fans over American fans, as the guys do have a certain European style and some strongly accented vocals that will appeal more to people within that region.
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| Rox Diamond Powerdrive | Rockjock Music 0553-60014-2 |
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I wasn't at all taken with this first listen, but third time in and I'm converted. There are some glorious melodic pomp rock moments here that will definitely find some fans out there. However, there are some areas where the album could have been even better, but one can be forgiving knowing that there were challenges for the band in getting this album completed. Vocalist Paul Daniels sounds at times like Karo frontman and solo artist Dan Lucas and at other times a little like Survivor's Jimi Jamison. Those that enjoyed Dan's 2000 CD will find some comforting vocal similarities here. The opening track Powerdrive sounds just as it should powerful, big and over the top and gets the album off to a powerful start. The best tracks I think run from the guitar driven Heartbeat Away through Innocence Of Yesterday. Here the listener gets treated to some fine 80s style melodic pomp rock songs. Just Can't Wait sounds like Jimi Jamison meets Magnum and is a superfine piece of songwriting. Joann is filled with layers of 80s keyboards and AOR vocals that will delight traditional fans. Innocence Of Yesterday is one of the finer keyboard ballads I have heard this year and sees vocalist Paul Daniels stretched to breaking point (to great effect). The House Of Lords style keyboards and children's vocal choir further adds to the mood. Unfortunately for the listener, this is where the album stops to impress. Where the first 6 tracks were all brand new studio recordings, the last 4 tracks are polished demos included to fill the album. Like I said earlier, there were numerous record label hassles involved in getting the 6 tracks completed. So much so the band ended up walking away from the label and releasing this themselves. So the last 4 tracks will appeal to die-hard fans only.
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The Click Five Greetings From Imrie House |
Lava Records |
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Without sighting them, I would have classed The Click Five as just another nu-breed act with some classy songs, looking to break into a market that just doesn't appear to be developing in size in relation to the number of bands in the market place. But check them out they have a great look and they are actually very young a definite chance of breaking through to the youth market and perhaps the fickle MTV audience (if anyone actually watches that channel for music anymore ). Of note to those reading this review these guys have killer songs. This is one of the catchiest power pop album's I have heard in a long long time. They are almost the power pop equivalent to Waltham. Their harmonies are lush and even better - their choruses glorious! Mixing the sweet harmonies of BB Mak, Nelson and the modern pop attitude of Taxiride, plus the slick retro pop of The Cars and Rick Springfield's Working Class Dog opus, these guys have a great attitude and you can't help but get caught up in the free flowing album. This has a definite 80s pop vibe, although the production and setting is very contemporary. The Cars guitarist Elliot Easton even pops up for a cameo guest role. I also love the pure pop keyboards that just fit into the background. This is not for all nu-breed fans regardless, but rather those that love it pink and fluffy, but still with a little firepower. The sound is a little thin inplaces, but as stated, this is a power pop record, as in p-o-p!
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| Urs Somebody New | Contante & Sonate CSCD-0105 |
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Swiss songwriter and producer Urs Wiesendanger has gathered some of the best names of the Westcoast scene to present a high-class album to those who love it soft, mellow and sentimental. This album is the very definition of Westcoast, mixed with elements of pop, jazz and R&B, not to mention a little orchestral support. The vocals for the album are handled by an array of guests such as Thierry Condor, Frank Εdahl, Michael Sembello, Warren Wiebe and Urs himself on a few tracks. Musical guests include Robbie Buchanan, John Robinson, Jay Graydon, James Harrah and more. The album is super smooth and very much set in an adult contemporary zone. While some Westcoast albums border on, or include a taste of AOR, this does not. This is strictly soft soulful jazzy pop and for that reason is recommended only for those whose tastes fit the theme. I am an AOR fan first and foremost, but I do appreciate some Westcoast and softer pop. Jay Miles and David Pack have already delivered fine albums for this genre in 2005. I think this is a superbly written, recorded and performed album there is not a single note out of place and the production is flawless. However it is just that little bit too soft and nice for my ears. There is no grit here whatsoever. In fact, it is so nice it makes Peter Cetera sound like Dave Mustaine.
This is a limited edition release of only 1000 copies, so if it does sound like you, be sure to order quickly.
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| Pleasure Maker Love On The Rocks | Indie AM012004 |
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Everything about Pleasure Maker shouts old school attitude. The band was created in 2001 out of the ashes of a Bon Jovi covers band. Just as they were originally paying tribute to one of the great hard rock acts ever, now they pay tribute to the genre as a whole, with some flashy good time rock songs promoting girls, fast cars and bad boys. The band is Brazilian, fronted by C. Marshall, who has a great voice for the material a mix of Firehouse's CJ Snare, Robert Plant and Bonham's Daniel MacMaster. My biggest compliment would be for the guitar work from Alex Meister, which is filled with old school riffs, tricks and blazing solos. Those riffs are mixed with 80s keyboards akin to early Bon Jovi and the rock n roll attitude matches that of Ted Poley era Danger Danger. The uptempo feel good Just Thinkin' About U is the lead single and to my ears stands out as an obvious choice. But there is more to the album, with plenty of great hairspray inspired rockers such as Bad Reputation, Out Of Control and the 80s-radio friendly Only A Dream all highlights. For slower ballads you might want to look elsewhere as these guys rock! The band offers the classy Stay With Me as the only ballad, with the majority of the songs all uptempo guitar driven rockers. The sound is pretty good for an indie release. While it won't match the quality of the bigger boys, the band has managed the capture the essence of the times without sounding too dated.
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| XYZ Forbidden Demos 1985-1991 | XYZ Music |
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Earlier this year a CD titled Rainy Days under the XYZ moniker was released. It was put together by former XYZ guitarist Bobby Pieper, who was with the band in the very early days before their Enigma debut. The Rainy Days release featured original demos from before that debut and even a couple of early versions of songs that made that album. Sadly, the sound quality of the release reduced its appeal. Not only that, but the release wasn't sanctioned by the band, or its frontman Terry Ilous. To counter that release which really didn't add any value to the XYZ name, Ilous searched his own vaults for better quality versions of those released and turned up a whole lot more. Forbidden Demos is the result and overall is a much more impressive release. The sound quality is infinitely better, but must still be treated with the understanding that they are archived demos and not regular sonic quality. The contents are also far more impressive, with 17 tracks spanning from 1985 to 1991 including several with Pieper. There are a few more of the original demos that would make the band's debut and a few never previously heard tracks.
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| Shannon Noll Lift | SonyBMG Australia |
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Shannon Noll will forever be linked with Australian Idol he was the runner up for the show's first year here. I said of Shannon's debut that it was very good, but very slick and wasn't necessarily a reflection of who he wanted to be as a performer. He only wrote one song for the album and the biggest hit from the release was written by and sounded like Bryan Adams. Noll's back with album number 2, which to his credit features him as co-writer on all but one track. To my surprise, the album follows straight on from the super slick modern pop/rock of his debut. So this is his sound it seems .but I can't help but think that it is not an overly original sound, nor one that can't be found on a number of other releases. It is however, a very engaging sound which a number of people will find appealing. Noll doesn't have the strongest voice, but it seems to be getting better and he certainly has charisma. And there is no doubting the quality of the songs on offer here. The title track Lift is quite superb and the lyrical depth of Now I Run (about his father) is a credit to his growth as an artist. From the Matthew Gerrard (Von Groove) written lead single Shine; to the other feel good anthem of the album All I Want Is More; to the grittier Let It All Fall Down and the super-slick ballads, this is a very smooth modern melodic rock record. The sound utilizes all the modern production techniques and tricks and surrounds Noll's voice in a very lush musically dense sound. Style wise it's a mix of modern pop and grittier melodic rock. For those that like it slick, polished and flawless .backed with enjoyable and memorable pop/rock songs Noll has a surprise winner here. |
| Paul Black's LA Guns Black Lies | Black City Records |
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Archive releases are really only ever aimed at a band's established fans base and in the case of LA Guns, there are a lot of fans spread over some 20 years in the business. As with many bands before the big breakthrough there was an original line-up, or original demos - such as the (also reviewed) XYZ release. Pre-fame LA Guns was fronted not by Phil Lewis, but by Paul Black. Paul's vocals aren't a world away from Phil's, perhaps a little grittier, with a little Richard Black (Shark Island) mixed in. Making up the band was guitarist Tracii Guns, Mick Cripps, Robert Stoddard and Nickey Alexander. Black List is an 18 track compilation of original demos and alternative originals to tracks that would later find their way to LA Guns official releases. Check out such original demos as One More Reason To Die, Show No Mercy and Love & Hate (later turned into Sex Action) a great insight to where these tracks came from and funnily enough, the lyrical content is a lot darker and more revealing than they way they ended up. The remaining songs all fit into the vibe of the band's debut, if not a little rawer and certainly darker. The sound quality is akin to other releases of its ilk those featuring unreleased demos and archived material, but is easy enough on the ears for die-hard fans to truly appreciate. |
| VTR Cinema | VTR Music |
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VTR is none other than Ross Valory, Stevie Roseman and George Tickner. The trio started work on this album in the mid-80s, but it wasn't completed until this year. Only timeless music can last such a journey (no pun intended) and this instrumental album is worth the wait for fans. The album is a short 9 tracks and 39 minutes, but during that time it takes the listener on a voyage not unsimilar to such a path a cinematographer would take a viewer on with a vast landscape documentary. In fact, this music is everything a movie soundtrack normally is. Its haunting passages tell a story, even without lyrics and as you wind through the various tracks the moods and surrounding change, yet the basic message remains the same. This is a very laid back instrumental release, yet it remains engaging to the listener and above all else, features some very fine musical performances by the frontline trio and many equally accredited guests. |
| MTM Music Rock Ballads Volume 6 | MTM Music 0681-145 |
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There are some fine ballads compiled for this new release the 6th in the MTM series, culling the softest tracks from their recent releases. I still can't say I'm a huge fan of TNT's What A Wonderful World, which kicks off this release, but Harnell sounds great. What I do really like from this set of songs are the tracks from Radioactive, Dare, Martie Peters, Heartplay, Novak and Edge Of Forever. It's a nice compilation for sitting back and relaxing to and if you can pick it up cheaply, then do so, as it does feature some great songs. If you already own the albums featured on this compilation, sadly only 1 track featured here is otherwise unreleased the Chris Antblad track - and I couldn't say that was worth the price alone. |
| Gary Schutt Dramatically Acoustic | Indie SUP019 |
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I'm a long time fan of Gary Schutt the musician and the person. He is one of the good guys in this business and deserves as much success as possible. Musically speaking, he has a unique sound while still remaining true to the classic melodic rock genre. Gary also has an amazing knack of lyric writing. He writes from the heart and his inner most thoughts often get cast into his songs, albeit in a unique twisted way. It makes listening to his records ever more enjoyable, as they are lyrically deeper than most. Gary has served up two new releases both a little left of center. Dramatically Acoustic is exactly that dark, melancholy, brooding and lyrically twisted as expected. It serves up some of his best songs in a stripped back format - just Gary and a guitar. But this acoustic release doesn't stick to the one tempo throughout. There are some raw, honest and totally acoustic tracks (She's Letting Go, Psycho Bitch) and there are others that benefit from extra instrumentation (Enemy Lines and Stranded feature extra percussion and bongos), while others such as the cover of the Queen classic I'm In Love With My Car have Gary singing with a more aggressive, angst ridden vocal. It makes for a very satisfying listen and is one for both Gary Schutt fans and those taken with passionate songs and acoustic performances. |
| Gary Schutt B-Sides Myself | Indie SUP019 |
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On B-Sides Myself Gary delivers some tracks that didn't make any of his previous studio releases. A fully electric release, this album sees Gary work without the confines of set album limitations and deliver some experimental tracks which showcase another side of the rocker. A couple of alternative versions and a couple of original demos are added to another Queen cover (Death On Two Legs) and 5 other unreleased tracks. At times these tracks are heavier and feature a more contemporary modern rock sound which definitely pushes some alternative rock boundaries. One special mention of the track Without You, which is a modern hard rock version of the Air Supply ballad. Not for all ears, but something which highlights Gary's unique take on the world and his ability to deliver something original. |
| Toyz House Of Cards | Escape Music ESM107 |
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French rockers Toys released this album late last year
I got the CD very late and didn't review it at the time, but it is worth a mention now. I don't rate the opening track at all, but there is promise elsewhere on the disc. The high-pitch vocals aren't as strong as they could be, but the music will appeal to fans of European 80s AOR mixed with a Hammond friendly Deep Purple sound. Plenty of pleasant melodies can be found throughout the album with the best tracks She's A Star and the heavier Anything To Prove. A healthy dose of Hammond comes into play during That's My Heart for example. The guys have most things in order, but lacking is perhaps some better choruses and a harder hitting lead vocal. I'd be interested to see where they go from here and don't doubt that a second record will be much stronger. A lot of promise that's for sure. |
| Black Majesty Silent Company | Limb Music |
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Black Majesty is one of Australia's finest melodic metal acts and offers plenty for fans of the genre to enjoy with their new album. The band have turned in a truly impressive album for all fans of metal, especially Iron Maiden and Bruce Dickinson fans, who I think will particularly appreciate Black Majesty's style and sound. Not one weak track and a supersonic sound place these guys among the forefront of band in the melodic metal scene. Of particular enjoyment on Silent Company were the tracks Silent Company, New Horizons and Never Surrender. Special mention for the brilliant cover of the classic Aussie 70s pop ballad Six Ribbons (Jon English), which is intensified and metallized here. One to definitely check out for metal fans! |
| Vulpine Channels | Brutal One Records |
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Vulpine have the potential to be everything to some and nothing to others. They are incredibly good at what they do which is deliver commercial American modern heavy rock. For an indie act the guys have recorded a very good sounding record with everything for an assault on modern rock radio in place. If Nickleback and 3 Doors Down can dominate the airwaves, then Vulpine have a shot. The modern rock ballad Persona is probably the band's most commercial number and best shot at breaking through. For AOR or traditional melodic rock fans, nothing here for you move along please! A little heavier than the likes of Anberlin and Ra, but very much in the same vein and recommended to fans of those two bands. A short review, but definitely an album well worth of investigation for fans of commercial modern rock. |
| No Nation Illumine | Illumine Records |
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No Nation is one ambitious recording. The band features the basic line up of Stevie Roseman (keyboards), Ed Ulibarri (vocals), Ross Valory (bass), Stef Burns (guitars) and John Hernandez (drums). This 7 track, 46 minute release is a rock opera honoring religions from all over the world. It is an epic piece of music that has been finely crafted and written and deftly performed. Both subtle and grandiose, Illumine runs the gauntlet from Styx like pomp to long passages of percussion and synthesizers, from acoustic passages to heavier Kansas inspired classic rock. While most of the album features a reflective soulful tone, there are times where it bursts into something a little heavier. The sound is sharp and the performances flawless. If progressive pop/pomp appeals, this is a record that will challenge listeners. |
| Shakra Fall | AFM Records |
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All Shakra's albums have impressed, even if the band aren't offering anything new or original. The Swiss rockers have their sound down to a fine art and know how to deliver a no bullshit melodic hard rock. The guys have moved to a new record label for their new album Fall. For whatever reason, this move has coincided with a fall in quality. No pun on the album title intended. I can hear the guys trying something new here, toughening up the vocals to a more metal direction, with some contemporary overtones thrown in. Although on a bigger label, I think the sound quality on this album is worse than their previous efforts. I don't like the change in the guitar tone and I hate the way Mark Fox's vocals are delivered. Mid-album tracks All Or Nothing and How It Feels show promise of old, but the sound still sounds too hollow. I've really been a fan of their earlier work, but I'm not sold on this at all. They may have changed their sound to step aside from being compared to others, but they haven't provided strong enough songs to go with such a move. |
| Bright Horizon Oneiric Reality | Indie |
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Italy's Bright Horizon have a lot of musical promise. This 9 track progressive melodic rock album features a lot of music packed into a 43 minute release. The guys clearly have a lot of ideas and do not hold back when trying to fit all those ideas into each and every song. There's a lot of music to digest here and fans of European progressive rock will find some interesting songs here. The album features tracks running from under three minutes to over 9 minutes. What would make these a little easier to listen to is more structured arrangements at times I think there is a little too much going on. Secondly, the production doesn't give the music the powerful backing deserves. It doesn't quite come together, especially with the rhythm section. But as I said, the guys have a lot of ideas and a label might be wise to pay them some attention and help get the best out of them. |
| Teenage Casket Co. Dial It Up | Trash Pit Records TRASHCD01 |
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Teenage Casket Company are a British rock outfit that are part nu-breed, part punk and part glam. Their debut album is an independent affair, but has a decent sound for the budget and is a lot of fun to listen to. The style of music is such that it won't appeal to all, but those into the modern movement and variations on the more predictable 80s sound will find something interesting here. Down On Luck contains a nice melodic chorus as does the more punk fueled Mirrors & Wires. The other track that really needs mentioning is the anthem ballad Beautiful, which is a layered melodic track with a great hook. I imagine these guys put on an energetic concert I hope they can break out of the underground scene and catch the attention of bigger fish. They definitely have something to offer. |
| Daize Shayne Live Your Dreams | New Game Media |
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Daize is a world champion surfer by day and a guitar playing rock chic by night. She's a champion at one thing and she's trying hard at the other. This is a varied album, from straight up Go Go's style melodic pop/rock to sample filled modern rock, all with a nice pleasant vocal and some tasteful guitar playing. The album sounds great thanks to the nob twiddling of Ken Tamplin, and the songs themselves are very good. Everything I have said here is a compliment, but ultimately the album lacks a knockout punch. It's competent and enjoyable, but doesn't contain anything that constitutes a wow-factor, which is a definite drawn back in this very competitive scene. On the plus side, tracks like Movin' On, Reach and So Addicting are great little commercial rockers that could find themselves at home on radio. Enjoyable melodic rock with a modern pop twist, but best recommended to those with a taste for female lead vocals and modern melodic pop/rock music. |
| Radioactive Taken | MTM Music 0681-150/151 |
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Tommy Denander surely the busiest man in melodic rock is back with his third Radioactive release and his third full album release of 2005, following his production and musical work on the Philip Bardowell and Sha-Boom albums. As is the case with all Tommy's work, Taken features that very distinct production sound and the expected mixed of guitar chops and AOR keyboards. You know what to except with a Denander release and established fans won't be disappointed or surprised with this release. One does not need to talk a lot about the sound, as stated, no surprises here a pleasant mix of Toto-esque guitars and lush keyboards in a setting that traditional fans of the AOR genre will love. While the AOR scene has its roots in the 80s, Tommy's updated production techniques help avoid any claims of a dated sound, but at the same time his style appeals to fans of that classic era. The biggest differences in Tommy's work is the actual songs themselves and the vocalists used to deliver the message. As is always the case with Radioactive, an all-star cast of melodic rock singers has been used to great effect. The songs this time around are a little more melodic than the last album Yeah and I will state that Tommy has definitely achieved his desire to make a classic AOR sounding record. The choruses of Taken are some of the best to appear to date on any Denander release. Track By Track: The album opens with C.O.W, a snappy little guitar solo which falls away before the first full length track Taken bursts to life. That distinct, unmistakable guitar/keyboard blend that is Tommy Denander's sound floods the speakers and we are away. Taken features the great Bobby Kimball at the helm - belting out a loud, aggressive vocal. The vocal suits the urgency of the song, which is one that gets better as time goes on. I love the vocal and the track itself, while perhaps a little busy, is still a winner. Stronger Than Yesterday is quite the opposite. Sung by Andreas Carlsson, this is a super smooth AOR track with a more restrained sound and a rather excellent verse melody and a very catchy prominent chorus which has all the hallmarks of the Denander sound. Toto alumni Steve Porcaro and Greg Phillinganes guest on keyboards and the late, great Jeff Porcaro supplies the drumming from a session recorded before his untimely death. Hit Her Where It Hurts is a curious track indeed as it is a pure AOR anthem featuring Gary Barden on lead vocals. I say curious, as Gary is not normally noted for his AOR work more bluesy and hard rock, yet he sounds right at home here and the song is further boosted by one of the strongest choruses of the album. Next is another coup for Denander. Easy's Getting Harder features the very first duet between husband and wife duo James Christian and Robin Beck. The songs itself is a very smooth, easy going Westcoast/AOR number and is perfectly suited to the guys, who put in great performances. Why haven't they done this before?! The greatest Swedish vocalist Mikael Erlandsson makes his first appearance for the big sentimental ballad This I Promise You. His raspy, passionate vocals are made for power ballads and he doesn't disappoint here. Forgiveness is a very Westcoast/AOR track with a high-tech Rick Springfield/Richard Marx/King Of Hearts feel. Norwegian vocalist Christian Ingebrigtsen takes the lead vocal for this mid-tempo ballad which also features Bruce Gaitsch on acoustic guitars. Now you know why the song has a strong Marx/King Of Hearts feel. 2005 saw Tommy team with Unruly Child vocalist Philip Bardowell for an album and Bardowell reprises that role here. It is good to hear the album take a slightly tougher, heavier feel at this point, after three relatively soft tracks. The song Shattered features a nice long instrumental break and a typically furious Yngwie Malmsteen solo. Tommy also spent time in 2005 working on his upcoming album with Fergie Frederiksen. Fergie guests on a lead vocal here, as he has done on all three Radioactive albums. Thomas Vikstrφm also joins with a lead & backing vocal appearance. The guys sound pretty good together and I like the musical direction of this uptempo melodic rocker. Premonition is a musically intense rocker, which features some cool programming and a good strong chorus. Following on, Carry On is a much more relaxed AOR tune, but featuring an equally intense chorus. It was advertised that Kelly Keagy was the featured lead vocalist, but rather it is Mikael Erlandsson, with Keagy providing a few lead vocals lines during the song and chorus. The line-up of guests on this track includes Tom Keane (keyboards), Neal Schon (talk box intro) and Michael Landau, Michael Thompson and Frederic Slama (guitars). Although, with so much going on here, it is a little hard to deterine individual parts Love Is On Your Mind features some cool guitar riffs and a sound reminiscent of Denander's early work. The uptempo melodic rocker features Thomas Vikstrφm on lead & backing vocals and one of the album's best choruses. The song was written with the Spin Gallery project in mind and does remind me of that, although it is that little bit heavier. Sinner features a lead vocal by Jaded Heart's new boy Johan Fahlberg. It's an ok track, but perhaps it doesn't stand out enough next to some of the other tracks. Never Gonna Let Her Go is a soft and slow Westcoast instrumental to close the album. The track features a dream-team Westcoast line up of Michael Landau, Steve Lukather and Peter Friestedt (guitars) and Vinnie Colaiuta (drums), plus David Diggs (keyboards) and a little Sax from Tom Saviano.
All three Radioactive albums have a slightly different feel and preferences may depend on personal tastes and day to day moods. Either way, it is a very fine AOR album and yet another notch on Denander's belt. Together with the Philip Bardowell album, Tommy has delivered two highlights for 2005.
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| Khymera A New Promise | Frontiers Records FRCD248 |
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Italian musician Daniele Liverani is back with his second Khymera opus. As with the first release, a selection of obscure AOR songs has been gathered to be recorded under a new moniker. But there are a few changes here since the first Steve Walsh lead project. Gone is the grumpy lead singer, to be replaced with the much acclaimed Pink Cream 69 bass player Dennis Ward. The previously unheard of Tommy Ermolli comes in on guitars and provides some very tasteful AOR friendly licks and Liverani covers keyboards and bass. Liverani's musician partner Dario Ciccioni continues his role as drummer. Ward is a much better fit for this kind of material than Walsh and really does his reputation no harm with his vocal debut. His raspy and determined tones remind me a little of Jeff Scott Soto, but with that European edge. He further enhances the record by contributing some fine harmony vocals, which are mixed perfectly into the album (by the man himself). The songs are gathered from various sources, the most unusual being a cover of the Unruly Child track Damage Is Done, with several others supplied by the ex-Sugartown duo of Tom and James Martin. Track By Track: A short, bombastic instrumental opens proceedings, but being that it doesn't have anything to do with the rest of the album as such, could perhaps have been left off. Alone is the first vocal track and our first taste of Dennis Ward the vocalist! Where has he been all this time? He sounds great and his voice has a warm familiarity that suits this genre of uptempo AOR. The feel good vibe of this anthemic melodic rocker is the perfect start to the album, mixing plenty of keyboards with Tommy Ermolli's guitar riffs. The material that comprises A New Promise is largely collected from the archives and the 80s vibe of the opening track and the uptempo Let It Burn shines through. A fresh production and strong lead vocal updates things, but 80s AOR fans will be the ones getting the most from this album. Looking For You is a brilliant song. Some may be familiar with it, as part of the unreleased, but leaked Don Barnes solo album from the early 90s. It's nice to hear it done again here and the roots of the song shine through, the keyboard parts and Dennis' vocal have 38 Special written all over them. The rock ballad All That I Have is enjoyable, giving Dennis Ward a chance to change his delivery a little, showcasing a grittier side of his voice. Unruly Child's The Damage Is Done is an interesting choice of song. I love the song itself and this is a pretty strong version, but I can't say that it totally fits the album as easily as some of the other tracks. The song has a tougher vibe than the other material featured here and stylistically doesn't quite fit. After The Way is another track from the Don Barnes solo album and again sounds just like it was intended (by Barnes). It's an ok track, but certainly isn't a highlight. You Can't Take Me (Away From You) is an unreleased Jeff Scott Soto track and his signature is all over this track. Dennis' own vocal style, with its raspy edge, isn't too far removed from Jeff and as stated, you will hear comparisons to him throughout the album. This is a classic Soto AOR tune and sounds great here. The classy rock ballad Tomorrow Never Comes is another Soto sounding tune and follows on from the last track perfectly. A well timed chance of pace. Fields of Fire sees the album back to the rocking style of the first couple of tracks and features a good strong chorus. One of the better tracks on the album in my mind and another strong track giving the second half of the album a lead over the first half. If You Dare To Dream is a Judith Randall song and one can imagine Mark Free's vocals at home here. Dennis struggles a little with the range required by the song I think, but otherwise enjoyable. Give In To The World is a moody, keyboard heavy mid-tempo track, but not one of the stronger tracks featured. It does feature some nice guitar work in the background. All Is Gone follows on from the mood set from the previous track, but works a little better due to some increased intensity. It is not a track that will be loved by all and one that requires a little more listening to than some of the other more instant tracks on the album. I do think that after a run of strong tracks, the album closes on a slightly less positive note, but it is all still very good.
There are plenty of modern rock and metal releases to keep fans of those genre's happy this one is for fans of old school, feel good melodic rock and AOR.
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John Farnham I Remember When I Was Young |
SongBMG 82876743732 |
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John Farnam is one of Australia's greatest ever vocalists. He has a stunning range and had he broke out of local fame, could have been a world-renowned vocalist. He's also one of the good guys of the Australian industry everybody likes him as he is just so genuine. Now in his mid-50s, he still posses a voice that will send shivers up your spine. So why do his records bore the absolute shit out of me? As a live performer, his stage presence, charisma and vocal abilities keep you glues to his every move. On record he is everything he is not on stage. Flaccid, dull, boring and for the majority of the tunes, he struggles to get the pace out of first gear. I Remember When I Was Young - Songs From The Great Australian Songbook is a copy of the format used by Rod Stewart and his Great American Songbook series. This is what looks like a starting point for more volumes to follow, but all involved will have to liven the pace up if they are to warrant any future interest. Why turn these rock classics into pop ballads? Where is has his passion gone? The blame must squarely fall on long time producer Ross Fraser and manager Glenn Weatley. They are content on selling Farnham to the blue-rinse brigade, the half-senile older generation that still remembers him fondly as little Johnny Farnham back in the early 70s. Commercial radio may have abandoned him, but fuck them .they have abandoned most good artists and continue to concentrate on manufactured dross. John Farnham the performer could still teach the kids of today a few tricks take a look at the lifeless contestants on Australian Idol. Forget about a hammed up Elvis night how about a John Farnham night where he participates and teaches these kids a little about how it is really done. So on this new album John Farnham dips into Australian rock folklore, to re-run some tried and true classics. Farnham has long used the songs of others, but this time, rather than borrowing more obscure tracks, he has honed in on some of the best known Aussie songs available. It may be cleaver ploy to regain radio interest, or it might just be an attempt to target his perceived audience, but either way, there is just no life within this record. The songs chosen are an interesting and lively lot and one had great hopes that John would finally get back to what he does best. It was also stated that much of the record was played and record in just one take that is even more reason for this record to be crackling along. But it doesn't. For whatever reason, the life is just sucked out of these tunes even the uptempo ones are stripped down and the pace softened to a crawl. One Perfect Day a very fine pop ballad by Little Heroes should be perfect for John, but here is perhaps half the tempo of the original. The legendary coming of age soft rock classic by Mondo Rock Come Said The Boy is reduced to a withered reggae style pop tune enough to make you want to cry. Downhearted, the Australian Crawl, feel-good summer anthem and equally legendary classic has several moments of vocal glory, not to mention a snappy pace, but here Farnham avoids that aspect and slows it right down. Why stifle such an amazing voice into utter blandness? Men At Work's political statement Overkill is made to sound like a happy go lucky jazz number and Cold Chisel's gutsy Forever Now has none of the original passion. The frustration continues through every track. The days of LRB and You're The Voice are sadly and obviously long, long gone.
I am so utterly disappointed at this release I will state that it will be the last I ever buy from him. He has a truly kick as band that includes Brett Garsed (Nelson), Angus Birchill and Stuart Fraser (Noiseworks) where are they on this record! Farnham turns a selection of Aussie rock classics into laid back jazzy pop ballads and to be honest, it doesn't get any drearier than this. Coming to a department store elevator near you
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| Soul Doctor For A Fistful Of Dollars | Frontiers Records FRCD266 |
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I reviewed this a little while back for the Japanese release, but now it's on wider European release, I thought I would expand my thoughts a little.
I like Tommy Heart's voice and I think Fair Warning have released some fine albums. I have previously been somewhat less that enamored with Tommy's side project Soul Doctor. With little fanfare the guys are now up to album number 3 with For A Fistful Of Dollars and I think they have finally hit upon the right songwriting formula. Soul Doctor has a more straight ahead hard rock sound than the more flamboyant Fair Warning. Drawing on influences from AC/DC to Aerosmith, Soul Doctor present their blusey brand of melodic hard rock with a kick-ass in your face guitar driven sound. I think the band has a little more energy on this record compared to the first two and it's plain to see the songwriting quality is far better. Classic rock meets a modern edge with a Bon Jovi twist on Eatin' On Me and Best Way To Fade is simply a great hard rock song. The bluesy rock ballad Remember adds some cool piano parts and Ten Seconds Of Love adds an interesting twist with a brass section. The swagger of She's Mine adds further variety and the album closes with an acoustic Aerosmith style blues number Cheap, Down N Nasty. Vocalist Tommy Heart sounds in great form, with his voice dominating this record.
The album still holds up strong some 2 months after it's Japanese release - that's a great sign.
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| Paganini Resurrection | PazouZou Records CD666 |
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Vocalist Marco Paganini fronted Viva and Paganini and recorded 5 albums between 1980 and 1990. The European melodic metal / hard rock outfits made a small splash on the scene, with Paganini's debut still much sought after today. Resurrection is another case of 'let's re-record the best songs of the past', with the album an equal mix of Viva and Paganini classics. But bloody hell... I don't recall Paganini ever sounding like this. No wonder this is an indie release, as no record label in their right mind would sign up for this release. Marco's voice has certainly seen better days he is a gruff, tough and as rough as hell here. On the ballads he sings low and hides a lack of passion with vocal filters and on the metal tunes he just shouts. But that's not the worst of it the songs are basically updated with a bass heavy modern punk friendly style that does absolutely nothing for me and I dare say the majority of old school metal fans. If further insult to the ears is needed, the production is raw and messy and is at times is difficult to listen to. Stick to the originals unless you really are desperate for something different to listen to. 47 minutes of noise. |
| Cherone Need I Say More | Indie |
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One of the great challenges any artist faces, is moving in a new direction and convincing fans to follow. Gary Cherone is best known for his energetic fronting of two great American bands Extreme and a short lived stint with Van Halen. But he is so much more than just a rock frontman, having worked extensively in theater and also carries a very diverse personal taste for all forms of music. This brand new 4 track EP demonstrates those tastes very clearly. To get the most from this release, fans will need to adopt a similar broad range in taste as this is as far from rock n roll as it gets. The EP features 3 jazzy pop tracks and a more subtle ballad. The ballad is the title track Need I Say More, which I have to say, is a thoroughly impressive and haunting pop ballad with a soulful vocal and great hook. The other three tracks feature instruments such as flute, sax, organ and trumpet, as well as the usual bass, guitar and drums. They flesh out a new direction for Gary, which some fans will find hard to accept, but there is no doubting the musical integrity or quality. Whether Gary will continue down this path remains to be seen. Those that have an ear for the jazzier side of pop should find this quite a revelation, but it won't be for everyone. |
| Aerosmith Rockin' The Joint | Sony 97800 |
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There is no denying Aerosmith's greatness. Their most recent body of work may not be as strong as their past, but few bands get to experience what Aerosmith have that is two defined career hotspots, both in the 70's and then again in the late 80s-early 90s. In recent times they have come off the boil somewhat, but in concert they are still a force to be reckoned with. This new live release was recorded on the band's 2002 US tour. It is not the quality of the release that is in question here, nor the strength of the songs included although the track list isn't the most obvious selection. It is more a question of why? What really is the point of this release? Clearly only an edited highlights release after all the set included here is only about half of what was played each night and the songs that made the cut don't really define a specific theme in the band's evolution. So one must sadly conclude this is a mere record label cash-in to remind fans the band is still alive and contrary to their under-performing blues covers album, they really do still rock. Yes, they rock, but this is 3 years old already. Classic band, great performers, but this is a mostly pointless and rather crappy excuse for a release. |
| Bruce Turgon Outside Looking In | Frontiers Records FRCD255 |
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In 1991 an album featuring Lou Gramm, Kevin Valentine, Vivian Campbell and Bruce Turgon was released. Shadow King would become a cult favourite loved by many, but sadly ignored by the record label and under-promoted. Still years later the band become the subject of regular conversations on message boards and debate over the merits of the release would start anew. The one-off release was originally slated to be the third Lou Gramm solo album, but the heavier sound of the project coupled with the band feel between the members led it to be released as a new band. Bruce Turgon was a long time collaborator with Lou Gramm so much so that he would follow Lou back into the Foreigner line up a couple of years later. I've long regretted that there wasn't a second album, but during the middle-to-late 90's, Bruce Turgon demoed a selection of tunes for himself. It is now finally in 2005 that some of those songs finally see the light of day on Bruce's debut solo album. Outside Looking In features several of those original songs and several new ones, all recorded especially for this album. The Shadow King project was possibly the toughest rocking affair Gramm had ever been involved in. It's not until now that one realizes just how much influence Turgon had over the band's sound. To my great surprise, this album is essentially the long awaited sequel to the debut Shadow King album! Bruce Turgon not only sings and sounds like Lou Gramm, but he also adds most of the bass, guitar and keyboard parts. Helping Bruce out on this epic record is a powerful line up of Denny Carmassi on drums and Lou Gramm, Ricky Phillips, Tom Gimbel and Diana Mills on backing vocals, plus guitar solos by Rocket Ritchitte, Scott McKinstry and Ronnie Montrose! Shadow King featured a complex set of songs which some still don't get today. Outside Looking In is much the same. This isn't melodic rock or AOR by numbers it's intense, moody and powerful and takes several spins to get to know. This is American melodic hard rock with a sound perfect for stadiums. The album opens with the moody and attitude filled uptempo rocker Living A Lie. Turgon has a fine voice, which is a style similar to Lou Gramm, but grittier and raspier. The Shadow King comparisons are evident from the start, but this song and the album in general isn't as polished as the super-tight SK material was. Any Other Time tempers the tempo a little, showcasing a moodier side of the album. But the chorus kicks things up a couple of notches and is one of the best on the album. Outside Looking In has a very distinct Lou Gramm style vocal. Although memorable, I rate it as one of the weaker album tracks, which is proof of the overall quality of the album. I love the moody intensity of the bombastic rocker Walk Thru Fire, which is followed perfectly by the slower, but equally emotional Faith. Pleasure Dome and Weapons Of Love both just flat out rock, but it is These Tears Must Fall which really captures my attention. This is an amazing, powerful and emotional melodic rocker with a monster chorus. A definite contender for song of the year. On A Wing And A Prayer has a similar vibe and this is one of the few times I have heard anyone come close to the brilliance of Lou Gramm as far as capturing raw emotion within a song. Heart So Strong continues a mid-album emotional burst. The Last Time turns back to rocking and makes a nice tempo change from the moodier tracks surrounding it. Just as the Shadow King album closed with an emotional and moody rock track, so does Outside Looking In. Where Do We Go From Here is subtle, but effective and a perfect finish to a very enjoyable album. I might add that it's nice to see the record label president listed as the album's executive producer. Hands on involvement at the highest level.
The sound is not as polished or as big budget as the debut Shadow King album. This is a pretty raw and honest affair, but still sounds great. It is the strength of the songs and the intensity in which they are delivered, plus those great lead vocals and in your face guitars that makes this record great. That, plus the fact that just about every track has an instantly memorable hook. So many albums are released and reviewed, yet this one stands out as something a little different and something a little special. 2005 has been a year for the lesser known names and the surprise releases. Add this to that list. A mix of Shadow King, the style of Foreigner's Mr. Moonlight and classic moody melodic rock.
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| The Mob The Mob | Frontiers Records FRCD264 |
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This is a difficult title to review. I envisage more than your average fan debate on this. Just 40 seconds into the debut album it will become plain and clear why this release will find some melodic rock fans raving about the marvels within and others struggling to accept why this release isn't what it could have been. What's all the fuss? Vocalist Doug Pinnick. Let's come back to that. This is an album of contrasts. Different styles, an interrupted flow, and some less than perfect vocals mix with some cracking performances and some truly memorable songs. The Mob is a project featuring a rather impressive line-up of talent. Winger and Whitesnake guitarist Reb Beach; Night Ranger drummer and vocalist Kelly Keagy; Whitesnake's Timothy Drury and Kip Winger on bass, backing vocals and production duties. Kings X frontman Doug Pinnick lends his distinctive vocals to the whole affair, aside from one track where Kelly Keagy takes the reins. The Mob is a very groovy release. It features some amazing performances and the songs for the most part are very good examples of challenging, intelligent and original melodic hard rock. Winger meets Kings X? Sure but there's more to it than that. There are so many positives, but the driving force behind any commercial melodic rock album is the vocals. And Doug Pinnick's vocals are not the easiest to absorb. While his appearance will draw in many fans, it might also drive some away. But I do hope that people will give this album time to mature, as it is far from instant and gets better the more time you invest in it. The album opens with a couple of groove filled rockers and the third track features Kelly Keagy on a very fine commercial rock ballad The Magic. Fans of Night Ranger and Kelly solo will love this track, but it does stand out as being quite different from the rest of the material. It sounds like it has been brought in from the writing sessions for Kelly's next solo album. Buying the album on the strength of this great track might not be wise. The highlight for me is the mid-album run of Never Get Enough through No Reason Why. These are some of the best melodic rock tunes currently being aired. Pinnick's vocals are best when surrounded by the harmonies of the rest of the band and for those that aren't partial to his delivery; there are plenty of harmonies to help. This album is drenched in harmonies, both during the chorus and the verse. Perhaps that was an intentional move to help the album's appeal. As stated earlier, the album has a distinct groove and takes some listening to in order to appreciate what's going on. Guitar Solo only runs one minute, but it still seems a little odd to include this track when there is already another full length instrumental. That track - Spaghetti Western - is a snappy (and groovy) song, but on an album where 3 lead vocalists appear in the line-up, is there really a need for an instrumental? Highlights for me are the moody melodic groove of I Will Follow and from Never Get Enough onwards the album gets stronger and more consistent. Looking over the album, a big issue for me - that ultimately knocks a few points off - is the track running order. The flow of the album is a little disjointed, with 2 instrumental breaks and a change of lead vocalist for track 3. A revised running order with the instrumentals grouped together and Kelly Keagy's lead vocal closing the album might have given the material a better flow.
That said, Pinnick was a bold choice and there is no doubt that Kings X have a large fan base which should be drawn to this release by their vocalists' involvement. I have no doubt that some would have preferred to hear Kip Winger on lead vocals or perhaps more from Kelly Keagy. I'm probably one of those people, but that doesn't change the fact there are some really fine songs featured on this release. If anything, it stands out in the cluster of melodic rock releases in 2005 for having its own identity. But not everything falls into place perfectly.
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| Change Of Heart Truth Or Dare | Escape Music ESM122 |
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British AOR group Change Of Heart don't do anything we haven't already heard before, but it has been sometime since I have heard an album of really good British styled AOR such as this and that fact, coupled with some strong songwriting makes this an album well worth owning. This is pure British AOR in the vein of Heartland and FM. It doesn't pretend to be anything other than a slice of old school 80's melodic rock and I think fans of this genre will welcome such a release in a year dominated by metal. Although driven by a retro 80s sound, the production is in keeping with what we expect of today's releases. For me the album really kicks into gear with the third track of the album, which funnily enough, is a super ballad. That's not to take anything away from the heavier than usual sound of the opening rocker Burned, or the urgent tempo of Farlands. I just think that everything the sound and song quality falls into place perfectly for the big ballad Desperate Heart. A tighter sound, a huge chorus and an emotional punch that really connects greets the listener and from here on, it only gets better. The uptempo feel good rocker Hold On is one of the band's best tracks to date; Truth Or Dare has a further touch of urgency in its delivery; Taking My Time is reminiscent of Chris Ousey and Keep On Believing is a very pleasant melodic rocker with a prominent piano role. The album closes with an uptempo rock ballad, helped by a passionate delivery and some classy guitar and piano passages. At least, I thought the album closed with that last track! One final unlisted track (Higher Than Love) stands out as an album highlight and will I imagine be a favourite among fans. On occasion a repetitive symbol sound raises its head, but that is only a small complaint. The addition of FM's Pete Jupp on drums and Steve Overland on backing vocals is a winning formula that can only place this release further up the must purchase lists.
The harmonies throughout are superb and the equal mix of keyboards and guitars, coupled with some passionate vocals make this album a winner for lovers of traditional AOR.
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| Johnny Lima Version 1.2 | Escape Music ESM123 |
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Johnny Lima is one of the good guys of melodic rock. He's also a portrayer of one of the very purest forms of the genre. Johnny is melodic rock and his Jovi-esque style has won him a lot of fans. With a new album only coming every couple of years or so, one could understand some frustration from fans that Johnny's new album is a re-recording of his out of print 1996 self-titled debut. But Version 1.2 is quite an improvement on the original (to say the least) and having heard the result I can understand Johnny's perfectionist tendencies nagging at him to correct the errors he saw in that original album. The hair might be a lot shorter now, but the attitude and the energy is every bit as good as the 1996 release. Sonically speaking, Version 1.2 is miles ahead of the original. The clarity is much clearer, the vocals are more powerful, and the sound of the instruments is so crisp and clear compared with the sometimes muddy debut. Johnny has not updated the style in any way; this is still an album of classic anthemic melodic rock n roll in that trademark Lima / classic Bon Jovi vibe. The guitars have a better tone, the vocals are stronger and the mix is more even. There are a couple of differences here the track listing is slightly altered and track Speak Of The Devil has been removed and two brand new tracks Drift Away and Fire Of Love have been included. Drift Away is an acoustic driven melodic rocker that comes alive with a huge chorus hook that all fans of Lima will love. Classic! Fire Of Love is another anthemic rocker with some nice guitar licks and a Slippery When Wet Jovi vibe. Both tracks stay true to the sentiment and style of the original album and are a welcome addition. For those Lima fans not familiar with the debut, or at least only familiar with its cult status, this is an essential purchase. You just can't go past the melodic rock bliss of tracks like Little Runaway, Never Gonna Let U Go and the magnificent Into Your Arms. Fans of power ballads are catered for with the extended Here For You and Another Lonely Day.
Few artists get the chance to go back and correct or update their past and I can understand both sides of the argument for doing it or alternatively, leaving history as is. Generally I would side with letting it be, but this album remains very faithful to the original tracks and vibe. The sentiment may be a little dated in places, but it just sounds 100% better now!
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Various Artists Metal Mania Stripped Vol. 2 - The Anthems |
Sidewinder Music |
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The concept behind Metal Mania is strong everyone loves to hear their old favourites re-arranged and the unplugged style is certainly something that lends itself favourably to this genre. However, the first Mania release was a little lazy, culling the majority of tracks from already released titles. It also left a lot to desire as far as the arrangement. Mania 2 The Anthems is a far better and more enjoyable release, but it still has a couple of flaws. On the positives this compilation features a few more exclusive new tracks a total of 8 brand new versions. Those 8 new tracks are the shining lights within the compilation - most obviously because they haven't previously been heard. That brings us to the main negative with the release. The remaining tracks are from live titles released by the bands themselves. Again, that is ok, but the arrangement of these songs on this compilation (like the first) is relatively poor. Swapping from a live atmosphere to a new studio performance kills the flow of the record and in a couple of places the live tracks are poorly edited. For example, Bret Michaels' rap to the crowd at the end of Talk Dirty To Me has no relevance in this setting. A little more care is needed there and it would have benefited the record a great deal to have the live tracks grouped together on the second half of the album, allowing the new tracks to have their rightful place at the front and center of this release. I'm going to talk about the new tracks on here. Those not mentioned are from other past releases. The first of the new tracks is possibly the best especially for myself a long time Night Ranger fan. Don't Tell Me You Love Me was the bands launch song and one that has since embedded itself in melodic rock folklore. This is an extremely cool version, stripped back to the basics but still in a full band mode with a new bluesy swagger to it, but still featuring all the energy of the original. The guys add a killer acoustic solo mid-way through and Jack Blades sounds fantastic. It's always great to hear any new from Tom Keifer and this new version of their big hit Shake Me is very laid back bluesy version and features only vocal, guitar and a little percussion from Fred Coury. Jani Lane reprises the Warrant breakthrough hit Cherry Pie with acoustic guitar and percussion. Its ok, but I do think the new lead vocal is somewhat rougher and gruffer than the vocal quality Jani used to posses. Round And Round the Ratt classic is performed by band vocalist Stephen Pearcy. This is another ok version, stripped right back to one acoustic guitar, but with a little venom injected and like Jani, a raspier vocal. Madalaine was always a pretty cool anthem from Winger and Kip Winger handles this new version in the same manner as Night Ranger. Punchy, lush with guitars and energetic. Kip Winger surely is the king of acoustic performances. Smooth Up In Ya by Bullet Boys is very rough, but so was the band. I'm not sure the lead vocals of Marq have held up that well, but it's an attitude filled song. Nelson has turned in a few acoustic versions of classics already all quite sensational, so it's no surprise to hear (Can't Live Without Your) Love And Affection handled perfectly. Of some surprise is a lack of duel harmonies I did expect that and missed them a little bit. The new line-up of L.A. Guns rounds out the new tracks with a ripping version of Sex Action. Time hasn't dulled this tune and the new version sounds fresh and enjoyable.
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| Seventh Key Live In Atlanta | Frontiers Records FRCD263 |
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For me the involvement of the fabulous Mike Slamer is the biggest draw card for this release and also my biggest worry. Slamer is a perfectionist, so it was a concern that the high-tech style of the studio albums would be translated into a live performance that required after-the-fact overdubs to satisfy sound requirements. That in turn delivers a release lacking the energy and rawer vibe a live performance would normally feature. I can't tell if overdubs have been added to this - perhaps not - but the performances here are flawless. I look forward to viewing the event on the accompanying DVD when it arrives. I think the guys are fine musicians and have the knowledge of how to set up their equipment in a way that would ensure an error free performance. It sounds like nothing here has been left to chance and the recording itself sounds a million bucks. But in some ways, that dangerous edge is not present as I cannot hear a single duff note or fluffed intro. Sometimes that is nice to hear in a live recording. It proves legends are human. Billy Greer is in fine voice here and the extra harmonies from Terry Brock are a perfect fit for the band. The audience gathered is minimal, so the intensity of a regular live show is not there this is a special showcase for the band and it works in the way that it highlights some great melodic rock songs, but not in the usual live show format. Standout tracks include the acoustic ballad Forsaken, where the band is joined by Robby Steinhardt on violins and vocals and Johnny Greer on mandolin and vocals. The lush harmonies are fabulous and the raw emotion of the track shines through. The Sun Will Rise sounds note for note perfect and one can't help but love that pounding rhythm. The 6 minute plus You Cross The Line is also quite tasty, with some extra guitar licks and an extended solo included. And the moody It Should Have Been You is a stand out track in any configuration. The album adds three bonus studio cuts, two of which were previously Japanese bonus tracks for the bands first two albums (Love Train and The Storm Rages On). Remember You Well is previously unreleased and to be honest should have remained that way. The song itself is fine, but the sound quality is well below the other two bonus tracks and the live concert.
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| Primal Fear Seven Seals | Nuclear Blast |
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Primal Fear has often taken a back seat to Mat Sinner's main project Sinner. But they have always produced memorable records this is already studio album number six! Their last album Devil's Ground was good, but this is great. For me, Seven Seals is the best record from the band to date. It is the combination of a superior sound, some great songs and as always - great performances. All the necessary elements have aligned to make this another must buy for fans of European melodic metal. What a year it has been for metal fans. Seven Seals features a monster sound produced by the band themselves, but mixed to perfection by the legendary Mike Fraser. He actually commenced mixing this the day after completing work on Journey's Generations record. The band seems more energized than ever and backed with some very strong songs have made a record that will sit high upon the best of the year metal charts. Demons & Angels is a furiously paced introduction to the album, with a menacing vocal driven by that unmistakable double kick drum fury. But it gets better Rollercoaster is even more gritty, with a huge crunching guitar riff Masterplan fans will love. The speed and mood changes for the super intense mid-tempo Seven Seals which features one of the best lead vocals and best choruses I have heard from the guys. Other highlights include the epic and somewhat progressive Diabolus; the anthemic hard rocker All For One and the metal brilliance of Question Of Honour. Another highlight is the closing track, with sees the band slow it down a little, but up the intensity with added orchestration for a mid-tempo metal ballad In Memory.
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| Majestic Vanguard Beyond The Moon | Metal Heaven 00012 |
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This is another very solid title for fans of melodic metal and/or power hard rock. These Swedish lads have a lot of talent and this album is a showcase for that and also their Christian beliefs. That side of things is not too in your face, but the guitars certainly are. There are enough rips and shreds here to please most fans of Yngwie Malmsteen and a pounding rhythm section to rival Metallica. This is a seriously heavy, yet melodic release, with a very clear lead vocal making it extremely accessible. Comparisons can be made to Narnia, Balance Of Power and perhaps at times Royal Hunt. This is European melodic metal with a twist of neo classical and progressive influences. The Great Eternity is only 4 and a half minutes long but seems to have the twists and turns of an epic. Don't Want To Be An Actor is an outstanding slice of melodic metal, complete with crushing riff and swirling keyboards. A definite highlight! Take Me Home is one of two 8 minute tracks and features some tasteful acoustic passages before turning bombastic and the closer Mystic Eye is something Dream Theater would be proud of.
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| Dogpound A Night In The Gutter | Lion Music LMC154 |
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Dogpound's 2003 debut album established the band as another new band to watch in the Swedish rock music scene. A Night In The Gutter might see the band widen their fan base internationally. The debut was solid, but this new release is better in several areas, most importantly in the song writing department. Basically this is a kick ass melodic hard rock release with a strong Scandi sound and some major vocal harmonies. The twist is that the band have a truly hard rocking base, driven by an almost metallic guitar onslaught, but angelic Steve Perry like AOR vocals. Vocalist Henrik 'Hea' Andersson really puts in a great performance here, adding his melodic twist to the powerhouse backing provided by the rest of the guys. This is a melodic hard rock album with a twist of Journey thanks to the vocals of Andersson and the chorus hooks, yet at others times I got the vibe of the type of approach Rush use strong melodies, but more technical arrangements. The opening track Captain Hook & Jesus is a great example of this. One the other side is the more straight forward melodic bliss of 5 Seconds Away and Still My Heart is another very strong song. More strong melodic hooks shine through on Not By Choice and In Another Lifetime, both which up the power and the intensity of the album, yet contain brilliant choruses. The band slows it down slightly in a couple of places. The hard rock ballad Sail On is glorious and Worries Of Yesterday sees the band strip it back for an acoustic ballad. One has to mention the guitar sound it's dark, heavy and has a hollow tone and wouldn't normally be the suspected partner of some very melodic vocals. But these guys have their own style and the overall sound of the album is great and it certainly rocks from start to finish.
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| Charlie Sexton Cruel And Gentle Things | Back Porch Records 72438-60398-2 |
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This is a very classy release and on several levels it is a profound collection of intelligent songs, performed by someone who knows his craft inside and out. But at the same time I knew in some ways going into this that I would be disappointed. I grew up with Charlie Sexton's first two releases. I lived on Pictures For Pleasure and Charlie Sexton. You won't find two finer high-tech melodic rock albums that to this day they are still years ahead of their time. Charlie was 17 at the time of his debut and it is no surprise to see him grow up and move on from what those two albums represented. That's where my disappointment stems from. We are never going to hear another album like those two. I have to accept that! It has been more than 10 years since Charlie's last album Under The Wishing Tree. Since that time he cut his teeth as guitarist for David Bowie and Bob Dylan amongst other things. Begrudging the ticking of time aside, any record from Charlie is welcomed and I did fear that this album would be extremely laid back and set in middle of the road territory. The opening track suggested I was right, but the tempo does pick up in various places throughout the album and it is a little more varied than I anticipated. Sexton is a stunning songwriter. The warmth of his subtle vocals and the rich orchestration of the songs are perfect partners and given the chance, the music carries the listener away on a journey. Highlights on the album include the Dylan-esque soul laid bare of Gospel; the Arc Angels styled southern rock of Burn; the country tinged I Do The Same For You and the haunting orchestration of the title track Cruel And Gentle Things and Just Like Love. I'm also very partial to the uptempo Keith Urban like Bring It Home Again and Regular Grind. All songs are written by Charlie alone, with the exception of Dillingham Lane, where fellow southern rocker Steve Earl joins Charlie to co-write and brother Will Sexton helps out on Regular Grind.
I'm still having trouble accepting that times have changed and Charlie doesn't want to make records like he did when he was 20, but many reading this site prefer to live in a time bubble. Admit it!
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Crystal Pistol Everybody Hates You... |
Bad Reputation |
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This is a pretty interesting release from France's Bad Reputation label. These guys feature a rather an updated retro vibe that bands like Jet have cashed in on. The guys have a dirty attitude driven rock n roll sound that reminds me of a whole array of artists. Think Guns N Roses / early LA Guns meets The Damned, Demolition 23 and Neurotic Outsiders. Add in a little Rolling Stones and even a little of The Almighty. It is a wildly varied record with 11 tracks fitting into a mere 36 minutes. It's hard rock with attitude a ton of attitude. It's loose, raw and gets the feet tapping with definite ease. The band's debut album is very consistent throughout, yet on the down side a little same-ish at the same time and I'm not sold on the vocalist. Worth investigation for fans of old school attitude with an updated style. |
| Mother Superior Mother Superior | Bad Reputation |
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French rock label Bad Reputation continue to alternate between some classic re-issues and a range of new singings that lean towards a more contemporary sound. Mother Superior remind me a little of Kings X a retro rock sound mixed with a contemporary groove and some distinct raspy vocals. The guys have a bluesy edge and funky swagger, so are not something I would recommend to AOR fans. More so they might appeal to fans of Kings X or The Black Crowes. At one stage the guys backed Henry Rollins, so you know this is not your standard melodic rock release. There is no formula in place here or a predestined structure to many of the songs. The guys have their own style and a distinct sound. It is going to appeal to some out there, but not others. It is a love it or hate it release. For what it is, I have no complaints quality wise the guys can write a good tune, but it's not something I would listen to with any regularity. |
| Edhels Universal | Mals MALS053 |
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This is easily one of the worst releases I have heard in recent times and perhaps in the time I have been running this site. It is released by a Russian rock label called Mals. I'm not one who derives pleasure in delivering bad news, but I can't in any good conscience recommend this release to anyone. This is a somewhat experimental rock release, from a French act featuring a little pop and a little Toto styled jazz mixed with some progressive elements. I have no idea where any of the songs are going. Some tracks run 3 mins, others run 8 and 10. But none of them go anywhere or have a musical point. The album sounds like it was recorded in a garden shed and the lead vocals are some of the worst I have heard. I really can't add anything more. |
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Jeremy & Progressor The Pearl Of Great Price |
Mals MALS035 |
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I have no idea why one of these dudes calls himself Progressor, but he does. His partner is Jeremy (who would have guessed?) and together the guy shave recorded an album of experimental instrumental synth rock. This is another release on the rather 'interesting' Mals label. The songs are limited only 7, but the album runs near 70 minutes in length. Not for the fainthearted, this is basically 70 minutes of synth programmed doodles and atmospheric new wave beats. It just unfortunately sounds so out of date, like a 1982 Vangelis demo and moves far too slowly. Sadly it rarely gets to any point. The performances become more interesting when an occasional guitar or bass part actually gets to fit in. It is far too dominated by bloated synth passages and overall I would have to say it is a mostly boring and far too convoluted affair. |
| Flight 09 Human Nature | Mals MALS046 |
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Flight 09 is a Russian outfit and the third release reviewed here for the Mals label. I hope they get some domestic sales, as this label is not going to compete with any other European rock label on the basis of their output featured here. Flight 09 are at least a little closer to what a rock music fan might be interested in, but the music on offer is at least 10 years behind everyone else and even rates behind the awful stuff Long Island Records issued in their short lifespan during the 90s. These guys have a bad case of the plods everything here is slow to mid-tempo. It's also pretty poor sound in comparison to what else is on the market and their gruff Alice Cooper like vocalist is doing them no favours at all. They also need to get some advice on how to arrange a song. A few tracks here needlessly fly all over the place. Better than the other two Mals releases, but still so far behind the 8-ball as far as this scene is concerned. |
| TNT All The Way To The Sun | MTM Music 0681-147 |
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I loved TNT's last album My Religion from the word go and it only got better. I still rate it as an absolute classic. But in some ways I have really struggled with All The Way To The Sun. It has taken a lot more time to really appreciate this album and while I still rate it as another great TNT release, for me it doesn't quite match the warmth or the brilliance of My Religion. After much thought and contemplation I must put my reservations down to the songs themselves, as the style is not far removed from the last album. All The Way To The Sun is a little more contemporary than My Religion, but it does carry the sound and production style of that record over especially in the guitar sound, which is emphasized further. The songs of this album are definitely harder to digest on initial playback. It's not until you really get to know the record that they fully reveal themselves and even then, I think a few choruses are a little weak. What I really loved about My Religion was being hammered over the head with classic chorus after classic chorus, with each track really driven by a big hook. All The Way To The Sun features songs that are more complex without being overly intricate. The album is also a little more aggressive in nature, which some will definitely find appealing. That said this album still features some classic songs and I'm sure TNT fans will all walk away happy with the result. It was always going to be near impossible to follow up the classic My Religion and please everyone, so I think all in all, the guys have done a very credible job. TNT has moved on without abandoning the style and culture of My Religion, but has managed to avoid repeating themselves or standing still. The guitars and vocals are the most prominent element of the album's sound with the rhythm section featuring a little lower in the mix. It has to be said that Tony's vocal performance is among his best ever and caps a year that included the amazing Starbreaker release. Track By Track: All The Way To The Sun kicks off in a more aggressive fashion than My Religion with the rocker A Fix. Double kick drum fuels the track which features a commanding lead vocal, but a less domineering guitar riff. The chorus is very simple and for most of the song features only the lead vocal. A prominent feature of this album is simpler choruses. Too Late features a stronger guitar riff and a smoother more restrained vocal. The chorus is fairly simple again, maintaining the even flow of the song. Ronnie let's fly with a nice solo mid-song. Driving comes to life with a more intricate and melodic guitar riff, with Tony's vocals matching the mood. The chorus is upon you before you realize and is gone just as quickly. It is a catchy and intelligent little number with a definite pop vibe. I love the guitar riff and the chorus becomes easier to like each listen. Me and I is a very cool track. Something a little different is on offer from TNT here. A moody vocal is backed by a heard edged guitar riff and the chorus is huge. All the while the tempo stays pretty relaxed. It features a nice guitar solo and a great lead vocal and takes some listening to, but is one of the album's gems. Sometimes is the lead single and a clear pick at that. Another gem from the album, with another great chorus - this is one of TNT's most commercial and catchy songs in a long time and given the chance could fit into radio playlists. But what are the chances of that happening? All The Way To The Sun is a heavier, darker and more aggressive song that follows the lighter more melodic tones of the last two tracks perfectly. This track has a monster guitar riff and a groove to match. Tony's vocals are right in your face and very aggressive. Great to hear more guitar solos in music and Ronnie again lays it on. The song's chorus is short, but memorable and matches the style of the album as a whole. Next up a somewhat bizarre selection. A cover of the Louis Armstrong classic What A Wonderful World. While the song features what is an amazing vocal - smooth, soulful and controlled it remains out of place amongst the more aggressive material here. The Letter returns to the style and sound of the opening two tracks. Short sharp guitar riffs and a prominent vocal. The song misses a bigger chorus though. The simple change in flow to accommodate a brief chorus could have been more pronounced. I will say that Tony's vocal on this track is incredible. Mastic Pines is a short instrumental piece which for me ends a mid-album run of tracks that could have been stronger. The short, but effective Black Butterfly gets things back on track. This is an aggressive and hard hitting little rocker that features some cool guitar work but again could have been even better with a bigger chorus. Save Your Love is a little more relaxed and more melodic, even with a forceful vocal. The chorus is definitely a more instant hook and the song balances the aggression of the past few tracks. Closing the new album is Ready to Fly a highlight for the album and once again, something a little different for the band. The song features a strong chorus, without being immediate and has a contemporary feel but remains true to the overall TNT sound.
The album is a change from My Religion and I think the nature of it will see some fans claiming it to be an even better release than the last album, with other fans possibly disappointed in the end result. It takes time to get to know and appreciate, so give it that time before casting judgment. I think it is another great TNT album, but in my opinion not quite the classic My Religion was.
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| Deep Purple Rapture Of The Deep | Edel |
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Purple without Blackmore really are chugging along aren't they? This is their 4th album with Steve Morse at the helm and second in relatively quick time, following 2003's Bananas. The band has also constantly toured, keeping the legacy alive, even without a couple of original members. I loved their first album with Morse Perpendicular it was a unique album and a slight change in sound. The following two left me disappointed or somewhat nonchalant. I'm not sure I can pinpoint the reason it has to be the songs I guess but Rapture Of The Deep has me excited again. This album follows the sound established by this line up and does require several listens to really get into the groove, but it does reward listeners. I found that Bananas didn't. This is a really loose and groovy record! It has a little attitude and as stated, takes some time to get to know. But I think the songs gathered make for a great listen. Money Talks and Girls Like That form a great one-two punch to get the album rolling along and for the most part are classic Purple rockers. This is a long record for 10 tracks at least. A true groove filled record. There is a lot of music going on here and a lot of different musical parts to get to know. Take the title track Rapture Of The Deep drenched in Hammond, with Gillan's authorative vocals guiding it, while Morse adds a quirky guitar riff to hook the listener. Through the song is at least 3 different changes in flow. It makes for an interesting song. A personal favourite is the subtle mood of the ballad Clearly Quite Absurd. I love the lead vocal here and this was the first track I went back to after playing the album for the first time. Other highlights are the swagger and boogie of Don't Let Go, the uptempo rocker Kiss Tomorrow Goodbye and the 6 minute plus closer Before Time Began.
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| LA Guns Tales From The Strip | Shrapnel |
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LA Guns' output in recent years has been mixed, with the pendulum swinging back in favor of the band with their excellent last album Waking The Dead release. Sadly since then the revolving door line-up saw guitarist Tracii Guns leave and with him went some of the band's momentum. Tales From The Strip is an attempt by vocalist Phil Lewis to take the band back to their early roots with new guitarist Stacey Blades reflecting on the band's golden era as one of LA's Sunset Strip bands an era that saw Motley Crue, Shark Island and Guns N Roses also at their peak. In its own way, this album has a retro vibe that mirrors the sound of the band's first three records, primarily mixing the vibe of the self-titled debut and Hollywood Vampires. However, just has been the case with other bands attempting a similar step backwards, the guys have taken a step backwards with production quality. This is one of LA Guns roughest and rawest efforts to date and it is a long way from their hard hitting best displayed on Waking The Dead and my personal favourite, 1994's Vicious Circle. I say it time and time again - you don't have to sacrifice a decent sound to achieve a retro vibe. Andy Johns is producer again here, as he was for Waking The Dead, but sonically the two have little in common. I'm really surprised at the quality of Johns' recent production work. On the upside, the songs of Tales From The Strip for the most part are pretty memorable and have that classic LA Guns attitude. I like the dirty rock n roll of the opening track It Don't Mean Nothing and the Hollywood Vampires vibe of Electric Neon Sunset. And the autobiographical Vampire is a moody walk through the past with a cool chorus and is perhaps the album's highlight. But on the other side of the coin you have Hollywood's Burning a track that is just too rough and raw and doesn't sonically match the better sounding numbers. And there simply is no point to 6.9 Earthshaker a forgettable mid-album drum solo instrumental. The punk rock of Crazy Motorcycle and the heavy rock of Skin almost work, but neither track has the venom produced on the Vicious Circle album. And the album closes with a double disappointment - another instrumental in the form of Amanecer leads into the closing track (Can't Give You) Anything Better Than Love which is just sonically messy. The drum and guitar sound on this album is really sub-par and isn't close to the major label quality of Waking The Dead. Kudos to new guitarist Stacey Blades, who does a great job replacing the big personality that is Tracii Guns. The Lewis/Guns chemistry is probably impossible to replicate, but Blades does put his own stamp on these proceedings.
Yes, the production should have been better and the album doesn't close as strongly as it opens, but the album is strong enough to see the band continue on.
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| Brides Of Destruction Runaway Brides | Shrapnel Records |
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There is definitely something wrong when the 1 minute album intro is one of the best tracks of the album. I wasn't sold on the band's debut album, but even this follow up is a long way from that. My biggest bugbear is the quality of the recording this is simply not good enough for a band claiming to be one of the frontrunner's in rock n roll. This is a very rough quality sound and while it may not be as bad as some indie rock releases - nor it should be. The guys have a sizable budget behind them but it just does not show here. The mix is muddy and the tone is murky. On this point alone the album would fail to make a passable grade. All the more surprising that mega-producer Andy Johns is behind the wheel here. This is a long long way from his best. With the average sound of LA Guns album still fresh in my mind I must question his otherwise unblemished record. Production aside, it gets worse when you take a look at the songs. This is a more alternative sound - more garage punk and further removed from the melodic hard rock legacy guitarist Tracii Guns has left behind. Sure Tracii can play that's never been disputed, he is a guitar wizard, but these songs just don't go anywhere and there remains a very evident lack of decent hook or memorable riff to wrap your ears around. The song quality is simply bad. I can't find any redeeming features about this album. I struggled to find positives with the band's debut, but I know they won a lot of fans with their attitude. Attitude may be one thing, but you have to back it up with songs. I don't hear a lot on offer here for readers of this site. I was never a fan of lead singer London Legrand. This album only confirms and reinforces that, but alongside that fact is the musical path the band has chosen. Deadman's Ruin is the album's best track it a modern foot stomping punk rocker. White Trash shows some promise, as does Never Say Never and perhaps Porcelain Queen. But elsewhere it is a mess. The opening track Lords of the Mind so long a cornerstone of any release is nothing short of awful and I just imagine that the modern alternative of Criminal is far from what fans of the debut album want to hear. Tracii describes this as the album the band always wanted to make. I wonder how many fans of the debut will agree?
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| Beautiful Creatures Deuce | Spitfire Records SPT 15260-2 |
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The wait for this album to be released got longer when guitarist Alex Grossi had to be replaced and his parts re-recorded by new guy Mark Simpson. The Japanese got the original release, but the rest of the world, gets this slightly altered version. Joe Leste and Anthony Focx the backbone of both Beautiful Creatures and Bang Tango have put a lot of energy into this release and the result should please fans of the band. Deuce is even more aggressive, more contemporary and heavier than their debut album. And it is more focused and consistent than last year's Bang Tango release. Heavier and more enshrined in modern rock than Bang Tango, Beautiful Creatures run through 12 tracks (and one short instrumental passage) which seriously rock. You can't fault the energy, the big in your face production, or the band's conviction. One thing to note for some though the album isn't overly melodic. The vocals are gruff and the guitars are more riff than solo driven. Highlights are definitely Superfly, Freedom and the rather short Anyone. I wouldn't describe this as a modern rock album by any means, but as far as American heavy rock goes, it has that very contemporary guitar sound and production which tunes down the guitars to achieve a more hard hitting sound. Another highlight is the moody Empty, which slows the tempo a little, but not the intensity. The opening onslaught of the first five tracks is hard to fault, but I think the album falls away towards the end, suffering from a slight lack of variation. With Deuce, Beautiful Creatures are now more comparable to Stone Temple Pilots or Black Label Society.
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| Ric Ocasek Nexterday | Sanctuary Records |
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It happens more or less out of the blue. I can't explain it, but for whatever reason, sometimes an artist just hooks onto a winning combination of songs and album concept and without prior expectation, a classic is born. Ric Ocasek has an amazing legacy as a performer both with The Cars and as a solo performer and indeed, even as an industry player. Perhaps you could expect his best to be behind him, as it is with so many veteran performers. Not so! His solo career is in the spotlight again with the release of his 6th solo album Nexterday. I still rate his second album This Side Of Paradise as a personal favourite and think this album now sits alongside that as his second best release. Nexterday is classic Ocasek. It is an album that captures that Ocasek sound and mixes past influences with his love of modern technology and production effects. Where some solo albums have taken a heavier path, Nexterday returns to the experimental/new wave pop of The Cars. It is an album heavily influenced by electronic pop, mixed with the more traditional sound of guitars, drums and bass, all wrapped up in some very melodic and memorable songs. It is a formula that made The Cars superstars and I think any fan of the band and of Ocasek as a solo performer are going to love this release. This record has a real retro feel, touching on the early experimental work by The Cars as well as the later, more power pop of Ocasek's solo career. The record is largely mid-to-up tempo, and keeps things interesting throughout with some varied styles. The uptempo feel good pop/rock of Bottom Dollar is pure genius, while the more guitar driven rocker Don't Lose Me is typical of mid-80's Cars. The moody synth styled In A Little Bit is more typical of Ocasek's solo sound, showcasing the varied influences drawn into the record. Come On is pure pop and another classic Cars sounding track. Mood comes into play with the mellower I'm Thinking and the 80's retro of It Gets Crazy.
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| Cornerstone In Concert | Massacre Records MASCD0484 |
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Cornerstone is one of the classiest melodic hard rock bands in Europe right now and I don't think they can be far behind breaking out into a wider sphere. Featuring British vocalist Doogie White and former Royal Hunt bassist Steen Mogensen, the band has managed to get 3 studio albums out and is working on their 4th. In Concert is a CD and DVD release, although this review will concentrate on the CD/Audio as I have not yet seen the DVD. This release features a 'greatest hits' set recorded on tour in January and February 2005. 17 tracks (incl. a guitar solo and an intro track) are included, plus a video clip of highlights set to the music of Scream. The songs featured are of course, some of the band's best, including Unchosen One, Welcome To Forever, Some People Fly and Wounded Land. Also featured is a track from Doogie's time with Rainbow Black Masquerade. The performances are flawless and the music wholly enjoyable for any fan of the band. The sound quality and overall mix is crisp, sharp and clear. The only criticism of the album could be the flipside to the compliments just handed out. Being that the album sounds so flawless, the edge has been taken off the raw, rock n roll attitude of the band and the fact it is a live show where some flaws should naturally be expected. There is little interaction between the band and the crowd, which could be a product of the album being recorded over the tour, rather than on just one night.
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| Tramps White Lion Rocking The USA | Frontiers Records FRCD265 |
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Tramps White Lion was formed by White Lion vocalist Mike Tramp to give him an outlet to perform White Lion material outside his solo career. Increasingly moving in a different direction as a solo artist, Mike was somewhat frustrated at having to include White Lion tracks in his set list and then hearing complaints when he altered them to fit his solo style. With a White Lion re-union all but grounded due to guitarist Vito Bratta's lack of enthusiasm for returning to the music industry, a line up of unknown, but professional musicians was put together and Tramps White Lion was born. Rocking The USA is a double live album recorded over various nights on the group's first tour. This release mirror's Mike's own double solo live release of not too long ago. Some of the tracks are repeated, but obviously this is all White Lion material and a new line-up. But the vibe is the same the raw, no fuss live recording is perfect quality without sounding polished and has been expertly mixed by Michael Wagener. This isn't recorded from one gig (a personal preference), but doesn't sound disjointed either. The band puts in a solid performance, but this remains Mike Tramp's show. His voice is in perfect form throughout. A couple of small criticisms though no matter who emulates him, there is only one Vito Bratta and at times this is glaringly obvious, no matter how good his replacement. The other thing is despite a promise to perform the songs as honest renditions of the originals some of Tramp's solo influences can't help but creep in. For the most part these versions are great, but two personal favourites from the utterly essential Mane Attraction album Love Don't Come Easy and You're All That I Need are well short of their original grandeur. A couple of other tracks are similar Wait and Broken Heart for example but I refer back to the fact no one can emulate the great Vito Bratta. The rest of the album is very enjoyable and it's great to hear these classic songs performed with some passion. Hungry, Little Fighter, Lonely Nights, Tell Me and a monster 12 minute plus Radar Love all go down a storm with the crowd.
I don't think any fan of Tramp or White Lion will be disappointed with this release and one is only left wishing for a new studio album with the original band.
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| S.I.N. Equilibrium | Metal Heaven 00010 |
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It seems S.I.N. have received a kick in the ass. Their debut was solid, but the new album is a major step forward and should see them make further strides into being an important player in the European hard rock / melodic metal scene. Two major improvements for the band are immediate the song quality is better and the production quality is superb. You need great songs, but you also need a great sound to do those songs justice and Equilibrium features both elements. This is a very energetic album that features some melodic, yet ass kicking heavy rock and a couple of strong ballads. The band has refined their sound to align themselves more with the likes of Cornerstone and fellow label-mates and countrymen Saidian. The band is German, but features a British singer Jason Marks. No accented vocals here, but all the power of European hard rock. Marks has a voice that stays in the higher register for a lot of the time and can at times get a little much. Nail It To The Wall, One Small Voice are a couple of pounding rockers to open the album and It's Forever is a more melodic rocker, with Walk Away being a lush ballad with an orchestral touch. The Reason is heavy, but melodic again and Johnny's Running is another big hard rocker. For Getting Over Us changes the pace again, stripping things back with a mainly acoustic driven ballad. Winding Road finishes the album on a high, being the heaviest and hardest hitting song of the album.
The band have done what all should improve on various areas of the debut and grow with fan expectation. Anyone who owns the debut must check this out and I would think the band will pick up further new fans too.
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| Hotshot Hotshot | Split Finger Records SF-LD11804 |
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The backbone of Hotshot is vocalist, songwriter and producer Mike Pont. Bad luck and bad timing prevented talk of Hotshot becoming the next big thing becoming a reality, but with the underground hard rock scene as it is, there is always room for another archival release should it feature quality music. And for fans of early 90's American melodic hard rock, there's definitely some good music on offer here. Vocally, Pont compares with Shark Island's Richard Black and has that same raspy American hard rock delivery. There are 14 tracks and a spoken word intro (a phone message from Nikki Sixx), so there are a couple of fillers among the tracks and also a little variation in the sound quality. Recorded between 1986 and 1990, the material holds up pretty well more so if you are a die-hard fan of the Jersey scene that featured bands like Danger Danger and Arti Tisi. I'm sure I don't have to describe the style here guitar driven melodic hard rock in the vein of the bands just mentioned and drenched in layers of harmony vocals and some fist in the air choruses. In fact, this fits the musical scope of the unreleased but classic Arti Tisi album so if you liked that there is plenty more here to enjoy. The album featuring songs written by Pont with Al Pitrelli and Danger Danger's Steve West and Bruno Ravel; and performed by Pont with guests such as Pitrelli, West and Ravel, plus George Cintron, Chuck Bonfonte and Al Greenwood. Highlights include the melodic rock anthems Always In My Heart, I Can't Turn Back and Feels Like The First Time; hard rockers Love Don't Come Easy, Too Much Is Never Enough and Sweet Little Lucy, plus a couple of great ballads in Hold On and Bring On The Night.
But those that like to take a nostalgic view and consider it never too late for some good music from the golden era will find some real enjoyment here.
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| RocKarma RocKarma | Indie |
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There is so much to like with this record, but also a couple of little things holding it back. This is a very nice album it features some great songs, solid performances and a very tidy production. At the end of the day it comes back to being all very nice when it could have been just a little grittier. RocKarma is the brainchild of frontman and songwriter Damon Kelly. He also contributes the lead and rhythm guitars for the album which for me are the highlight here. Helping out Damon is Firehouse's Michael Foster (drums) and Allen McKenzie (bass), with Firehouse mainman Bill Leverty in charge of the production side of things. Recorded at Bill's studio, this album has a super sound and sonically is on par with the excellent Firehouse Prime Time release. RocKarma's sound is driven by some nice hard edged lead and rhythm guitar work, with most of the songs supported by a catchy lead riff. For the most part, it's a big crunchy guitar sound that Firehouse fans will definitely appreciate. Style wise we are talking a mix of Firehouse and old-school Motley Crue riffing, but the vocals add a musical twist. Damon's voice is quite lite and while the music has a harder edge approach, the vocals are softer and more melodic and I think at times the two don't quite match in balance. With a raspier or grittier vocal, the album would have been harder hitting and a little more in your face. That said, the vocals are very pleasant and can't be faulted as far as performance and work best on the AOR tunes. There is also a nice assortment of harmony vocals and layered choruses. Where it works best is where the song presents more opportunity for those harmonies such as the very melodic rock/AOR of Rock All Night, That's All, The Other Side and the anthemic ballad Feels Like I'm Falling. Feels Like I'm Falling is one of the picks of the album with a sweet chorus and memorable riff. Where it doesn't quite work is on a couple of tracks which miss that hard edge riff to drive it such as Honestly and Our Love Is Here To Stay. The mid-tempo rocker Fool Inside has a nice riff, but lacks a better chorus.
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| Schoolboy Crush Good Times, Bad Boys | Suncity Records SR002 |
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New Australian label Suncity Records strike with their second release a first time CD release for LA rockers Schoolboy Crush. This is their never officially released second album, following the 1989 debut Electric Playground. Stylistically the band offer their take on the American hard rock style, including a little melodic hard rock, a little sleaze and a little metal for good measure. Remastered by Blue Tears' Gregg Fulkerson, the sound holds up as well as possible, but the quality is varied across the record. Grouping the tracks to match in the sense of sonic quality would have given the album a better flow and perhaps better consistency, as some of the heavier tracks also sound better, but the arrangement of the tracks creates ups and downs during the album. For example, Reap The Whirlwind is clearly metal, bordering on Metallica, but shortly thereafter At The Alter is seemingly celebrating cock rock. Best tracks are the more straight forward Calling Out; the bluesy hard rock of I Pledge My Allegiance and the opening track Such A Waste. Not great is the sleazy and lyrically daft Bad Bitch; the go nowhere At The Alter and the sub-par production quality of To Your Knees.
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| Taxiride Axiomatic | Indie |
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Aussie modern rockers Taxiride are back with a slightly revised line-up and are now an indie act after requesting out with their record label. I liked the band's debut, but loved the last album Garage Mahal. It was one of 2002's best releases certainly in the modern genre. Axiomatic is an about face for the band. While Garage Mahal turned up the guitars and the energy, Axiomatic strips them back and increases the synth workload. Taxiride are now a more atmospheric modern pop outfit with more emphasis on keyboards and a retro guitar sound mixed with various high-tech production effects and samples. They remain highly original and a style unto themselves, but for me, a big part of the joy is gone and I think that overall, this is a rather dull album. The guys are still capable of writing great songs. The atmospheric rock ballad Everything & Nothing will suit the ears of old fans and while the lead single Oh Yeah disappointed at first, it does grow on you. Stone is an interesting track and The Nation is more akin to the band's traditional breezy rock sound. However, tracks like The Fatal And The Fragile and San Francisco take forever to go nowhere. Even worse, the guys wrap the album around the two worst songs. The opening track Finally Falling is painfully slow and non-conclusive and the closer Tripper Red is equally as dull. Creating a mood is one thing putting listeners to sleep is another.
Style aside, the band definitely does themselves no favors with a few tracks, and the due to some super slow tracks, the general flow and momentum of the album is hard to appreciate.
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| Rebellion Sagas Of Iceland Vol. 1 | Massacre Records |
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Rebellion are about as heavy as they get for this site. Their album is quite a concept The History Of The Vikings no less, with this Volume 1 (of 3) titled Sagas Of Iceland. So yeah, it takes some concentration to follow the story, but if you care to abandon that, some solid metal riffing is on offer. Musically speaking these guys deliver a traditional brand of European metal, with a sonically impressive rhythm section and some thick and heavy riffing. The vocals run the gamut from restrained to Bruce Dickinson high pitched screaming, to GWAR style gruffness. Definitely not for everyone and don't expect any chorus-verse-chorus-verse arrangements! At times the tempo is frenzied and drowning in distorted vocals and at other times it isn't much heavier than Iron Maiden. It's a Massacre Records release in any regard and fits that label's style perfectly. The album is well recorded and produced, which is all anyone could ask for. I do think the delivery and the subject matter limit their audience, but personal tastes will dictate how enjoyable this concept album is. |
| Jack Wagner Dancing In The Moonlight | Indie |
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I just happened to stumble upon this CD, so I may as well rate it. I'm still not sure why I'm bothering
.perhaps just to warn others. Jack Wagner is a hybrid between an actor and a singer, the reverse of Rick Springfield (a singer who acted). He used to be a cult AOR favourite and perhaps his first few records will retain that status. But right now he has moved on into middle age and this record is stuck very firmly in soul/pop middle of the road territory. This album is very sweet, very pop, and so lite that it makes Air Supply sound like Morbid Death. The song titles say it all - Shoo Be Doo Dah, Soul Reason and Give It To Me. Indeed. I'm sure those middle ages housewives would still like to, but the rest of us should avoid. |
| Various Hollywood Hairspray Vol. 4 | Perris Records PER1592 |
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Perris Records' series of glam compilations reaches number 4. Another 14 tracks spread over nearly an hour showcases the best the genre currently has on offer. Featured on this volume are the likes of Zan Clan, Tigertailz, Vains Of Jenna, Teenage Casket Company, Midnight Circus and more. The production quality over the tracks featured is extremely varied a few are crisp and clear, but the majority of others are muddy and below average. Highlights as far as I'm concerned are Zan Clan's excellent Go Go Go; United Enemies' energetic punk of Love Kills; the Vains Of Jenna track (even though the production is average) and Enemies SWE's Too Much. Lowlights the very muddy The New Romantics track; the overall average production qualities and I was kind of disappointed in the Tigertailz track Dirty Needles. For glam die-hards only. |
| Various Back Against The Wall | Purple Pyramid CLP 1535-2 |
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I am not a Pink Floyd fan, but can appreciate a big project when I see it. Only a line-up this big could pay proper tribute to one of the most influential rock albums of all time. This 2CD set covers the entire Floyd classic The Wall faithfully rendered and performed by some of rock and progressive music's best names. Tommy Shaw, Glenn Hughes, Fee Waybill, Ronnie Montrose, Dweezil Zappa, Jason Scheff, Rick Wakeman, Steve Lukather, Steve Morse, Jay Schellan, Alan White, Adrian Belew, Keith Emerson, Mike Porcaro, John Wetton, David Glen Eisley, Geoff Downes and still more Tommy Shaw contributes lead vocals on three tracks and John Wetton two. The main man behind this project though who contributes production duties and handles lead and backing vocals and keyboards is Billy Sherwood. This really is his baby and he should be very proud, as it sounds fabulous. Strictly for Floyd fans and perhaps die-hards of some of the participating vocalists, this is an ambitious project that works party due to the undeniable strength of the material, but also due to the professional manner it has been assembled and performed. |
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Queen + Paul Rodgers Return Of The Champions |
EMI |
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Queen had to get back on the road it was inevitable. What was surprising was their choice of singer. Paul Rodgers is an amazing talent and of the same generation as Queen, but I didn't see them two as a perfect fit and still don't. However, the number of people at the band's shows is a testament to the legacy Freddy Mercury left behind. No one can ever replace Freddy and I don't think Paul Rodgers is trying. He does an ok job, leaving the stage during different points of the performance, handing the mike to Brian and Roger. I think the performance of the songs is ok, but the vocal fit is average. It's no surprise to see Rodgers sounding most at home on his own songs thrown into the set. I'm completely biased to the point of view the guys should enlist the talents of Jeff Scott Soto as vocalist and perhaps that is still a chance one day. The inclusion of Paul Rodgers was more a marquee value to the guys who are attempting to re-establish themselves as a touring band again, especially in the US, where Rodgers is a successful touring act. It has worked and for now it continues. I do expect Rodgers to return to his solo ways at some point and it will be then that things get interesting! The sound quality of this set is ok; it seems there aren't too many overdubs, which is nice to hear. This is a die-hard fan only set. I don't see it as anything more than a cash-in on the current tour and another way for the band to re-assert themselves in the market place. The coming DVD will be more entertaining I have no doubt. |
| Jizzy Pearl Vegas Must Die | Shrapnel Records SH11782 |
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This isn't an easy album to listen to but in some sense, that's probably a compliment for Jizzy. This album deals with some personal issues and the music has a really aggressive slant to it. Vegas Must Die is a hard rocking album, but the style isn't something everyone is going to appreciate. It's not too far removed from the Jizzy Pearl and Love/Hate well all know, but it does have a contemporary slant and it is recorded in a very raw and honest, back to basics way. Tracks like Hit & Miss and Lies sound pretty familiar, as does True Love. The albums offers a little punk attitude and then the acoustic driven ballad How'd I Get So Loney and the Zeppelinesque You Don't Own Me offer something new for longtime fans. This moves on a little from the debut solo release, but will again suit fans of that album. |
| Tourist The Relevance Of Motion | Indie TROM2222 |
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The modern rock genre is certainly having a better year in 2005 than it did in 2004. A few major releases have made an impact and it seems everyone is pleased with the new Nickelback. But there is also a number of other strong releases in the genre with substantially less exposure, but equally 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. |
| Bon Jovi Have A Nice Day | Island Records UICL-9027 (Japanese Release) |
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At this point in their career, Bon Jovi need a great album. Bon Jovi fans want a great album. Both Crush and Bounce were solid records with highlights, but individual downfalls and each sold a less than the albums before them. Bon Jovi are still the biggest band in this genre and one of the few that continue to have record company support and worldwide press exposure on demand. This is a big release the promotional efforts behind it suggest that the label are happy with what they have been delivered and they intend to make sure fans know about the new album. If only they put such effort into many other equally deserving acts. Such was the band and labels desire to deliver a great album, the original album turned in 12 months ago was reconsidered as the band went back into the studio to record new tracks. The biggest question I had over this album is whether the band would once again misjudge the balance of the album and relegate better tracks to B-Sides and Bonus Tracks. Both Bounce and Crush would have benefited substantially from substituting B-Sides for some of the included tracks. Alas they weren't and thanks to modern technology, fans re-sequenced and rearranged the album themselves. The good news Have A Nice Day is easily the band's best album in sometime, but it is international fans that are getting the better album. The US version omits a couple of vital rock tracks that add strength to the overall release found in other territories. Of most interest on Have A Nice Day is the band's updated sound. I expect this point to be heavily debated. On Bounce, Bon Jovi tuned down the guitars on the rock tracks and it just didn't work. On Have A Nice Day the style is kept mostly consistent throughout and the whole band's sound has been updated not just the guitar sound, or not just the rockers. This is easily the band's most contemporary release ever, but curiously the band seems intent on chasing the most popular sound of the day rather than forging new territory of their own, such as they did when they released Keep The Faith. Have A Nice Day producer John Shanks is the man driving the band's sound here. He co-writes several tracks which help bring the band into a new era. The band co-produces with Shanks, which shows this album has been a real team effort and I believe that shows. Long time collaborator Desmond Child, who appears on 2 co-writes here is listed as the album's executive producer another sign of 'all hands on deck'. Some fans aren't going to like the new sound and may not be as willing to step into the contemporary arena with the band. But the fact is that it suits the guys. Shanks has worked with the likes of Ashlee Simpson; Anastacia; Kelly Clarkson; Alanis Morissette; Lindsay Lohan and Diana DeGarmo in recent times. He is a Grammy Award winning producer and worked with Bon Jovi to update their sound and approach. Have A Nice Day has a sound that is more comparable to Goo Goo Dolls and Matchbox Twenty than Slippery When Wet or New Jersey. Added orchestration, production effects and strings on two tracks add many different dimensions to the band's new sound. Best news for fans is that the rockers outweigh the ballads, even on the US version. On the international version that ratio is further extended. In fact, with the last 3 tracks of the basic album plus 2 UK and Japanese bonus tracks, we get 5 rockers in a row. When was the last time that happened on any Bon Jovi album? Track By Track: You won't find many better tracks than the ultra catchy Have A Nice Day. However, once again, Bon Jovi kicks off with a lead single and lead track which doesn't accurately represent the sound of the rest of the album. This track has a close relative in It's My Life, but is still a foot stamping, fist pumping hard rock anthem that will ensure the band remains at the forefront of radio airplay worldwide. Yet another massive hit for the band! The track was actually re-written and recorded from its original form. These lyrics are better for sure, but the band did leave something out of the original that would have been cool here. A 15 second interlude where JBJ whispers the chorus about two thirds of the way through the song was a great change in pace and would have made this song even better. I Wanna Be Loved is a perfect follow on from the high energy of the opening track. This is a dark and moody mid-tempo rocker with a distinct lead guitar break. It mixes some of those Living On A Prayer Jovi sound effects with an ultra modern production. I love the dark vibe of the song, the deep personal lyrics and the big chorus, which borders on modern rock. The album dips a little with two very safe tracks. The rock ballad Welcome To Wherever You Are and the breezy uptempo Who Says You Can't Go Home? Are both very safe and predictable Jovi staples. These Days, Bounce and Crush all have similar tracks. These are very enjoyable especially the feel good melodic rock of Who Says You Can't Go Home, but we have heard it all before. The band recovers some lost ground with one of the highlights of the album. Last Man Standing is a remake of an older song, showcased on the 100,000,000 Bon Jovi Fans Can't Be Wrong box set. This is a more aggressive and urgent version, with an increased tempo and an updated sound in line with the album's production style. All in all, a great rocker. One is never too far from a Bon Jovi ballad and Bells Of Freedom is the big acoustic driven ballad for this album. Co-written by Desmond Child, this track has all the hallmarks of being the third single from the album, but one hopes the band will chose a more bold statement to make, by choosing one of the edgier tracks. We are at the halfway point more or less and for me, this is where things get more interesting. The slow to mid-tempo Wildflowers isn't an ideal fit at position 7 as I think the album's pace lags a bit, but nevertheless, this piano rock ballad has an interesting sound. It's part Jersey, part Matchbox Twenty and has a certain Eddie & The Cruisers vibe to it. Now, it's time to rock. Last Cigarette is another album highlight for me. This is a great uptempo feel good rocker with some great lyrics and some very nice guitar soloing. The chorus features one of the better singalong hooks from the album and I pick this as being a fan favourite in months to come. The tempo dips again, which might have been a problem if not for I Am being a classic track. This is another dark and moody mid-tempo rocker, with a definite Goo Goo Dolls style production. Possibly the most modern rock sounding track the band has yet recorded, this could be a monster at radio if given the chance. You just can't help but love the chorus. The rocker Complicated is another very modern sounding track. Modern to the point where some fans may not like the sound, it rocks bigtime and has another very catchy bridge and chorus arrangement and matches the darker tones of the previous track. Things keep rocking along in fine style with Novocaine. Another dark and moody lyric drives this modern rock track with a chorus that isn't as instant as the previous tracks, but is solid nevertheless. Another rocker makes it three uptempo numbers in a row. Finally the band is getting the message from fans. Story Of My Life features the same updated sound prevalent throughout the album, but is a bit more old-school Jovi in direction. Another good uptempo chorus will have fans singing along and is another highlight. That concludes the regular portion of the album. Different territories now get some bonus tracks, but the Japanese release which gets all three. The US version adds a duet version of Who Says You Can't Go Home a song they originally recorded with Keith Urban! It was re-recorded with Jennifer Nettles of country outfit Sugarland obviously a better option for the record label, looking to promote both artists. Back to the bonus tracks on hand - It's hard to conclude why Dirty Little Secret and Unbreakable would not appear on every version of the release. These are both uptempo rockers of the highest quality and easily surpass tracks like Bells Of Freedom, Welcome To Wherever You Are and Wildflowers. Why does the band think US fans won't be able to handle more rockers on their albums? Both tracks appear on the UK release, so fans there will have an album that concludes with 5 rockers in a row! That should have been the case for all territories. Dirty Little Secret is a mid-to-up tempo track that rolls along at a reasonable pace and features a great chorus and is something different for the band hence why it is so enjoyable. Unbreakable is even better. Featuring a very processed pop intro, a thick heavy guitar riff breaks through and drives this song. This is possibly the second or third best track of the whole album! The chorus is super heavy and features a real groove and like the opening track, would be right at home on modern rock radio, with the guarantee of getting feet stamping along. The Japanese release closes with something all Bon Jovi fans are familiar with a big sentimental ballad. These Open Arms is not unlike several other ballads previously released and for that reason isn't essential. However, it is a classy ballad nevertheless and major dose of string orchestration makes it a very lush ballad with a Goo Goo Dolls style finish.
However, they are chasing a sound that already exists with other artists, so it will be interesting to see how longtime fans react. The song quality is great this is easily the most consistent and enjoyable record since These Days and perhaps even Keep The Faith. It's great to hear the band rocking more regularly again, but definitely points removed for the selection of the bonus tracks and taking the safe option for the US release. Wildflower and Welcome To Wherever You Are would have been better bonus tracks and Dirty Little Secret and Unbreakable would have been bolder choices to fill the album. If speaking only of the US release, the rating would be 86% This album could have been an even bolder statement, but I'm happy with the result and the overall balance. I think fans will find it hold up well over the coming months and will have longer legs than both Crush and Bounce. The memory of This Left Feels Right is all but extinguished.
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| Place Vendome Place Vendome | Frontiers Records FRCD260 |
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Place Vendome is easily the surprise package of the month. Fronted by former Helloween vocalist Michael Kiske, this project sees him step well and truly into melodic hard rock territory, albeit, with the immense and indeed intense vocal power he is famed for. Equal credit must go to the brains trust behind the music. Pink Cream 69's Dennis Ward wrote all the songs in collaboration with bandmates David Readman and Alfred Koffler, with contributions also from Gunther Werno of Vandenplas. Ward produced this tight affair and plays bass, with Kosta Zafiriou on drums, Gunther Werno on keyboards, Uwe Reitenauer on guitars. The question when can you get a new PC69 album that isn't PC69? Right here, as Place Vendome delivers an amazing collection of songs for fans of European melodic hard rock. Kiske transforms perfectly for this more melodic affair but the power of Helloween isn't far from his mind. I love melodic rock with passion and fire and this album has both. The album features some songs that border on melodic metal, just as the case was on Allen/Lande's monster album. Then just around the corner are some perfect melodic gems. The mix of both styles works a treat and the album is perfectly balanced between the two, meaning it will appeal to both metal fans and melodic hard rock fans. Looking at the rockers - Cross The Line is a great opener and showcases the harder edge to Place Vendome's sound. The swirling keyboard is something new for both participants, definitively a touch of Vandenplas there. I Will Be Gone has a definite Helloween vibe to it, especially with the vocal delivery. I can hear a little Strabreaker/Tony Harnell also. Place Vendome is simply a fabulous happy-go-lucky rocker with a great anthem chorus. Right Here mimics the crossover appeal of the opening track and Magic Carpet is another very commercial, breezy uptempo melodic AOR track with a powerful chorus. The album's closing track Sign Of The Times turns slightly more intense and ends the album as it started in strong rocking form. A far as slower tracks the moody and intense The Setting Sun impresses and has a dark vibe. Heavens Door is totally different it's a sweet, acoustic driven AOR ballad with a feel good chorus. It's quite a revelation for fans of Kiske! I've saved the best for last. Amongst the great melodic hard rock here, this album also offers two of the great AOR anthems of the year. Of any year. I Will Be Waiting and Too Late are both so utterly perfect, it's hard to believe your ears. There is nothing better than melodic rock/AOR delivered with power and these two tracks rip the roof right off. The brilliant moody I Will Be There reminds me of my other favourite release of 2005 the Oliver Hartmann release. Moody, powerful, intense, but thoroughly melodic. Bliss! If that isn't perfect enough, it's followed by another gem in Too Late. This is one of the great heavy AOR anthems of recent years. Kiske sounds brilliant, but overall, the whole song is just wonderfully delivered, with a moody verse which explodes into melodic bliss. The chorus is just perfect I mean perfect. This is the blueprint for bliss with a soaring feel good chorus and some amazing harmony vocals.
Place Vendome may be a slightly daft band name, but the contents within are as surprising as they are brilliant. Another album that comes from a metal background and crosses over into melodic rock, bringing fans of both together.
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| Jaded Heart Helluva Time | Frontiers Records FRCD262 |
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The most challenging task any band could be faced with is replacing a member. Never an easy thing to do, that task becomes exponentially harder when the member is a key aspect of the band's sound. It's even harder again when that member is the vocalist and one of the principle songwriters. Jaded Heart was faced with just this dilemma when they parted with long time vocalist and frontman Michael Bormann. This is where things get interesting. In his replacement, they have opted for Swedish vocalist Johan Fahlberg. It is a bold move away from the vocal style that Bormann brought to the band Fahlberg is no vocal clone and a change from the bands past trademark sound. Jaded Heart 2005 is something different and that is where the band will both benefit and struggle as the fan base is bound to be torn. Yes, perhaps some of the band's magic and uniqueness has been lost, but what still remains is a fine melodic hard rock outfit. The bands new sound is far more international there's a definite touch of Scandinavian rock thanks to Fahlberg's strong writing contributions and there is a smoother edge to the album. What is still present is the band's big guitar delivery and production style. Also present is several great passages of huge vocal harmonies. The band has kept its soul in tact, while being driven by a new heart. Bormann is a great vocalist and credit to the band, Fahlberg is an inspired replacement. But Bormann I also a proven winner as far as songwriting goes and his track record is impressive. The band had a major gap to fill with his departure. Credit to them, as they have almost done that with Helluva Time featuring a few classic new Jaded Heart cuts. But at the same time, it also falls short in a few other places, with a few songs that don't make the grade and could be classed as fillers. Sonically, the album as a whole sounds fantastic. The production and mix is world class and compares favorably to any major label release. Thankfully the mastering problems that saw the volume of Trust all too loud have also been addressed and the CD volume here is perfect. Track By Track: The opening song Tomorrow Comes certainly does everything in its power to erase any doubts from the minds of fans and prove the band is on a strong footing. This is one of my favourite Jaded Heart tracks in recent memory and almost raises the roof with its massive sound and huge chorus. The moody intro of Hole In My Heart suggests a perfect follow up song is in order. The vibe is classic Jaded Heart but the song turns darker and more aggressive than expected. I like the vibe of the track and harmonies surround the chorus, but it isn't quite strong enough to follow up the monster opener. And that kind of sums up the album. There are some absolute monsters here, but several tracks that don't reach as big a climax. Somewhere is somewhere in between the stadium rock of Tomorrow Comes and the mood of Hole In My Heart. It has a chorus that passes without fanfare, but gets better each listen. Dreams You Will Never See is utterly brilliant from the word go. This is a monster melodic rocker with a chorus as big as any JH fan could wish for. Superb production with an orchestral arrangement and layers of guitar fuel this anthem. Who's Foolin' is another example of the new band. Thankfully it is another winner, which was quite important to follow up the monster that preceded it. The band takes a little Jovi, a little Leppard and a little Scandi rock to create a great uptempo rocker with a dark edge. Paid My Dues is a curious inclusion. The band is no strangers to covers, having already provided one of the best hard rock covers in memory with Easy Lover. This cover of the Anastasia hit is a perfect fit for the band and the album. Without You is the big ballad of the album and sees the band covering familiar territory. A strong chorus saves the song from being a heard it all before affair. This point of the album sees things slip away a little. I'm not particularly fond of the hard rocking swagger of Love & Desire, despite a strong vocal and Shores Of Paradise sounds like a cut that didn't make Trust. Frozen Heart also misses a good chorus despite having a sonically impressive guitar sound. Two songs save the second half of the album. The big rock anthem No One again proves the band can come up with trademark anthems and this one mixes a little of the old with the new elements Johan brings to the band. And Love To Live closes the album in fine form. This fast paced rocker sums up the new sound and features a solid chorus.
It bodes well for the future of the band this release won't blow everyone away, but it puts the guys in a position to keep on rocking into the future. Watch for lessons to be learnt from this release and for the next one to be a classic.
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| Alien Dark Eyes | Frontiers Records FRCD261 |
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I must confess to being a little disappointed with the return of Alien. I guess it all comes down to what you personally expect from this release. Their debut album was a little AOR gem and although they recorded after that without singer Jim Jidhed, they still managed to impress. Then there is Jim's own solo album from a year or so back, which was another classic old school AOR record. So the idea of the Alien powerbase of Borg and Jidhed reuniting certainly gave rise to some big expectations. I was expecting and hoping for a return to that classic AOR sound. Dark Eyes fulfills some expectations, but doesn't deliver an entire album of what I hoped for. This album features some fine AOR tracks, but at it's heart is a more straight ahead rock sound that has some 70's influences. At times I find myself being annoyed by Jim's vocals, which is very peculiar indeed. And in the same way, some of Tony Borg's guitar riffs similarly grate my ears, when each riff should be melodic bliss. The biggest problem for me is the album's switching between the two chosen styles. And for me, the album opens with two of the worst tracks. While both are tidy little songs with easily recognizable choruses and guitar riffs both fail to win me over, with choruses that I just can't warm to and guitar riffs I just don't like. Third time lucky with the first gem of the album. Oh Sarah is much friendlier on the ears and Jim's vocals finally sound rich and lush. Perhaps of note is the fact there is no major in your face riff during this song. Fallen Angel is a little tougher and a little more urgent in its delivery. No major hands in the air hooks here, but a solid chorus and a well-placed change of attitude. Sadly Lethal Weapon returns to the bland style of the opening two numbers and again leaves me cold. Wild One changes the tempo and delivery again somewhat. It has some appeal for its uptempo boogie vibe, but doesn't have enough gas in the tank to really drive it home. Don't Fight It sees a welcome return to the more urgent and passionate AOR that made Oh Sarah and Fallen Eagle winners. Riding With The Wind highlights my frustration with this album. Just when things seem back on track with a classic AOR track, along comes another annoying song it just doesn't gel with me and I find the guitar parts and the chorus hard to appreciate. Are You Ready is a little better, but still not the band at their best. The chorus is average. Alien finish their comeback album with their two best tracks. Fire and Sherylee both have outstanding choruses and are every bit the classic AOR that they are known for and what fans were craving for. Sherylee in particular is a wonderful AOR song with true heart, a passionate lead vocal and outstanding chorus. Why where more tracks like this not possible?
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| Silver Gold | MTM Music 0681-142 |
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Silver have now raced to 5 albums. Amazing in this day and age especially when some of the very acts who released an album at the time Silver released their debut have yet to come up with a follow-up. Once again featuring the raspy rock voice of Gary Barden and the musical muscle of the great Michael Voss, Gold is an album that sees the band re-energized and more focused after a couple of average releases. Silver's music has varied from dark and gothic influenced rock to Rainbow-esque hard rock. I find Gold to be infinitely better than the last couple of albums and perhaps as good as the band's debut, albeit with a slightly altered sound than before. While this band is never going to be straight ahead anything, this collection of songs is definitely their most accessible bunch and for that reason I think the guys might find some new fans with this album. There remains some dark and gothic tones, especially when Andi Broon and Mike Bar (Sisters Of Mercy) participates. But there remain some straight ahead out and out rockers on here, such as the opening track Creep. A super tight production and in your face guitar delivery are bound to impress. Joshua is another example of the new approach, with some menacing vocals in play and a hard edged guitar sound also present on the band's solid cover of Bowie's China Girl. The addition of some female lead vocals (courtesy of Michaela Schober) seemed odd at first, but after getting to know the album, seem well placed. The dark and symphonic All That I Wanted best highlight this and draw further Sisters Of Mercy comparisons. The mid-tempo Setting It Up is another moody winner as is the closing track Daydream Believers. The guys include a couple of great melodic ballads with Wouldn't You Agree being the very best. A very smooth chorus and memorable hook make it an album standout. There are some modern production tricks used to good effect on Gold, touches which help give the album a contemporary feel. Guitar wiz Tommy Denander guests on three tracks to add extra muscle to the release.
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| Vivian Campbell Two Sides Of If | Sanctuary Records |
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This is an interesting release. My general dislike of covers albums is well known and the other release most closely aligned with this Aerosmith's Honkin' On Bobo got a review it deserved. So why might this be any better? I'm not sure what exactly appeals, but it is a good release should the desire to boogie down with some blues arise. I can't recall ever hearing a Vivian lead vocal before, but for some reason I hear exactly what I expected. Vivian has a rough and raspy singing voice, yet it retains some warmth that makes this album that more enjoyable. This is pure blues no sign of melodic rock nor Riverdogs or Leppard style layers here. The guitar playing is obviously impeccable, but also enjoyable are the occasional piano and smoking harmonica parts. I'm reminded constantly of Charlie Sexton throughout this record. Charlie was the king of high-tech melodic rock just like Viv is with Def Leppard. But Charlie had a soft spot for the blues as showcased on the Arc Angels release. Vivian's vocals match those of Charlie's on several songs, but the style and delivery is also very similar to southern rock styling of Arc Angels in places. I'm not sure any songs stand out as absolute favorites, although I do favor some of the uptempo numbers such as Messin' With the Kid, Hunter and I'm Ready. Perhaps my favourite of all is the pacey 32/20 Blues, which features some outstanding riffing. Best of the slow tracks is Come on in My Kitchen and Reconsider Baby. From a production stand point, the sound is pretty rough, but that done to suit the music. This is a very rough, raw and live feeling record.
This will sit nicely alongside my Gary Moore Still Got The Blues CD.
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Wetton Downes (Icon) Heat Of The Moment 05 |
Frontiers Records FRCD256 |
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The definition of an impossible task is to recreate the magic and inspiration behind a past megahit. Yet plenty try it. John Wetton and Geoff Downes have at least come close. Heat Of The Moment was where it all began for the guys at the start of the 80s, so it seems fitting they return to their roots, now that they are united again in a fresh partnership. I like what they have done with this track, adding a slightly darker tone to parts, while keeping the chorus as poppy as ever. Celebrating the recent success of their Icon project, this EP also adds two new remixes from that album and another remake The Smile Has Left Your Eyes 05. Not as immediate as the title track, this track certainly has a haunting and orchestral feel that matches the duo's new music. Rounding out the release is a previously unreleased track There In Your Bed. This is a short 2 and a half minute piano ballad. Not bad, but easy to see why it didn't fit the Icon album. |
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Richard Andersson The Ultimate Andersson Collection |
Metal Heaven 00009 |
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Fans of European progressive metal will find something interesting on offer with this album. Not a compilation as such, it is in fact, a selection of 10 Andersson "classics", re-recorded entirely for this album. This is my first introduction to the Swede and I will guess the first introduction for many others out there despite the fact he has been involved in 8 releases in 6 years. The most notable fact is that on this album, all vocals are handled by the great Goran Edman. All keyboards, production and mixing is by Andersson himself. This is symphonic progressive metal at its grandest, which means it will go totally over the heads of some, but for those more attuned to the genre, there is plenty on offer. Goran Edman makes the record interesting for me. Without him, there wouldn't be as much to get excited about. Those that enjoyed his recent work on Xsavior will most likely like what they hear here. At nearly an hour and over 10 tracks of music, things do get a little same-ish in places and the pace is almost entirely the same - uptempo and fuelled by double kickdrums. At times that drum sound is more like machine gun fire it does becomes very repetitious at times, especially on the opening 9 minute epic. The constant and continuous keyboard solos are also a little annoying, but the guitar soloing is pretty outstanding. Confusicus is one of the highlights and is a simpler track, as is Black Moon Rising. Above And Beyond is the best epic on an album where several are featured. All in all, it's a solid release for what it is. But the very nature of the over the top sound means that it has a very definite appeal to a select audience. |
| Midnight Circus Money Shot | Perris Records PER01562 |
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Midnight Circus plays a brand of old-school American hard rock. Part sleaze, part Hollywood and part Funny Money style no-BS rock n roll, this album covers it all. Dokken, Poison and Motley Crue says the bio .close call. Psychedelic Trippin' definitely takes on a little Poison meets old school Dokken vibe. Only One touches on a mellower Motley Crue, and Dirty Rhythm reminds me a little of LA Guns/Bulletboys. I'm not sure the songs are as good as they could be Tonight is an example of clichι' filled 80's hard rock. I think you get the gist of what's on offer from the comparisons. Overall the album sounds pretty well produced, although the drum sound can be a little hollow at times. Consistent and always enjoyable, this is a good party rock album with a couple of darker numbers. It's those darker elements I like best. |
| Nasty Kixx Hometown Blues | Shotgun Generation SGR 69-003 |
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Nasty Kixx are an attitude driven punk/hard rock outfit that play it fast and furious. They remind me of bands like Neurotic Outsiders, LA Guns (when they do punk) and also Duff McKagen (such as on his punk fueled solo album). Most of all I'm think they sound like the punk outfit from Hanoi Rocks vocalist Michael Monroe Demolition 23. 10 tracks at 31 minutes total suggest that these guys get down to business and get it done without any padding and without a single extra note. Bands like Green Day are presenting punk in a more contemporary setting, but these guys hail more to the original sound preached by The Damned. A cover of the Hanoi Rocks classic Tragedy reflects the band's influences. Definitely worth a list for punk fans. |
| David Pack The Secret Of Holdin' On | OGL 82028 |
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Former Ambrosia vocalist David Pack has been attracting a lot of attention for his new solo release quite sometime in the making. Most of the publicity has come from the fact former Journey vocalist, the great Steve Perry, joined David for a duet on one track. Perhaps duet is an overstatement, but he is on there. The album also features a couple of other guests. Timothy B Schmidt appears on the acoustic driven Where We Started From and Heart's Ann Wilson features on the very smooth opening track the very AOR friendly and enjoyable title track The Secret Of Moving On. Ann sounds great, David sounds great and the evenly mixed record sounds a million bucks. But, track 5 is the big draw card for those reading this. A Brand New Start is another very smooth pop/AOR ballad with a nice hook, but bringing the song alive is some backing vocals and an occasional lead fill by Perry. Even better is the inclusion of some trademark Perry harmonies last heard on the For The Love Of Strange Medicine album. Wonderful stuff indeed, right down to the Journey keyboard riff post chorus. However, any appearance from Perry only increases the desire to hear more of him, so with that in mind, this is a very brief tease. Who knows how long it will be until we hear those fine dulcet tones again. Elsewhere on the album you will find some very fine Westcoast pop. Perfectly mixed and performed but ultimately very slow and very soft indeed. For that reason, this album will only appeal to a select audience, but I expect that audience will be very pleased. |
| Balance II Balance II | Balance II Records |
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Quality shouldn't be hard to promote or to sell, but sometimes you stumble upon a challenge. To be upfront, I am promoting these guys and trying to help bring their original spin on progressive AOR to the masses. To be sure my words accurately describe the musical feast on offer here, please check out the soundbytes in the band's CD Showcase and look out for some other industry reviews, which I will feature when published. I believe in these guys and I believe in this album, hence my desire to help work with them. AOR is often accused of being stale and not original, yet when it does not adhere to a set formula; it can be hard to promote. People love pigeon holes, but you will find it hard to pigeon hole this! Balance II is an original spin on radio friendly AOR, with a progressive twist, mixed with a big dose of 70's pomp. Balance II has a little bit of everything, but most of all it contains some amazing individual performances and some extraordinary song arrangements. The band is the brain child of Brian Moritz (Guitar, Keys, Backing Vocals) with long time collaborator Vince Claps in the vocalist hot seat. Rounding out a band of seasoned veterans is Dave LaRue (Bass)(Dixie Dregs, Steve Morse Band); Rod Morgenstein (Drums)(Winger, Dixie Dregs, Steve Morse Band) and Joel Kaplan (Keyboards). As you can see, the rhythm section here is second to none and really adds a dynamic influence to the overall sound. So what is the sound? First of all, the production is brilliant. It features a clear, crisp sound, while showcasing the band's classic rock influences. What is most impressive is the mix, which allows all involved a chance to shine, which at times is quite a challenge, given that so many things are happening musically. As described earlier, the band mixes classic era American AOR with progressive and pomp twists. Musical comparisons can be drawn to Toto, Chicago, Trillion and more recently, Mecca. The band also quotes influences from Yes to Queen to The Eagles. Guitarist Moritz describes the album as "a cross between the Eagles and Trevor Rabin-era Yes, with less gloss and a lot more notes." If that doesn't describe the sound on Balance II, then nothing will. Perhaps a look at the songs featured is in order. The album opens in simple fashion with How Many, featuring a piano solo, which quickly turns jazzy, with a layer of funky bass running over the top before a harder edge guitar riff finishes the intro off. That is what Balance II is all about - diversity and taking musical chances. The vocal is fairly soft and becomes several layers thick during the chorus. If the chorus sounds a little like Mecca, you would be correct. Mecca's Thom Griffin supplies backing vocals throughout the album. Did I mention there's a brass section thrown in for good measure? You Asked is possibly the most easy listening and commercial track on the album. The largely acoustic driven track has a Midwestern heart with a Westcoast feel. Reptilian Crawl has a very Toto-ish intro which gives way to a heavy pomp orientated guitar riff. Vocals are filtered with effects and the song is given a further Toto comparison with the keyboard placement. An extended musical interlude mid-song again shows that these guys aren't afraid to experiment. The song closes with a Queen-like serve of pomp vocals. It's quite a ride! When Love Comes is yet another change of pace, this time opening with a traditional Indian feel, complete with chant! That gives way to a smooth ballad-esque Westcoast pomp number which is one highlight of the album. Perfect for fans of Toto, Chicago and Jay Graydon. The Way We Do continues the pomp and the Toto comparisons. Not mega-hit Toto though real early Toto, as in their first 3 records. A rich, earthy sound is driven by the guitar in the background and the piano and vocal up front. Towards the end of the song things pick up a notch or three with a guitar duel between Moritz and Tommy Denander, who appears in this cameo role. When I Fall Down is an updated version of a demo sung by Thom Griffin that appeared on the first MelodicRock CD. Another great retro style pomp rock tune, this features Thom in a prominent vocal role alongside lead vocalist Vince Claps. Carry Me Home is another complex number featuring an uptempo guitar driven verse, but a mellower chorus, which features some rich layered vocals. This will appeal to fans of Trillion and 70's AOR. A nice little drum fill kicks off Burn, which again sounds like something straight out of 1975. This is a strong little tune with a diverse arrangement. Both tender and aggressive in nature, the song defies nature. Miracles is one of the album's more straight forward and commercial melodic rock numbers, which a feel good hook and emotional lyrics. Let Us Pray almost sounds like classic Bob Seger, especially with the honky-tonk piano and the funky bass. It's a smooth, but rocking little classic rock number that has a definite swagger to it.
There is a lot here to like and I'm hoping fans that are looking for something different will check this out. I think this album has the potential to please a lot of people especially given that there are very few albums like this released. Most suited to Westcoast and AOR fans that love a good twist in their music.
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| The Jones Gang Any Day Now | AAO Music AAO40501 |
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The Jones Gang are receiving quite a push in the US and I hope that translates to some well deserve accolades. The guys that make the band are the less known members of some very famous bands. Drummer Kenney Jones was a member of The Small Faces and The Who, Bassist Rick Wills is a man many will know from his long time with Foreigner as well as with Peter Frampton and The Small Faces and vocalist Robert Hart has had a semi-successful solo career, but has also fronted Bad Company. A range of guitarists provide the rest of the album's instrumentation, such as keyboards and guitars, including Ronnie Wood. So the trio teamed up and has recorded their debut album. Mainly using the songs of Robert Hart, with a few band co-writes, the guys have recorded an album that sees them sitting in a very safe middle of the road rock territory. The band kicks off with a brash uptempo rock track in The Time Of Your Life, which features an updated sound, but after that, things step back a notch. Robert Hart sounds in classic form during the melodic chorus, but I'm not sure the verse does anything for me. Mr. Brown is more representative of the album's sound safer, acoustic driven adult contemporary mid-tempo rock, with a hint of brass thrown into the mix. At times they compare to fellow Adult Contemporary rockers The Rembrandts. The big single of the album is Angel, which deserves much attention, as it is a fabulous song. However, Hart fans will recognize the song as the single from his self titled 1992 release. I prefer the original, but it is still a classic ballad. With You is another very good ballad and a highlight of the album. Elsewhere on the album the band varies things a little with the retro pop of She'll Never Know; the classic mid-tempo pop/rock of Lucy; the Rod Stewart rockabilly of Six To Midnight and the breezy Henry Lee Summer influenced Hole In My Soul. Interestingly, things get a little jab in the arm towards the end of the album, with a couple of great closing tracks. It's here also that the band's past is reflected in their current sound. The very enjoyable rocker Where Are You sounds like The Who and Red Hot is a good uptempo album closer that has a definite Bad Company vibe. More tracks in this style would have made a more challenging and enjoyable album. Still, the songs themselves are catchy enough to draw the listener back in for more and Robert Hart's voice is a definite diamond in the rough.
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| Zan Clan Who The F**k Are You? | Bad Reputation 070268137-2 |
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Who they fuck are you indeed? Only a band with this much attitude would be allowed to ask. Zan Clan is yet another hard rocking outfit out of Sweden and these guys take no prisoners. This is their second album, the first being some 10 years back. Zan Clan is of course vocalist Zinny J Zan of Shotgun Messiah fame and Pontus Norgren on guitar (Great King Rat, Humanimal, Jeckyl & Hyde). Joining those guys are Chris Laney guitars, backing vocals, Pontus Egberg bass, and Johan Koleberg drums. This is first rate, high energy Swedish hard rock with hints of glam and sleaze, a la Hanoi Rocks and of course, Shotgun Messiah. It's probably Zan's best work since the debut Messiah record and should appeal to all fans of early Motley Crue and Swedish hard rock. The only ballad featured is a 90 second outro, which is topped off by a bonus track a sleaze cover of Cheap Trick's classic Surrender. |
| Vain On The Line | Indie / Jackie Rainbow Records |
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Another album of note for glam/sleaze fans is Vain's newie On The Line. It's the first album for these guys in a long time. I think fans that have been with the band since the start will appreciate this, but I din't think it offers enough to gain any new listeners. The album has that old school, rocking glam sound and Davy Vain sounds as if he has never been away. Song quality is good, with some solid hooks to wrap your ears around. The guys certainly retain the energy and attitude they have always had, best demonstrated on tracks like Running On Empty, Keep Shining On and On The Line. The album is perhaps a little mellow, with slower numbers outnumbering the rockers. The guys mellow out fairly regularly such as on Drag Me, Last Sin, Turn To Sand and Cover Me. The sound quality however is very rough and for me doesn't impress. I don't think any new fans will be converted with this release, but old ones should be happy to see the band back. Not an amazing release, but a solid enough one. |
| Power Quest Magic Never Dies | Majestic Rock Records MAJCD |
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UK melodic metal outfit Power Quest storm back with album number two. With a new label behind them, one hopes they will reach a big audience one which is currently lapping up material such as this from a range of other bands. Power Quest play a brand of melodic power hard rock. I'm hesitant to label it metal, as it is so melodic in its approach. But the speed and power of some songs and a double-kick drum onslaught certainly will appeal to metal fans. Swirling keyboards and higher pitch vocals will see fans of Stratovarius, Royal Hunt and Last Tribe appreciate what's on offer here. The band has a certain pomp delivery that reminds me of Magnum's approach, yet the power is more in line with Royal Hunt. Take Soulfire for example it is as melodic as could be, yet has the rhythm section of Slayer! Ok, so I exaggerate a little there I think the rhythm section of Power Quest are on high protein milkshakes, as their delivery is frantic throughout. From the opening bars of Find My Heaven to the closing beats of Magic Never Dies, these guys rock. The pace may not vary much, but the lush keyboards and powerhouse vocals of Italian Alessio Garavello make sure things stay interesting. This album has more hooks and melodies than Journey, but their power might just scare some of those lighter AOR fans away. The higher pitch vocals aren't for everyone either, but they vary a hell of a lot more than say Shy's Tony Mills, who regularly gets high praise. The album's big ballad The Message is an outstanding example of powerful melodic hard rock, sounding like Magnum meeting the power of Asia is the lush production delivery.
Thanks to an amazing production and a brilliant vocal performance, not to mention some extremely memorable songs, Magic Never Dies is a first rate power-album.
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| Ra Duality | Universal Records B0004836-02 |
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Modern rockers Ra return with their sophomore release, following up the success of their 2002 debut From One. Good news for fans, as Duality is a better album in every department. Initial response seems to be very positive, with some fans of modern rock swearing by this. The album has some truly memorable moments and is driven by a sonically near-perfect production and mix, driven by a layer of guitars and an extensive series of vocal overdubs that at times would impress even Def Leppard. Impressive that some of the production and mix of the album was handled by the band's lead vocalist. Other parts were handled by the also impressive Bob Marlette. Ra can be as hard hitting and sonically intense as any modern rock outfit best showcased with the opening track Fallen Angels, The Only One and Got Me Going. The trick to Ra's likeability is good choruses even when they are rocking hard. Definitely something other modern rock outfits could learn from. The guys also tackle mid-tempo tracks with ease best demonstrated on Take Me Away and Say You Will. At times the band soars into melodic rock bliss, with the tracks Tell Me and I Lost Everything Today two of the best rock anthems of the year. A complex mix of electric and acoustic guitars with layers of harmonies takes these tracks in particular to another level. The band throws in a neat cover of The Police classic Every Little Thing She Does Is Magic, updated in style, but not straying far from the original. Funny thing is, after playing this track you realize how close vocalist Sahaj Ticotin's voice is to that of Sting's. These guys are so much better than the over hyped Nickleback and Hoobastank and tougher than the bland Maroon 5. Universal have stuck with them for a second album, so here is hoping they get the push they deserve.
Modern rock fans will hail it as one of the year's best releases if no the best and that title will be well deserved. But don't forget to check out these other two bands too!
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| Matrex I'll Always Remember | Renegade Sounds RS004 |
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Matrex is a band featuring several of the guys from Renegade and is an indie release that comes courtesy of the Renegade Sounds label. The two Renedage albums were great examples of 80's melodic rock with a distinct Canadian feel. This even more so! Matrex's album was recorded in the mid-80s and remained unreleased until now. How unlucky where these guys not to be huge in the day? I actually like I'll Always Remember even better than the Renegade albums. Probably because this doesn't sound as dated and thanks to a very simple production, still sounds pretty fresh despite the obvious 80's style. The mix here gives everything some breathing room and both keyboards and guitars get equal billing. Some of the songs are credited to producer Keith Scott (he of Bryan Adams fame?) And mixed by the great Mike Fraser no wonder this album sounds good for it's time. Riding over that is the very smooth and likeable voice of Tony Dominelli. The opening track I Don't Want Anybody is as catchy as it comes and will appeal to old-school melodic rock and AOR fans. The simple pop/rock of You Won't See Tears reminds me a little of John Kilzer and even Brian Spence a little. It's that whole commercial 80's rock sound, without the obvious American overtones. Long Distance Kiss is a great example of early 80's moody AOR a la Taxxi. Not every track holds up to the re-mastering as well as others. Move To Fast and Looking At Number one suffer from obviously damaged original source. However, the album closes with a good one Nothing Is Real is a pleasant mid-tempo song.
Comparisons can be made to early Honeymoon Suite and Aldo Nova and of course Renegade themselves.
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| Tantrum Tantrum Re-Issues | Escape Music ESM118 |
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The subject of the latest Anthology style re-issue from Escape Music is Chicago area rockers Tantrum. This seven piece melodic rock outfit boasts no less than three female lead vocalists, ensuring this is a lush vocal experience. The beautifully packaged 2CD set features the band's two officially released albums on Disc1 and a previously unreleased album Breaking Away on Disc 2. The band's original two albums hail from the late 70's and features a sound reminiscent of the era somewhat dated compared to even those releases from the mid-80s, but perfect for the time frame originally released. The unreleased album is going to be a real treat for fans of the band and their first two albums. Recorded and readied for release back in the day, with full artwork even prepared, it never saw the light of day until now. The songs within match the quality of the band's official output and is a valuable addition to this package. The set features a digipack format used in previous Escape re-issues and includes a booklet with all the lyrics, liner notes and all original accompanying artwork.
Definitely one for collectors of early AOR and especially those that follow the rich musical history of the Chicago area.
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| Jimmy Barnes Double Happiness | Liberation Music LIBCD7152.2 |
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Throughout his career, Jimmy Barnes has been through several image changes. More recently those changes have been more pronounced as he tries to vary his trademark style. But Jimmy Barnes' legacy is 'Jimmy the rocker' and I wonder why he sometimes tries to distance himself from this caricature! In recent years there has been the blues release, the two soul / covers releases, the acoustic release not to mention the live and greatest hits releases. So when you still don't want to rock, what's the last possible option open that hasn't yet been covered? Oh yeah a duets album! So Jimmy teams up with a bunch of his mates and duets his way through a range of covers and originals. I used to love Jimmy .Bodyswerve, For The Working Class Man and Freight Train Heart are all time classics. From that point it onwards saw a slow but sure decline in album quality, to the point where the most recent albums have been uninspired and struggling for direction. Last year we saw the excellent Living Loud project released - that's what Jimmy should be concentrating on. But, this year is a different story this has to be the bottom rung surely? Two major problems with this album the 9 covers and 7 originals are almost entirely limp, uninspired, boring or all of the above. The other problem is the people Jimmy has chosen to duet with. Talk about unimaginative. 5 of the duets are actually with his kids and 4 others are with R&B artists. A mere 3 of the tracks are with rock artists, leaving Jimmy's traditional fanbase high and dry. UK soul singer Roachford is featured on one track, Aussie country star Troy Cassar-Daley is here, as are old pals Diesel and John Swan. But even the track with rocker Swanee is a slow bluesy number. Diesel's isn't any livelier. This album couldn't be brought to life if it has 200,000 volts put through it. The tracks with his kids are self indulgent at best. It was bad enough when they were forced on the public 10 years ago as The Tin Lids, but who really wants to hear them duet with their dad? Only the tracks with rockers Dallas Crane and The Living End show any signs of life and to be blunt, only the Dallas Crane track shows anything memorable even then it's already a track they had a hit single with on their own. Old school rocker Billy Thorpe should be utterly ashamed of himself for turning the rock classic Shout into an acapela do-wop singalong. Holy mother of God The package comes with an extra CD of punishment a 8 track compilation of tracks Jimmy has duetted on in the past (see, even this isn't an original idea). This includes a couple of good tunes such as Simply The Best with Tina Turner and Good Times with Inxs.
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| Simple Minds Black & White 050505 | Sanctuary Records |
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Welcome back Simple Minds
I happily admit to being a major fan of these guys. Once Upon A Time, Street Fighting Years and Live In The City Of Light were part of my life for several years and remain close to my heart. I have followed them ever since then and also really enjoy Real Life and Good News From The Next World, but have found their output in recent years to be more miss than hit, with the last two official albums Neon Lights and Cry bordering on disastrous. All press hype leading up to the release of Black & White boasts that this is a return to the band's best sound and style. It certainly seemed promising as band stalwarts Jim Kerr and Charlie Burchill were once again joined by former drummer Mel Gaynor. I think I'm getting to know this album better and better as I go and do like it better a little each listen, but I can't help but feel somewhat disappointed overall, as this is not a return to the chart topping style of their best known work and my personal favourite era but rather their very earliest style from the early 80's atmospheric British new wave pop. Black & White is in some ways a return to better form, and it's nice to see the album is somewhat uptempo more precisely mid-tempo. But the songs are still not quite there. There is a certain atmosphere and moody vibe through the album, which is trademark Simple Minds. But in these songs is a distinct lack of good choruses. The band's biggest and best songs even their album tracks were all based on a killer chorus. This band had some of the best ever pop choruses that I can remember. They still need to work on that angle. This album sounds good the production is layered and rich with keyboard and guitar parts, but the underlying melodies are not there to hold everything together. The other problem is the songs only 9 of them mind you all have a familiar tempo and Jim Kerr struggles to bring his past authority to the vocals. Opening track Stay Visible is one example of where things go right for the band, with a snappy bass line and a haunting guitar riff guided by a strong lead vocal. Lead single Home is a pretty good effects-filled pop single with further hints of the band's earliest sound. The atmospheric pop of Different World confirms this. So four ok tracks in, things are at least looking solid. But this is where the album loses me and the remaining 5 tracks mix experimental pop with early Simple Minds, albeit, in the same tempo and without any major hooks or obvious choruses.
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| MSG Heavy Hitters | Cleopatra Records |
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[Review edited. All details remain accurate and the same apart from the reference to this album being the 25th Anniversary release Michael has been working on with various singers. That release is still pending - this is a tribute release from Cleopatra, with Michael playing the key role in the release]. A few Schenker fans give me a bit of crap regarding my last couple of reviews for the famed Axe-slinger even vocalist Chris Logan joined in on the last review! Still, that's their right, the very reason I provide the Interactive Reviews is for fans to post their views. But for me I remained unimpressed with Schenker's recent offerings. I remain an ardent fan of the days with Robin McAuley and even some of the Gary Barden material. Not to mention UFO. Walk On Water remains an all-time favourite. Back to the present Schenker's personal affairs appear in as much disarray as ever and in between dealing with those issues, quite publicly at times, he recorded a new album. This is a tribute album of sorts, put together by Cleopatra Records. They have gathered up a range of musicians to pay tribute to some classic rock songs, with Michael Schenker suuplying the guitar parts. What is confusing for the consumer is the fact this is released under the MSG moniker. It really has little to do with past MSG releases - aside from Schenker handling guitar duties. Sadly Cleopatra is one of the crummiest labels in America. They wouldn't know promotion if it was a 30-foot billboard sitting on top of their office building. The only reason I am reviewing this is because I sourced it myself. The line-up featured here is pretty impressive, with the roles of all musicians shared, with Schenker the only constant. Close behind Schenker however, is famed producer Bob Kulick, who plays most of the album's rhythm guitars and produces, ensuring that this at least sounds pretty tight musically. Schenker contributes some amazing guitar parts here and some inspired solos to my ear some of his best and certainly better than the last couple of studio albums. That said, not all of the covers included hit the spot and some of the individual vocal performances will appeal to some, but not others. Heavy blues rock gets a solid workout on Heavy Hitters, a style Schenker plays with consummate ease. Joe Lynn Turner delivers the first hit with a mid-tempo All Shook Up - an absolute no-brainer for blues veteran Turner. Leslie West appears to reprise his role singing the original Mountain track Blood Of The Sun. Another does of bluesy rock, it's an ok track, but lacks punch. Doctor Doctor covers Schenker's own past and features the ever professional Jeff Scott Soto up front and is easy an album favourite due to this singer's appeal. A 7 minute plus cover of Sabbath's War Pigs features Tim Ripper Owens on vocals and doesn't stray too far from the original. A rhythm section comprising of Mike Inez and Aynsley Dunbar adds punch and Schenker plays all over the track. I'm Not Talking features Mark Slaughter a vocalist I have never warmed to. Slaughter fans might dig the track an uptempo blues romp, but for me it's skippable. Pink Floyd's Money is covered without adding much variation to the original. Styx's Tommy Shaw joins the album line-up, as does Edgar Winter (Sax), Tony Levin (Bass) and the long lost Mike Baird (Drums). Interesting track and cool line-up. I Don't Live Today is a Jimi Hendrix cover and features some inspired lead guitar work. The always energetic Sebastian Back joins in on vocals and the track also features Eric Singer and Tony Franklin as the rhythm section. Hair Of The Dog features the very distinct Paul Di'Anno on vocals. I have never liked his voice and it sounds as rough as ever here. Out In The Fields features Gary Barden replacing Phil Lynott and Gary Moore as the single vocalist for this Moore cover. Nowhere near as good as the original and disappointing. Cream's Politician features bass and vocals from Jeff Pilson. He suits the song, but this isn't a stand out and ends the album on slow note, despite a solid lead guitar display.
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| Loud N Nasty Too Much Ain't Enough | Perris Records PER01552 |
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I read just one review for this album, with wording suggesting that the band's name was very appropriate. I did laugh at that
I wouldn't go as far to say that, but I will instead refer to the title of the album. Too Much Ain't Enough is hardly appropriate here, as the band has delivered barely enough to support an EP. 6 original tracks with 2 bonus extras, with a total running time of 32 minutes is not something that immediately suggests 'bargain'. Musically speaking Loud N Nasty are ok not great and not terrible, but in a competitive marketplace, they don't make the grade. This is guitar fuelled American hard rock, recorded originally in 2002, but stylistically from the late 80s/early 90s. Mixing a little LA Guns with Wildside and Motley Crue, plus perhaps some Johnny Crash; the guys have a few good songs to their name - Me And The Boys and You Better Run are the best but then tracks like Little Miss Pretty are just too rough and could have been better with more polished performances. Production is average, with the band suffering from an average guitar sound and that vocalist could really use a drink of water.
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| Micki Free Experience | Cargo Records LW 011-2 |
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Former Crown Of Thorns guitarist Micki Free offers up his new solo album for fans curious to see what he has been doing with his time since his time in Crown Of Thorns and his most popular solo release Gypsy Cowboy. Having played this new album several times, I'm not really sure what to say. I have always tried to remain on the positive side of things where possible, but I have no clue as to what audience Free is trying to reach with this album. I don't think it will appeal to fans of the more melodic friendly Crown Of Thorns sound. This largely modern sounding outing is not a good representation of Free's talent as a singer and guitarist. He is not an award winning musician for nothing! The sound here is muddy at best, demo quality at worst and his vocals border on unlistenable on several tracks. The solos are few and far between, instead replaced by a tuned down, distorted guitar sound. The slow, darker pop rock of Euphoria Blue shows Free in a much better light as does the acoustic driven Calling An Angel. But when this album tries to rock or get experimental, it really gets hard to listen to. Make than near impossible. Just check out the murky Anxiety or the experimentation of Karma Sutra. Not great.
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Liberation Music Australia Acoustic Blue Series |
Liberation Music |
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Liberation Music Australia commissioned this series of releases to showcase some of this countries best performers/songwriters in a new light. The Liberation Blue Acoustic Series features performances by some 8 artists to date, all retracing their careers by stripping back some classics and lesser known album tracks into acoustic format. Each album features a dozen or more tracks, some entirely acoustic, and some with the backing of a full band albeit in an unplugged setting. For fans of these artists, this series delivers a unique twist to some already familiar material and as hoped, does offer a rarely seen insight into an alternative side of each performer. 4 albums from the series are previewed here. These are the 4 performers that would be better known in a world and melodic rock context. At home in Australia, they are all genuine stars. 1. Nick Barker C-Sides - Nick runs through 13 of his own tracks and a neat all-acoustic cover of Van Halen's Jump. Taking my first listen to this album in the car, it wasn't until the chorus hit that I recognized the song! Barker is an underrated star he has a true stage presence, is a master guitarist and delivers his lyrically poignant songs with a passionate bluesy rasp. Any fans of Barker should have this as it showcases the songwriter before the performer. Some of his harder rocking moments are mixed in with heartfelt ballads, which sound equally at home when all delivered acoustically. 2. James Reyne And The Horse You Rode In On Reyne is the most familiar name in this series. As frontman of Australian Crawl he and the band became legends and as a solo artist, he very nearly broke worldwide on the back of some great material. Once again the stripped back nature of the songs fits the material beautifully. When covering Aussie Crawl (Errol, Reckless, Oh No Not You Again and Downhearted), Reyne sounds a million bucks. Then there are some of his best solo tracks (One More River, Slave, Any Day Above Ground and Hammerhead) delivered with unparalleled passion. As with all Reyne releases, there are a few quirky tracks and here is no exception. Mr Froggy Went A Courtin' and The Euphonious Whale are examples of where the album loses me curious and hilarious, but passable. 3. Mark Seymour Daytime And The Dark Seymour is best known as frontman for Hunters & Collectors, an amazing band that were never overly commercial and sometimes underground in their following. He remains on of this countries best ever songwriters. Covered here are some solo tracks and some H&C hits. Again, the songs all probably originated on acoustic guitar, so they sound fresh and comfortable in this setting. Possibly the hardest of the 4 sets to get into due to the complexity and style of the material, it still features a few winners with the H&C anthem Holy Grail an outstanding track. One of this countries best ever ballads Throw Your Arms Around Me is another gem as is the radio hit When The River Runs Dry. 4. Diesel Singled Out Diesel, aka Johnny Diesel aka Mark Lizzotte runs through 14 tracks from both his days in The Injectors and as an independent solo artist. Injectors tracks Don't Need Love and Soul Revival are the most recognizable the latter and several other tracks from this release recorded live in an intimate pub setting. For that reason it is not as polished as the other sets, but solo hits Tip Of My Tongue, Come To Me and Cry In Shame all work well. Not as appealing as Barker and Reyne, but definitely worthwhile checking out for his fans. |
| Supergroupies Supergroupies | JVC Records Japan |
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Swedish glam could there be anything better for fans of that genre? These guys are everything old school glam fans could ask for a band dolled up to the nine's, with make up and hair poised as if ready for a 1987 revival. This album is only released in Japan so far but I am hopeful other territories will follow. The band has a sound that is well produced and so retro it could almost be contemporary. Production credit goes to Kee Marcello (yes, he of Europe fame). It is a very simple set up, with an uncluttered feel to the music - even though it is most definitely fueled by a high energy guitar attack. The high pitch vocals of Kim Simon are a perfect for the up-tempo happy go lucky heavy pop that is the majority of the album. The retro feel takes in some psychedelic influences, not to mention the world's first power pop band The Beatles. Give It All You Got, Bouncin' and the infectious Low Blue Flame are perfect melodic pop songs and the moodier ballad Say Goodbye acts as a good tempo change mid-album. Moving into the album a little, tracks like What A Day and Scream Shout Adore take a little more time to grow into, but deliver rewards. The more contemporary Hot In Paris is one song that unfortunately doesn't work for me.
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| Waltham Awesome EP | Rykodisc |
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I see no need to profess my love for these guys yet again and I'm glad to see word slowly spreading among rock music fans as to how good they are.
The Awesome EP is being offered to fans in the local region where the band hail from to counteract the fact the new album features many tracks from their indie released album of 2003. The 4 new tracks and 1 cover prove that the band haven't lost their knack of writing killer melodic rock tunes in a style that brings the 80's melodic rock genre screaming into the present. Vocalist Pino still has that Rick Springfield drawl going on, but perhaps just a little less noticeable than on the older album material. As for what's featured here - The Fix is so melodically glorious, yet wrapped up in a modern sonic delivery and will bring joy to all fans of the band. Holiday is a little more intense again and features a great riff and chorus. Where I Wanna Be is a little rougher, but still features a hook filled chorus. Love N Stuff is a little more pop, but is still delivered with a wall of guitars. Fast Times At Waltham High is an almost faithful cover of the Sammy Hagar cult Classic Fast Times At Ridgemont High. A great tongue in cheek salute to their home city, this track rocks! Essential for all fans of the band and fans of modern melodic rock all around. Now, all we need is a live album so we can hear their version of Springfield's Love Is Alright Tonight. |
| The Duke My Kung Fu Is Good | Spitfire Records SPT 15254-2 |
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The Duke is none other than Rich Ward from Stuck Mojo and Fozzy. On this album he handles guitars and vocals, but in a collaborative effort, There is a base band and a dozen other musicians all guesting here, not to mention some 4 other vocalists adding texture to Rich's own lead vocal. I didn't think I was going to get into this album the opening track I Give To You is a hybrid between a retro pop ballad and a modern, effects filled rocker. I couldn't be sure where this album was going to lead the listener. But second track Immune is a bit of a modern rock gem, with a beautifully melodic intro and a more rocking verse. Following that a pattern began to immerge. The album is a mix of commercial modern rock and some slower, more introspective personal moments. I hear a little Live in this, as well as being commercial enough to fit into the format of modern rock radio. It's a very good album for what it is plenty to listen to and not half as heavy as I anticipated it would be. A lot of effort and intelligence has gone into the performance, the production and the songwriting itself. But it remains most suited to fans of current modern rock and not so much fans of melodic rock. |
| Roxie 77 Peace, Love & Armageddon | Wax Tone Records WT090502 |
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Roxie 77 is of course Ryan Roxie, current Alice Cooper guitarist and also handy vocalist. This is his debut solo album and one can only hope there will be more to follow. This is a thoroughly enjoyable album that features some great rocking songs with a raw, in your face delivery. Ryan's voice is very melodic, rather raspy and even a little glam-ish at times. The music featured here is mixed a little straight ahead melodic rock, a little glam, a little sleaze rock and a little psychedelic pop a la Enuff Z Nuff. Throw in influences like Alice Cooper, The Beatles, Enuff Z Nuff and Cheap Trick and I think you can get the picture. While the majority of the album features uptempo good-time rock n roll, Ryan also slows it down for a few great ballads none better than the very commercial Second Chance and the psychedelic Love Is War. This is a self financed indie release and even then I think this album sounds way better sonically than the last Cooper album. Production is by Gilby Clarke for all but 3 of the albums tracks and of interest is Mike Fasano on drums. Highly recommended for fans of glammy melodic rock and the likes of Poison, Cheap Trick and Alice Cooper. |
| Green Dollar Colour Green Dollar Colour | Bad Reputation |
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I'm sure they could have come up with a better name, but never mind. This lot is old-school hard rock all the way. Think Rose Tattoo, AC/DC and more recently Hair Of The Dog. A few Aussie references there no surprise then that these guys are the nucleus of French guitarist Anthony De Lemos, a Parisian who migrated to Australia in April 2002 and young Australian rock singer Lex Koritni. Vocalist Koritni sounds like Jimmy Barnes in places - especially the mid-tempo blues rock of Emotional Audit. The band plays a brand of tough, no bullshit Australian pub rock, which will definitely find a few fans here. The production, while raw and stripped back in approach, is first rate and the sound mix nice and balanced. The one negative is that the pace of the album is a little slow mostly mid-tempo and slower blues based hard rock numbers here it could have done with a couple more uptempo stompers like the excellent Mess With Love. |
| Sofia Lifetraveller | BTM Records BTM0014 |
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This is a very good album for its style. Sofia is a Swedish singer, but her voice and style is contemporary American and extremely commercial.
Sofia is comparable to Kelly Clarkson, Avril Lavigne and perhaps even Ashlee Simpson (except with credibility, talent and a voice). Of note in the songwriting department is the participation of Cliff Magness, who also helped Lavigne on her debut album and Butch Walker on the track Betcha, who helped Lavigne on her current release! The label involved is behind her in a big way and I expect you'll be hearing more of this in future months. The album features 10 tracks of guitar driven modern pop/rock angst, with a strong lead vocal guiding some pretty catchy material. Of interest is a bonus track a pop/rock cover of the classic Skid Row ballad Wasted Time. All in all, a very good album for fans of female sung modern pop/rock. |
| Eric Johnson Bloom | Favored Nations FN2510-2 |
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You won't find too many guitarists more talented than Eric Johnson. For much of his career he has flown under the radar, touring quietly and recording a series of critically acclaimed albums without ever gaining the stature of shredders such as Vai, Satriani and rockers like Slash. I put Johnson in with Rik Emmett and Neal Schon as a guitarist that could do anything and generally does what he does his way. Bloom is a 16 track album in three separate parts that features several vocal tracks, with the remaining all instrumental. It is a super tight album filled with simply stated songs, yet featuring complex guitar arrangements, delivered in a light and breezy manner that makes for a perfect easy-listening back drop. Sometimes pop, sometimes jazzy always quality as long as instrumental guitar suits your taste. If you enjoyed the last Schon solo release or any of Rik Emmett or some of Steve Lukather's side-projects, check this out. |
| Danielle McKee Twelve | Lava Sound |
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Another solid female fronted melodic pop/rock album. Danielle has a great set of pipes, perfect for contemporary pop music. With an album of strong and catchy songs behind her, the rest will be down to fate. Behind the album's music is guitarist and producer Mike K (a big part of Nelly Furtado's success) and Canadian drummer Randy Cooke. Style wise Danielle touches on the same sort of territory covered by new Swedish pop singer Sofia (also reviewed here today) and perhaps a little Alanis Morissette. Vocally - see above, but also add Carol Decker from T'Pau. I think Danielle's delivery is more pop than rock and that might hold her in good stead for mainstream breakthrough. Some good moody melodic rock moments such as Not Today add that little bit of muscle. Recommended to check out for fans of the style. |
| We Smugglers | Bad Reputation |
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I'm not so into this release and I'm not sure how many Melodicrock readers will be either. From the French melodic rock label Bad Reputation, We are a Norwegian retro hard rock outfit and this is actually their 6th album. The band offers up this big rock album with a strong 70s retro vibe, guided in principle by a thick and heavy guitar sound. I can hear part Led Zeppelin, part Punk and part psychedelic Americana. Not your average fare for the majority of those logging in here. So in being honest, I don't like this album at all I just don't have any time for the style, which is overtly bombastic and heavy, but void of anything melodic that would draw me back in for any future playback. The album has its merits as it clearly is well produced and well written for the audience intended. Just not sure what it is doing on this label and I'm certain its appeal won't be debated too much on this site. |
| Russell Allen / Jorn Lande The Battle | Frontiers Records FRCD257 |
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Jorn vs Jorn for album of the year? It might just be. Jorn Lande kicked our asses with the second Masterplan album, which was released officially in January. For me that's been one of the major highlights of the year to date and now, with the last quarter of 2005 closing in, Jorn is back to plant another large boot into my nether-regions. Joining Jorn on this album is Symphony X vocalist Russell Allen. Providing the musical muscle is Magnus Karlsson last seen guiding the Starbreaker release to fame and of course remaining in charge of his main gig Last Tribe. Responsible for the bombastic guitars, bass and keyboards, Magnus plays his absolute ass off here and helps producer Anders Theander carefully mix all these parts together. That the album sounds utterly fabulous should not be under appreciated. The production and mix would have been extremely challenging, given that one individual played three main instruments and then two different lead vocals were required to be blended together. First impressions led me to believe this was Jorn's show. His voice seemed everywhere and it's hard for any singer compete with the number 1 metal vocalist in the world. Once you recover from the melodic metal onslaught and get over the fact that every single song has a killer chorus (and finish singing those choruses), you get the chance to better understand the album and really sit and pay attention to its individual parts. It is then that you realize that Russell Allen's contribution is equal to Jorn's and just as important. While Jorn takes the higher register and some of the more noticeable soaring melodies, Russell's deeper and grittier vocals provide the foundation of the songs and the necessary bass tone to make these all high-impact songs. Aside from the insane vocals, the shining highlight of this album are the songs themselves. Written entirely by Karlsson, the Swede must surely now rate as one of this scene's most inspired individuals. The Battle contains some of the best metal choruses ever gathered on one single album. They are so utterly catchy and memorable in a real melodic sense that you can't help but love this album. While the impact of the powerhouse vocals and the pounding and at times bombastic instrumentation can not be undersold, the songs themselves are so catchy you will find fans of softer melodic rock and even AOR drifting towards purchasing this album. If I did a track by track, this review would take a week to write. Suffice to say that each and every track on this album has merits and there are no fillers. A definite contender for album of the year, but for different reasons than the Masterplan opus. There is a certain familiarity between some of the tracks featured, a point also raised on the Starbreaker release but there variety in delivery here is much stronger. To highlight just a few tracks The opening anthem Another Battle is everything you could ask of an opening track big, bombastic and anthemic. A moody verse gives way to a monster chorus with both vocalists given room to shine. Reach A Little Longer is a haunting and moody metal ballad with another monster chorus and some truly outstanding vocals from both gents, but Jorn Lande especially. Come Alive sees the quality of the album lift even further. The song features a pounding melodic metal riff, which gives way to a surprisingly melodic vocal during the verse followed by a sensational fits-in-the-air chorus, all fuelled by a double kick drum rhythm. Truth Of Our Time features yet another brilliant bridge / chorus and offers something different again for listeners. My Own Way is another highlight, with more brain damaging riffs accompanied by thoroughly melodic vocals and a great chorus. Where Have The Angels Gone continues the brilliance, with a slight slow down in intensity to allow the listener some time regain control of your senses!
The album's very finest moments are probably through the middle section, but it remains consistent throughout. Essential for all fans of Lande and Allen, but also for anyone that just loves powerful hard rock with a big fat melodic edge. Magnus Karlsson's finest hour to date. As for the album in general comparison to Aeronautics there are similarities and differences - the recent Masterplan album was more intense and the overall production tighter. It was an album that grew and really made it's mark. It was also a little more geared towards a contemporary metal sound. The Battle is more commercial and a touch more melodic and has some more instantly recognizable choruses. Either way, both are fabulous releases!
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| Stryper Reborn | MTM Music / Big 3 Records 0681-144 |
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Stryper's first studio album in some 15 years reveals a different band that we last heard on Against The Law. That album itself was a lot different than their earliest work and proved the band were willing and able to move with the times. Here's that ever present problem again how does a band reform after such a long period of time and remain relevant, yet still deliver something fans that have waited patiently for will appreciate without sounding like dinosaurs?!The answer is as hard to find as the number of bands that have successfully revived themselves, but in this case, Stryper might have just pulled it off. Reborn sees the band supporting vastly updated sound heavier than ever and darker and more contemporary too giving them every chance of appealing to a new audience, but familiar enough to keep the old. I compare this album very closely to Europe's comeback album from last year Start From The Dark. The album features the same production sound, updated for the new millennium and noticeably heavier and darker than before just as Europe did. But Europe fell short by including a few filler songs and not featuring quite enough of their past in their current work. Stryper have carried over a little more of their past personality into this record especially on the choruses, with layered harmonies and the knack of remembering an all important hook to hang the song on. Not being a general fan of the band I only own the very good Against The Law album I was not depending on anything other than some catchy songs and the guys deliver that. In fact, I'm surprised how much l like most of the tracks on the album, which I guess is a very positive sign for the quality of the material. Opening with a bang and tough rocking approach, Open Your Eyes shows a new intensified sound that gives way to a great chorus. Reborn is a lot darker again and features some of the heaviest riffs I have heard from the band. But another strong chorus helps the appeal of the song. The mid-tempo rock ballad Make You Mine has great emotion and features another strong chorus over riding a very contemporary sound. Passion is another ballad-esque number with intensity and appeal. Other highlights include the modern rock anthem If I Die and the old-meets-new ballad Rain.
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| Philip Bardowell In The Cut | Frontiers Records FRCD259 |
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Let's cut straight to the point. This is a mighty fine album filled with glorious AOR that will appeal to both fans of the old-school traditional sound of this genre and fans of more current releases. This release is old-school in style, but thanks to a snappy delivery and smooth production, never sounds dated or stuck in an 80's time warp even though the heart of the material is from that period. Philip Bardowell takes time out from his role as the current Unruly Child vocalist and joins AOR journeyman Tommy Denander, who controls much of the instrumentation for the record. Drummer of the moment Daniel Flores (Novak, Xsavior) handles all percussion, ensuring the album doesn't feature that dreaded mechanical programmed drum sound. Thank God! Denander puts in an inspired performance on guitars, bass and keyboards. The axeslinging is some of his best yet and as per his musical history, sounds like a cross between Steve Lukather, Neal Schon, Dann Huff and Frankie Sullivan. Some appreciation for Denander's trademark sound is required to get the most out of this release, but it's not an essential prerequisite. Perhaps more than any other of his projects, this has its own feel. Fans of the Radioactive releases will definitely enjoy this as will those that purchased the recent Jim Jidhed solo release. Denander and Bardowell rip through a few rockers such as the delightful opening track In The Cut which really shreds and the glorious AOR of the Curt Cuomo penned Never Too Late For Love (which has also been tracked by Stan Bush). The majority of the album is a little more laid back and while it is both slow, mid and uptempo, is very firmly set in classic AOR territory. There are only two originals in this set, with the remaining songs culled from some of the genre's best writers. This proves to be another master stroke, as the songs picked are perfect for Bardowell's voice and he at times acts as a chameleon, wrapping his own voice around the style the track might have originally been intended for. The passionate and emotional Mark Spiro track Through My Eyes is a nice counter to the frenzy of the opening Toto inspired rocker. Then a double dose of Stan Bush brilliance with Heart Of A Hero and the even better soaring power ballad I Gotta Believe sets the whole album up. Both tracks are sung true to form. The moody She Will Never Know is a Bardowell original and fits the album well, at this point of the album allowing a break in intensity. The Bobby Barth penned It's A Long Road is another great slice of moody uptempo AOR. One Day In January and the closing Voices Of The Heart match the vibe of She Will Never Know (written by Jim Peterik), giving the album a little variation and some moody, laid back texture. The pick of the album for me though is the utterly glorious AOR masterpiece Dreamin' With My Eyes Wide Open. It's hard to reason why this gem of a track written by Jim Peterik has remained buried for over 15 years! Philip Bardowell does the song proud. Just as Denander at times takes on the musical persona of his peers, so does Bardowell as a vocalist. He is somewhat of a chameleon throughout the record and the only negative one could come up with is that it would be nice to hear more of his own personality in play.
In The Cut at times sounds a little like Lou Gramm lead Foreigner, at others like a nice dose of Giant with some Unruly Child and Toto thrown in for good measure. This is one of Denander's finer moments and is up there with Oliver Hartman's album as two of the best pure AOR albums for 2005.
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| Gypsy Rose Gypsy Rose | Escape Music ESM120 |
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Side stepping his main project Dogface, Swedish guitarist Martin Kronlund returns to his past to resurrect a band originally formed in the 80's. The guys have taken the original premise of the band and even some of their original demos and recorded them fresh this year, presenting the extremely overdue debut Gypsy Rose album. The name may be familiar but this is not the RCA signed American act of the late 80's/early 90s. These guys are all Swedish and although they laid first claim on the name, a release at that time never eventuated. What I am most impressed with here is the strength of the tracks. The debut Dogface album was nothing short of brilliant, but the follow up was short on songs. This sees Martin back to peak forum albeit in a slightly different style, with each track offering something to the album and no fillers in sight. Style wise, we are talking Swedish melodic hard rock at its best. There is a definite 80s vibe to the material, but a very solid production and some big similarities to classic 80s Scorpions. Singer Hakan Gustafsson has a raspy and gritty voice in a style I haven't heard much of in recent times. Highlights amongst the rockers include the catchy and commercial You Drive Me Crazy, the anthemic Promise To Stay (featured in demo form on the last MelodicRock compilation), the frantic rocker You Are The One and similarly tempo'd Fender '59. Pick of the album for me is an old favourite! Queen Of The Night is a great melodic rock anthem with a catchy as hell chorus. The song was originally demoed for the debut Dogface album and it's great to finally see it featured on an album. Hakan adds his raspy growl to the song giving it a different feel than the Mats Levin demo and it fits this album perfectly. Mats makes an appearance here on backing vocals. The ballad Moonlight is very reminiscent of classic Scorpions (as is much of the album thanks to Hakan) and traces of Winds Of Change can be heard here. The other big ballad is the brilliant December Night. It features a nice uptempo rhythm and a great melodic chorus.
It's a little more commercial again, so this may appeal to a different demographic too as well as fans of The Scorpions and Swedish melodic rock with an 80's twist.
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| Blue Tears Mad, Bad & Dangerous | Suncity Records SR001 |
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Suncity Records is the new kid on the block as far as record labels go, but what a way to make an impact with your first release! Blue Tears won over a lot of fans with their cult classic debut, but in what can only be deemed bad luck, never broke through for mainstream success. The band worked on material for a second album, but sadly it was never finished or released. Frontman and band principle Gregg Fulkerson has kept busy over the years, most recently presenting the more contemporary sounding Attraction 65 project which to my ears retained the classic moody Blue Tears sound, just updating it for a modern rock market. The legend that was Blue Tears however would not die and the trading circuit was alive with bad quality and mislabeled demos from the band, most recently appearing on E-Bay. It was this development that prompted Gregg Fulkerson into action and a well timed call from Suncity put the two into partnership. Mad Bad And Dangerous is the first of two volumes of classic unreleased Blue Tears material. When I say classic, I mean classic these tracks all hail from a time frame that surrounds the release of the debut album. Some tracks were recorded for that release, but later left off, others were part of session that would have evolved into the band's second release and some even pre-date the debut. To best appreciate these tunes one must put oneself into a late 80s/early 90s mindset - a time where songs were big, fun and not to be taken too seriously unless the song was a hard hitting, emotion filled power ballad. This album contains some fine examples of each. Granted they are a little dated in places, but considering their age and the various sources, as a compilation of unreleased tracks, you will not hear better. Blue Tears fans especially will be thoroughly impressed, I have no doubt. Highlights of the release for me would be the opening track Long Way Home, an energetic hands-in-the-air rock anthem which surely would have been a hit had it been released when recorded in 1992. Stylistically it matches the best tracks from the debut album. The moody anthem Kisses In The Dark is another real gem and is everything Blue Tears fans will love, with a great sound to match. The title track is something that Def Leppard could have released in the early 90s and is again reminiscent of the sound of the debut. Follow Your Heart matches the big uptempo rock of the opening track, with a nice Bon Jovi feel to it. Ballads are well represented on Mad Bad & Dangerous - With You Tonight is a killer track Bon Jovi never recorded; Evidence Of Love is a dark and moody Def Leppard styled track and Russia Tonight is a heartfelt acoustic driven track with poignant lyrics still relevant today. Best of them all is the haunting and emotion filled Misty Blue another track from the never recorded second album. What an opus that would have been! Not quiet working for me is Girl Crazy and Love Machine both tracks not quite competing sonically and certainly not lyrically no offence intended. A live track Live It Up closes the album perfectly with hands in the air and feet tapping along.
This is big, multi-layered, keyboard friendly 80's melodic rock and I think the target audience will eat this up and anticipate Volume 2. A perfect snapshot of the glory days of pomp melodic rock.
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| Xcarnation Grounded | Frontiers Records FRCD258 |
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Well, it's just not possible to be blown away by every release, even though Frontiers came close this month. AOR brilliance from Philip Bardowell and metal perfection from Mr. Lande and Mr. Allen. Xcarnation is something different entirely driven artistically by Turk Cenk Eroglu and joined by a range of special guests this is a curious release which traditional melodic rock fans will find hard to appreciate. I think some that check this one out and like what they hear on this album will love it it will find a certain market, but I think that market will be small. I also think that coming from Frontiers Records people will expect it to adhere to a certain style and that it certainly does not. Granted it is being released via a license from MuseWrapped Records, who are more used to promoting this kind of product. This is a very noisy record one I find at times, is extremely hard to listen to. Grounded is a heavy, experimental record that relies heavily on industrial effects wrapped up in a progressive and sometimes modern rock approach. Vocals are largely sampled and filtered and the album is filled with production effects, programming and changes in tempo and delivery. That goes for individual tracks within the album and even within each track. There is a hell of a lot of music to absorb here and it takes some time to really take it all in. Sadly at times I find it hard to maintain focus. The main melodic draw card is the appearance of Kip Winger, Reb Beach and Rod Morgenstein from Winger. All appear on the album, with Kip Winger playing bass and duetting on the track Reason To Believe. The mainly acoustic ballad Without You is one album highlight with Cenk sounding very influenced by Kip's vocal style - as he does throughout the record. Pat Mastellotto (Mr. Mister) also guests on drums and a range of Cenk's fellow countrymen provide such interesting and unusual ethnic Turkish instruments as Ney Flute, Turkish Strings, and a Kawala. Programming plays a big role in the album's sound, shaping the industrial beats and heavy modern rock synth delivery. If Winger turned modern industrial after Pull, they might have ended up here. But I think most Winger fans would rather stick with something closer to that ultra cool Pull album.
I recommend anyone check out the soundbytes before venturing further. The Winger connection is definitely one appeal, but this will only appeal to a certain few. fans of Nine Inch Nails might be better suited to this release.
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| Dream Theater Octavarium | Atlantic Records ATL 83793 |
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Review By: Mick Ward I wasn't one to shy away from Train of Thought. It was about time for Dream Theater to shake things up and Train of Thought took a dramatic push toward heavy and a number of fans were left wondering what had happened. And considering Six Degrees of Inner Turbulence wasn't brilliant, a return to form and something special was quite rightly expected. But were we prepared for something as special as say Metropolis Part II? Cause that my friends, is what we have here. Another bonafide classic Dream Theater album. Having said that mind, on a small note - if you are looking to be mentally challenged be prepared for a little disappointment. There is nothing that truly pushes the envelope here. Though not unlike previous DT albums there's nothing too difficult about Octavarium. It stands fast in the progressive genre but for the most part the force feeding of previous outings is absent. Funnily enough the production is big but the music isn't. No one song towers over the rest of the album and as a whole the songs aren't conceptual but do travel the same road. The Root of all Evil kicks Octavarium into a mid gear akin to New Millennium and thrives on its simplicity. There's no stop start as such but the typical change for the hell of it is definitely working well here. But check out the 5 minute mark where they guys briefly copy themselves with the 'I can feel my body shaking' music and all (from first track off Train of Thought if I remember right!?). Obviously there's good reason for this but I found it strange. Sounds awesome but 'Answers required please!' Regardless, 8 minutes plus is over well before you know it and what a ride this tune turned out to be. Following track The Answer Lies Within kind of stinks for being so slow so soon on the album, a ballad that on one hand annoys me for that very reason whilst keeping me damn interested on the other cause to be honest these lyrics are sharp and the song is flat out good. Track three, These Walls is smooth sailing playing with both rock and calm, its bridge very Images and Words, piano and guitar sharing the spotlight 'pending on what section you refer to. There's no meddling with time here, These Walls being strong enough to stand on its own merits much like I Walk Beside You which follows in similarly structured manner. I Walk Beside You is annoyingly pop much like U2, but at the same time wonderful. Brilliant even. DT have done this kinda thing before but perhaps not so overtly. I Walk Beside You is embarrassingly good! Panic Attack brings back the Train of Thought approach but has one difference. It's better than anything of that album. Being the metal head I am Panic Attacks' thundering for want of a better word 'attack' was very refreshing. This is my album favorite due simply to its no holds bared approach. Everything I could want from heavy Dream Theater is here, dark nasty and fast as lightening, love the bass intro! The sheer joy of this song never fails me regardless of the mass volume of air time it's had at my home! Perfect! Wanting to leave a few surprises, all I'll say regarding the remaining three songs is that they're mostly up to speed with the earlier part of the album, a tad slow on a few occasions and not my favorite side if I were referring to the good old days of vinyl, but still balances the album well enough. There's even a direct stab at the whole 9/11 thing which is interesting and entertaining enough considering its delicate subject matter has so many varying emotions it's sure to work for some whilst not others. Good work!
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| Audiovision The Calling | Metal Heaven / Rivel Records |
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Review By: Mick Ward Kinda contemporary old school styled metal, bulky and superbly executed, Audiovision hold nothing back in delivery nor do they choose to camouflage their lyrical convictions. A Christian band leaving nothing to the imagination lyric wise, yet overwhelm the senses regardless, due to their unforgiving delivery. Regardless of your religious belief the music on offer is hook laden enough to draw you in. A number of these songs do well enough however it is lead throat and Audiovision mastermind Rivel that ensures The Calling is considered an effective release. Taking chapters out of the Judas Priest performing school of arts (wouldn't that be a thing!?), Rivel has at times the rasp strength and sound of Halford (check out Evil or Divine!) yet delivers a softer and more accessible vocal more in tune with our melodicrock for a good part of The Calling. For some avoidable, for others very inviting, The Calling has its moments of glory in songs such as openers The Calling and The King is Alive, and favorite part ballad part thumper Read Between the Lines. Also of note is The Rock of my Soul. Overall The Calling proves an enjoyable listen but with the strong competition of a flooded market I can't help wonder how this will gather enough interest to see it receive the big push. Great production and incredible performances reek of conviction but aren't quite enough to lift this album above average. Case in point; I'm not one for covers but when Audiovision's cover of Sweet's Love is Like Oxygen causes me excitement equal to anything else on offer here, well that's a concern 'cause for me it's unheard of!
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| Manticora 8 Deadly Sins | Nightmare Records |
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Review By: Mick Ward Manticora is very full on anthem filled European power metal, progressive and intense with volume speed and performance turned to maximum for full effect. Lyrically Manticora could be found a tad offensive to some (track titles such as Playing God, Creator of Failure and It Feels Like The End, should give you the right idea and yes if you hadn't guessed already we're are dealing with a concept album) but it's not too shocking. Because really who really cares 'cause under this wall of noise there is some real talent and it's not too hard to enjoy! The instrumental intro sounds very cool and opening track Ring of the Absurd contains some of the better chord progressions I've heard from this genre of music. Seriously, at about the 30 second point I was hooked. A wonderful blend of progression and riffs that pretty much continues throughout the album. Of particular note are the cuts Ring of the Absurd, best rifer on offer Enigma, and Fall from Grace. Musically this reminds me of say Vanishing Point, if they were to add a thrash element to their sound, or maybe completely flooded their sound with too much of, ah, everything!? Vocally things are very serious, lead throat Lars F. Larsen - whilst not thrash scream or too high in tone - does lean toward a heavier style (controlled aggression perhaps) and this can at times be a bit overwhelming due to a 'too much too often' syndrome. The power of his voice however cannot be disputed and when used in moderation can sound wonderful, case in point being Fall from Grace. This kind of muscle metal can leave the listener a tad battered and bruised with its reluctance to slow the hell down on a more regular basis, which is where Enigma and Fall from Grace work better. Both tracks ooze class and make good sense due to their less than usual overblown attack. Hell I enjoyed this although it did take a number of listens to get past the initial bombardment!
Me? I'm not quite decided yet but I could well purchase this thing given my impression of it so far. The more extreme power metal fans and thrashers should buy this by the bucket load.
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| Rick Springfield The Day After Yesterday | Gomer/DKE 4812002 |
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I wrote the majority of this review last week but decided to give the album a little extra time. I am glad I did. While the flaws within the album didn't vanish, the extra playback time did allow some of the positives to shine more clearly. In the end, the major decider with this album comes not from anything Rick Springfield could have done better, but rather with the listener's willingness to accept the music within. That's the way it goes with covers albums. Those that have been with this site since the early days know my passion for Rick's music. There has only been a few albums released by Rick in the 8 years I have run this site, but all have received favorable reviews Sahara Snow (85%), Karma (98%) and Shock Denial Anger & Acceptance (93%). The key to liking this record is gauging what you really want out of it. If you want a pleasant, laid back album you can play in the background without asking too much of it - or perhaps an early morning album that doesn't attack the senses - then this fits the bill. I'm not a huge fan of covers albums. In recent times there have been a bunch of them and few have really impressed. I do believe the main point of a covers album is to try and do something a little different with the material. The best covers album I have ever heard is Andy Taylor's Dangerous album, which takes some classic rock tunes and rocks them to within an inch of their life. This album has a different vibe altogether. After the rock and shock of the last album possibly Rick's heaviest ever - The Day After Yesterday strips things right back and delivers a sentimental selection of soulful pop classics. Rick has gathered some interesting songs, leaving them largely intact, with versions not far removed from the originals. That brings us to the two main problems with this release. First of all the album contains 14 tracks which are all basically slow or mid-tempo tracks at best. The album is crying out for a change in pace and something a little more uptempo. The last half of the album really struggles for pace and is calling out for a Living In Oz style guitar rip. This is also a very long album. 40-50 minutes would be plenty of time to pay tribute to these songs, but at nearly 70 minutes, the pacing problem is only exaggerated. The other problem as far as I see things, is the choice of songs. While Rick's unique identity is showcased brilliantly on a few tracks, it is equally lost on others. His trademark vocals and delivery style are scaled back in order to fit the format of the original songs, which sees some tracks not working out. A dozen or so listens into this album and I am left with nothing new to discover. There is little variation to the original songs. I'm normally left analyzing Rick's songs months after the release of a new album, but I feel I know everything about this record already. The negatives out of the way, there are also several positives. The most obvious and important is Rick's own performance. His vocals on this album are warm, inviting and engaging. On a few songs in particular we get a glimpse of the true, raw, emotional vocals that were at times abandoned on SDAA. This album is a return to the vocal style of Karma. The quality of the overall production is also first rate. The sound is amazing. The majority of Rick's records have sounded a million bucks and he proves here that he is ever more at home in his own studio. The production and arrangements are lush and the subtle layers of synth, keyboards and additional guitar overdubs are perfectly and evenly mixed in. Harmony vocals are also well placed and executed throughout, adding texture when needed and adding to the atmosphere of the record. That comment draws me into the songs themselves. To be honest there are several here I never cared for when originally released, which obviously impairs my enjoyment of the album. Rick of course, makes them ever more listenable, but there are some tunes here I would be happy to never hear again ever. I'm Not In Love (10CC), Baker Street (Gerry Rafferty), Life In A Northern Town (Dream Academy) and Let's Go Out Tonite (Blue Nile) are all routinely flogged to death to this day on FM stations around the world and are not my pick of the best on here. To kick off any album with a song as limp as I'm Not In Love is in my opinion, not a wise move. It is just too slow. However, things make a major improvement on track two Rick's extremely good take on the highly underrated gem by Australian alternative-pop outfit The Church. The moody and slightly haunting early 80's Aussie mega-hit Under The Milky Way fits Rick's voice perfectly and his warm smokey vocals are a joy here. Life In A Northern Town features another warm and raspy vocal, but being that the song doesn't deviate from the original, there is not a lot to draw me back in. Broken Wings is a long time favourite from Mr. Mister a band who had a similar high-tech melodic rock style and reached their commercial peak just as Rick was coming off his. Richard Page has one of the best voices in the business and in appearing with Rick here showcases the obvious difference in their voices. I prefer Rick's rock n roll edge, but on his own material. What I really like about this track is the extended musical passage and classy guitar soloing towards the end of the track. Some very tasteful guitar playing is featured here, which I would love to have heard even more of on some other songs. Another highlight from the album is Human (Human League). This is a great ballad and this one fits Rick's voice probably better than any other track featured. It's also perfect for the theme of the album. In fact, this is the best track for allowing Rick's natural voice and style to shine through. This track could almost find itself as part of the Sahara Snow or Karma records. I think the 1975 era pop-funk of Holding On To Yesterday (Ambrosia) doesn't suit Rick. Yes, it's something different, but it's just not that interesting to these ears. Waiting For A Girl Like You (Foreigner) is another long time favourite. Who could forget the passionate delivery from Lou Gramm that made the song an all-time classic. Again staying true to the original, this version is enjoyable and rates as one of the better songs of the album and features a nice passionate vocal from Rick. Let's Go Out Tonight is sadly just too slow and further hurts the overall pacing of the album. For No One (Beatles) sees Rick delve back into his earliest inspirations and reminds me of his early 70's Beginnings and Comic Book Heroes sound influences which on those records were largely drawn from The Beatles. It's at this point we really need a tempo lift, but it doesn't come. Instead Miss You Nights (Cliff Richard) is a slow, soft acoustic ballad. It's a beautiful song truly and Rick delivers another great soulful vocal. This song suits him to a tee and it is one of the better songs here - but it's placement within the album means some impact is lost. Yet another slow ballad follows with Blue Rose (Lizz Wright). The pulse of this record is under major pressure at this point. A curious addition to this covers affair is an original composition titled Cry. I'm not sure what era this was written in, but the song itself is something different for Rick. Probably why I can't put a finger on its origin. It suits this release and it is always cool to get a new Rick original. The classy piano playing on this song is something cool also. Having said that, I can see why it has to this date remained unreleased. Not due to being a bad song at all more so because I can't see where it would fit on any previous album. You can't do any wrong to a classic like Imagine (John Lennon) and Rick's vocal does the song justice. I also like the orchestration within the track. However, the song ends the album as it started very slowly.
Rick Springfield is such an amazing writer; I can't imagine too many fans that would pick the option of a covers album over that of new material. By and large, his awesome catalogue of songs outweighs the quality of the songs featured here. Dare I ask the question? With the lack of any solid airplay from the SDAA album, was this record conceived as a possible route back into AC radio playlists? The man is a songwriting genius with more depth and passion to his music than 99% of all other artists out there. This release has some enjoyable moments and features some great vocals. But I do think that The Day After Yesterday does not do the man's legacy justice.
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| Emerald Rain Sleepwalk | Escape Music ESM119 |
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Emerald Rain's fifth album comes as something of a revelation for me. I think the guys have delivered some solid and impressive albums, but for the first time, I think they have truly nailed what is best for themselves and for fans. This album is ok on first listen, but gets better and better each rotation and contains more melodies and hooks than ever once you get to know the record. The guys have previously been seen as an alternative to Harem Scarem, as their sound, style and delivery is not far removed from their Canadian neighbours. The guys then toughened things up and turned a little more contemporary in order to be different, but lost some of their magic. On Sleepwalk the guys harness the best of what's gone before them in the past while also moving forward. This is as Harem Scarem friendly as ever, yet features some contemporary and more aggressive and darker moments, which are mixed together perfectly to create a very well balanced album. The band showcases the more updated sound with both rockers and slower numbers and does the same for the more traditional melodic rock sounds. A little bit for everyone it seems, but sounding very consistent thanks to some high quality songs. The aggressive sound is delivered through the uptempo anthem rocker Can't Stop Bleeding; the dark and moody title track Sleepwalk and to a lesser degree the mid-to-uptempo rockers Torn In Two and Can't Recognize A Thing. The band's more traditional Harem Scarem compared sound is alive and well on the feel good rocker Face In The Mirror, It Ain't Over, See It In Your Eyes and the rock ballad Everything Is Broken. Special mention to I Never Knew for delivering a contemporary sound, but with a killer hook and layers of harmony vocals which stick in ones head for hours and hours! And the album closes with a semi-acoustic ballad Miracle, which is ok, but perhaps a little slow.
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| Forty Deuce Nothing To Lose | Frontiers Records FRCD252 |
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Forty Deuce is a new LA band with Richie Kotzen front and center. The four piece band features Kotzen on vocals and guitar alongside three very 'punk' looking dudes. The band have been making waves in the LA music scene with their catchy brand of modern rock. Kotzen has always been a diverse individual and this it seems, is his best hope of reaching a youth audience, as these guys have a very contemporary look and sound. While this album is primarily modern rock with a uptempo, angst filled, guitar driven delivery the overall style really won't be too foreign for established Kotzen fans. That distinct voice of Kozten's is in fine form here - stretched a little on the more aggressive numbers, but sounding as raspy as ever. This isn't going to be for all those that liked Kotzen's last couple of solo albums but it will appeal to those that have followed him throughout his career. Forty Deuce is a world away from Mr. Big and Poison, but it still has a strong melodic currant best showcased on Oh My God, Start It Up and Next To Me. Complicated is another great track, but this one sees the sound tuned right down into the very dark modern depths some melodic rock fans tend to avoid. There are no ballads here, however the last three tracks of the album Standing In The Rain, Wanted and Nothing To Lose all mellow somewhat and have a slightly different approach than the rest of the album's sonic onslaught. Perhaps these three tracks came from Richie's unreleased music catalogue? Finally, I have to pose the question what use is a 19 second intro-track? This should have been tacked onto the start of the first track, or better still, deleted altogether.
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| Nightvision Nightvision | MTM Music 0681-138 |
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Sweden delivers another new talent in Nightvision. This is an interesting album from an interesting band. Signed by MTM Music for a three album deal, the label clearly sees potential in the band and I have to agree. I think this album is a good start, but it's not a killer. The best is still to come, but this album still delivers some enjoyable music. Nightvision are a European hard rock outfit that sometimes touches on the bluesy side of things. The band's influences are the likes of Badlands, Ozzy Osbourne and Deep Purple. Vocalist Peter Hφgberg at times sounds like his #1 influence Ray Gillen, which suits the band. On occasion the higher notes can be a little much and the overall tone of his vocals could perhaps be a little more user friendly. However, once you get to know the album this becomes less of an issue and the voice does become more familiar. While the album rocks, it does contain a nice mix of keyboard/organ too. I really like the tempo of the album. The majority is uptempo without being too fast and the bluesier numbers are not too slow as is sometimes the case. Most importantly, the songs are very enjoyable. Highlights for me are the rockers Fight and Soldier Of A Dark Land, plus the very classy mid-tempo Gillen-esque rocker Dragonfire. Also deserving of a special mention is the soulful ballad Stand Tall, which features a great lead vocal from Hogberg.
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| Broke N Blue The Waiting | MTM Music 0681-137 |
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Very pleasant. Is that the kiss of death for AOR fans, or a compliment? Well, it's a compliment this record is very pleasant. It isn't challenging, nor does it break any new ground, but AOR fans love to hear classy AOR music and Broke N Blue deliver an album filled with classy tunes. Broke N Blue are another band that has taken the blueprint of their debut and taken it to the next level meaning those that enjoyed that album will certainly find another memorable collection of songs here. Most noteworthy is the improvement in production The Waiting features a fuller sound, with an even mix allowing the rhythm section to improve impact. The bands two vocalists take it in turn for the first few tracks. Peter Gustavsson has a slightly raspy delivery and female lead Eva Eggesjo Abrahamsson has a much smoother voice which compares favorably to that of a European version of Robin Beck. Although listed as a lead vocalist, Peter only takes lead on 4 tracks, with the majority sung by Eva on her own. I'd like to hear Peter sing more actually, I enjoyed his tracks. But Eva has a strong voice and there is a market for fans of female fronted AOR albums. And the fact is that the band has some very pleasant (there is that word again) and catchy AOR songs at the band's disposal. How Does It Feel, Perfect Match and Endlessly are an opening trio of songs that get better with every listen and will hold definite appeal with fans of pure AOR with a softer Westcoast vibe. The tempo remains pretty much the same throughout, so the record needs several listens to get to know the songs. Some more variation in pace and style would make the album even better. That's why the tougher rock sound of Rivers Are Calling and Let Me Out are most welcomed.
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| Eden Lost Road Of Desire | AOR Heaven 00018 |
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I think AOR Heaven have a great ear for cool releases. I think this may be the very first time I haven't been won over by one of their releases from both the AOR and Metal side of things. Eden Lost hail from Madrid, Spain and this is their debut album. Road To Paradise is a hard rocking affair, with the band supporting a strong European rock sound, influenced also by their Spanish roots. I think the production is ok, but at times sounds a little hollow. The guitar sound is in most need of some attention. That's ok however, as long as the songs offer something cool for listeners. Lost In Paradise certainly does it's an uptempo rocker with a good chorus hook; You has a certain Bon Jovi vibe to it and although very rough vocally, Only Girls shows further promise. Elsewhere the vocals are a little too rough and there isn't the necessary chorus hooks to draw you back in. I'm a vocal fan if I don't like the leads vocals, it is hard to get into anything and that's the trouble I'm having here. The album's closing track is the only ballad of the album and sees something different from vocalist Ignacio Prieto.
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| Secret Smile Hurry Up And Wait | Metal Mayhem MM00056 |
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Back for album number two, Secret Smile has done exactly what they should following the release of their debut. They have learnt from that experience and have worked hard on the new album, improving on just about every level. Hurry Up And Wait features better songs, a tighter sound and better performances than the debut itself an album that had a lot to offer. On the new album the band continues to deliver their brand of commercial American melodic rock, which has one foot firmly planted in the 80s. The opening track Tears In The Sky sets the album up perfectly. This is a great little anthem, with a killer chorus and electric and acoustic guitars providing the necessary musical muscle. The raspy vocals of TJ Gabriele sound familiar, yet he is his own man. Runaway is the prefect follow up and provides another high quality uptempo melodic rock track to hang our hats on. The uptempo pace continues through until another solid melodic rocker Talking To A Stranger, then slows a little for the moody Sorry It Didn't Work Out, which has another great vocal hook. Another highlight is You Said Goodbye a track which is mainly mid-tempo and has a great little chorus hook. The band's cover of Fleetwood Mac's Go Your Own Way is great to start with, but is truly brought to life by some well-placed Ted Poley harmony vocals. A nice energetic cover tune.
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| Bitter Suite Crime Of Love | Metal Mayhem MM00053 |
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This is a pretty solid record. It has a nice tough melodic hard rock sound, with guitars at the forefront and vocals not far behind. At times one wonders just how many records were recorded in the heyday of this scene, yet never released, as this is yet another archive release originally written in 1991/92. I will presume it was also recorded in that timeframe, with no indication in the liner notes to the contrary. That said, I am not hung up on any album's origins, so long as it sounds great and offers fans of today something worthwhile. That's definitely the case here as Bitter Suite features some good songs. As I have said before of others, band principle David J Petovar could count himself unlucky not to score a breakthrough with this material back in the day. The only thing going against the record is the use of some six lead vocalists across the album's 13 tracks. The positive is that those vocalists all do a pretty good job. None better than former Kick Axe vocalist George Christon, who sings lead on the opening two tracks. Crime Of Love and Prayin' For The Rain both rock with good choruses and offer something cool for both Kick Axe fans and melodic hard rock fans in general. Don Wilk former White Wolf vocalist takes up the next three tracks, which don't hold as much power, although My Lucky Day has a good hook. Petovar takes over lead for the majority of the remaining tracks. He fits the material, but could have used the extra impact of a more powerful singer. Look Into My Heart is the best of his vocal tracks. Closing track Bad Boy is a female sung pop/rock/dance track which does the album no favors whatsoever. That one should have been left out.
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| Cry Holy AlieNation | Metal Mayhem MM00054 |
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Another interesting release from Metal Mayhem. Cry Holy are a Christian rock outfit from the USA. The guys play a commercial style of 80's inspired melodic rock with a strong emphasis on good choruses and passionate delivery of their message. The guys wear their beliefs on their sleeve, with all songs openly containing positive Christian messages. I mention that as I know this is not for everyone. I have to admit though; the guys write a catchy tune and know how to craft a good song melody. Whether it be uptempo melodic rock such as Alienation, 80's pop rock on My Lord and Everlasting Love, or even pomp balladry such as on Strangers To This World these guys pull you in with some great tunes. On the slightly negative, I'm not sure the production sound of the album does them too many favors. The overall sound is a little hollow and certainly doesn't match the quality of some other releases on the market right now. It's a little dated in places, but those are the only down points. However, the quality of the melodies is just too infectious to ignore and the style of the album classic melodic rock mixed with pomp and 80's AOR will certainly insure these guys get some well deserved attention.
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| Trixie Life You Up | Metal Mayhem MM00055 |
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The bio says "Def Leppard meets Motley Crue". I don't often take much notice of such blurbs, but in this case it appears pretty accurate. The band has that driving guitar punch that Motley Crue is famous for and lead vocalist Ronnie Borchert has a distinct Vince Neil style high pitched drawl. Def Leppard comparisons come from some of the chorus arrangements and the layered harmony vocals that Leppard are famous for. The album swaps back and forth from uptempo rockers to fluffier pop/rock numbers. After a couple of ok Motley-ish rockers that open the album, the band slips into a more comfortable Def Leppard production style. The mid-tempo moody rock track Escape in particular sounds like early Def Leppard with Vince Neil singing. The uptempo Crazy and slower and moodier Not That Easy sound like more recent Leppard and I think will find appeal with melodic rock fans thanks to some strong choruses. Tuff Girl is a little more modern, with a slight nu-breed feel and the acoustic Lift You Up sounds a little like Poison. Another high-octane Motley-esque track Goodbye closes the album. The album's guitar sound is a little fuzzy in places obviously a style attribute chosen by the band, but that may not appeal to everyone.
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| Tsar Band Girls Money | TVT 2700 |
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If you like juvenile radio-fed punk rock, then this album is for you. However, if you were a fan of the attitude and style of Tsar's debut album, which delivered some tasteful nu-breed melodic rock, then avoid this album like the plague. The band were obviously not happy with the success of their debut so in a vain attempt to sound even more relevant to a youth audience, the guys have upped the attitude and upped the 'punk street cred' hype, but in the process have ditched all sense of memorable or melodically friendly music. And not only that, but the production is second rate demo at best. Sounding more like The Damned circa 1979, Tsar have ditched all that loved their debut and are unlikely to pick up any news fans with this heard it all before sound. The Damned were a super cool band in their time, but I don't need to be reminded of them by these guys. Play the original, not the pretenders. Only the catchy pop/punk of The Love Explosion warrants any further playback for me. The rest is just badly recorded second rate punk rock. RIP Tsar. |
| Jay Parmar Strange Day | Indie JP0001 |
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I believe this is the first release for UK native Jay Parmar. His guitar playing skills are put under the spotlight on this 40 minute instrumental album that features a full band recording, minus (obviously) the singer. To the credit of the performer, that full band is in fact Jay himself, credited on this album for all instrumentation. I would hazard a guess and say the drums were programmed, but the album features a thumping bass rhythm. Obviously a talented lad, he plays guitar with the passion that is needed to turn heads. Fans of instrumental guitar albums would be wise to check this out. I'd like to hear Jay hook up with a singer/band and expand on his writing and playing skills. I have heard far worse signed to established labels, so expect to hear more from Jay. |
| Sixty-10 So No To Thugs (EP) | Indie |
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Sixty-10 released their debut album a year or two back now to a good response from press and fans. The band has this certain fuzz-pop sound crafted by the likes of Enuff Z Nuff and Cheap Trick. The band is back in 2005 with a new 3 track EP and has taken the base of their debut and moved just that little bit forward. There remains a definite Enuff Z Nuff vibe, which I think is mixed in with a modern rock/nu-breed pop/rock sound that suits the band. Miss You is about as happy go lucky as pop/rock songs come, while Everything is suitably moodier. Ever Since is a little grittier and features a solid hard edged guitar lick. Good tracks featured here a sign of even better to come I am sure. Let's hope the wait isn't too long. |
| Prayer Wrong Address | Escape Music ESM117 |
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Finland has had strong musical growth in recent years - more so in the metal genre, where bands like Nightwish and Stratovarius have been making names for themselves worldwide. But the country has a good AOR scene also and Escape Music seem to have tapped into it. In recent months Myon and House Of Mirrors have been released and now it's Prayer's turn. If you have found some delight in the releases from Myon and HOM, then changes are Prayer will suit perfectly. In fact, I rate Prayer above both of those releases and think fans of keyboard driven 80's AOR will find a lot to like about this release. Prayer has that European AOR sound and style about their music, but it isn't their sole influence. This is a varied and diverse release, but one constant remains - strong vocals throughout plus a swag of keyboards on every track. The guys have written some great songs for Wrong Address. There are a couple of tracks towards the back end of the album which aren't as strong as those stacked towards the start, but generally speaking, the quality remains high. Sound quality is pretty strong. That is of course, if you are into that whole 80's keyboard sound where the rhythm section plays second fiddle in a mix more dominated by louder vocals, guitars and keyboards. It's hard to lock these guys into an exact comparison, as they really mix it up. Secrets Of The Night and I Have Been Loving You are both glorious examples of pomp AOR that compares to classic John Wetton fronted Asia as does the mellower Back On The Road which features some lush keyboards and harmony vocals. Running Wild doesn't get any more 80's and is an ideal precursor to the album's best track - Any One With Broken Heart. Believe me when I say that this is uptempo and anthemic pure Boston and beats anything off Boston's last couple of albums! He Never Gave It All is another highlight; this uptempo pomp rocker has a great display of keyboard playing. I Want You, Main Attraction and End Of Time are for me the weaker tracks on the album, but the closer Crossfire sees the band go out on a high note, with another great keyboard driven AOR track.
Very lite, very easy going and certainly very nice stuff metal fans hate, but stuff classic AOR fans love and this comes recommended to those fans, who I believe will find a lot to like here.
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| Journey Generations | Frontiers Records FRCD254 |
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It's amazing how different Journey's approach to their new album has been compared to their approach to the release of Arrival. Yet at the same time, there are some major similarities. Journey's return to the studio is anticipated like few other artists covered by this site. It's almost a case of trying to fulfill impossible expectations. The events surrounding Arrival's release some four years ago left a bad taste in the band's mouth. A pre-release leak and an early release in Japan saw a market flooded with import copies and internet downloads - which killed off label support for the US release and in the end, helped bring the band to their decision to break away from their longtime label Sony Music. After two extra tracks were added, the US version of Arrival was a very fine album indeed. For the new album Generations, the band has decided to give away copies to concert goers in the US, while licensing it to a smaller label for Europe - Frontiers Records. The label's name itself was a tribute to an earlier Journey album and they were only too proud to be the label involved. For once Journey in Europe is a priority. I hope the band can follow this up with some live appearances there. The similarities to Arrival start here the album was the subject of a major licensing deal for one territory, while copies are becoming available substantially earlier in another territory. And already guitarist Neal Schon is talking of ways to achieve a US domestic deal later this year for the album. Also, this has not yet been said which I find surprising but, production quality aside, the main difference between Arrival and Generations is simply the number of tracks on offer. Arrival was labeled a little soft which it was, but more so because the slow and mid-tempo tracks outweighed the uptempo ones. On Generations, the mix is much better and the uptempo tracks are in the majority. Take 2 ballads off Arrival and you get an album which is of similar pace to that of Generations. This time around however, the uptempo tracks are a little heavier and definitely have an edgier approach. The rawer production also adds extra punch and Neal Schon's guitar dominates the record. Kevin Elson has managed to capture the band in a live environment, with less overdubs and a substantially less polished sound than Arrival, but better overall quality than the band achieved on their own when recording the Red 13 EP. The production is stripped back and that helps the album appear more in your face. Arrival was a super-slick album though and did sound a million bucks. So some fans may prefer that style over this. Personally I don't mind that kind of difference in sound or approach for me it's the song quality which is the most important factor. Generations features some great songs and I love the fact it's a bit heavier and touches on some new ground. But I think a few tracks could use some bigger choruses. The songs and choruses of Generations are not as immediate as past Journey music and require more listening to get to know. I think the band has rocked things up a little more here, but I think the choruses from Arrival were better overall. The use of multi-vocalists is something else that some will love and others will find issue with. Generally speaking, I think the band have matched vocalists with songs pretty well, with everyone giving strong performances. The odd spot is Ross Valory's track, but read the song descriptions for more thoughts on that. Switching vocalists can harm the flow and consistency of any record and that is certainly a small issue here. However, as a band, if you decided to do this, Generations certainly sees it done with the most minimal disruption. Steve Augeri is featured in the writer credits on several songs coincidently the same number as he co-wrote on Arrival. But this time the difference is he gets two writing credits outside the band and his own individual style is more clearly evident. One can definitely hear some Tall Stories moments throughout the album. Most prominent throughout is guitarist Neal Schon and drummer Deen Castronovo. They are both all over this record. Ross and Jon seemingly take a backseat here, but once you get to know the record, their important roles become more obvious. Track By Track: Following a suitably tasteful building intro, the opening track Faith In The Heartland bursts to life with a classic Neal Schon riff and a soaring melody line. The more urgent, stripped back production is evident immediately and Steve Augeri's lead vocals have a comfortable intensity to them. Upon first listen, the chorus comes and goes with a flash, which is probably the biggest surprise of all. We are used to Journey choruses pounding us over the head, but this and others within the album are more subtle and it's not until you are on your third listen does the listener properly acknowledge this. As subtle as they are, the song does feature a bridge, chorus and even a guitar driven tempo change mid-song. The beauty of this typical uptempo Journey anthem is its length. Clocking at just under 7 minutes, it has room to breathe and the last minute of the song features a moody instrumental passage where both Neal and drummer Deen Castronovo get to shine with a little more prominence than you would normally see on a Journey record. I would have liked to have heard more like this. The Place In Your Heart is without doubt the perfect follow-on from the opening anthem. This track is a little darker and a little moodier, but is more straight forward than its predecessor. On Arrival the band killed the momentum of the opening anthem with a ballad at position two this time they get it right with an uptempo rocker with a classic Frontiers/Escape feel. The track itself features an instantly recognizable chorus and some cool harmony vocals. Curiously I favor the darker feel of the verse over the less intense chorus. Steve's voice sounds great in this lower octave and just that little bit tougher. Continuing the mood of the last track, but not the vocalist, is A Better Life, the world's first look at Deen Castronovo the vocalist. And what a revelation! Deen's voice resembles that of both Steve's - Perry and Augeri - in a way that has more of the soul attributed to Perry, but the rougher edge of Augeri. And credit to Deen, he's his own man. If you listen closely to his vocals, he has his own style of delivery. The song itself is an ultra smooth mid-tempo ballad of hope and emotion. Style wise I don't think it's far from the songs of Arrival, especially Signs Of Life. The band keeps the tempo rolling with the lyrically brilliant Every Generation. Penned solely by Jonathan Cain and sung by the man himself, the song could easily have been lifted from his solo album Back To The Innocence. Layered in rock n roll piano and backed by a solid drum rhythm and lead guitar riff, the mid-tempo, Midwestern rocker would have been the best track on Jon's solo album and remains one of his best numbers in recent memory. It doesn't perfectly fit within the album, but thanks to some Schon acrobatics towards the end, it does match the tempo and vibe of Generations. Butterfly is one of two Steve Augeri self-penned tracks to make the album. He co-wrote on a few others, but for the first time, he gets a solo writing credit here. This is a 6 minute ballad, but not in the traditional sense of the word. This rather, is an intense and moody track which builds from a slow start to grand finish. It's a long song and I have to be honest and say that it's made even longer by the lack of a memorable chorus. There really isn't anything to sink your teeth into here. I don't think it's one of the album's stronger songs. Nor is Believe. This is another track without a traditional chorus and at nearly 6 minutes is just too long. The song is carried by a strong keyboard melody and a nice uptempo rhythm, but the lack of a strong hook is detriment to the song as a whole. I prefer it over Butterfly though and my comments should not negate the lyrical depth and maturity both tracks have. It had to happen and track seven sees the first big traditional Journey ballad of the album. Knowing That You Love Me is another Cain penned track that is typical of the band's much loved ballads All The Way, Loved By You, When You Love A Woman and Open Arms. It's nice, but for me is part of a mid-album run of tracks that fail to blow me away. On the other hand Out Of Harms Way is the absolute business! Now, this is what we need more of and having heard it, leaves me wishing the guys went a little further outside their comfort zone to rock it up more like this. With a slight Soul SirkUS feel to it, this hard edged rocker features a mean lead guitar from Schon and subtle keyboards from Cain, and most pleasing, a menacing vocal from Augeri. Two minutes into the track you begin to wonder if this isn't another number without a big chorus then bang it's there. Subtle, but layered, the chorus is a perfect match for the song and Augeri's vocal just gets better. The intense drum-fill with the song, the wailing guitar solo and the experimental feel of the track shows that Journey can rock with the best of them and are capable of new tricks even after all this time. If only there was more like this! A slow paced mid-section is truly consigned to the past with an ultra-rocking remake of the Neal Schon sung Schon & Hammer track Self-Defense. This time it's renamed In Self Defense and features an even bigger guitar onslaught and some great harmony vocals courtesy of Deen. Hearing Neal sing lead on a Journey album is different, but in some ways he sounds more at home than the others and this track is well placed within the album. The big rock sound continues with the hard edged groover Better Together. Steve Augeri again sounds ruthless with a menacing vocal and Neal's guitar parts team with Deen's drumming to hammer the point home. Not the most memorable chorus I have ever heard, but the uptempo nature of this rocker remains infectious. If Jon or Neal's vocals seemed like an oddity on a Journey album, you haven't heard anything until Ross Valory takes lead on Gone Crazy. This is totally out of character for Journey, yet might have sounded right at home on Soul SirkUS. Ross' vocals are best compared with that of James Young from Styx gruff, raw and bluesy. I love the frantic rockabilly tempo of this blues rocker and in its own special way; it suits Ross down to the ground. I also don't mind the fact it deviates from the album's path, as sometimes an odd track at some point helps create character for the overall album. The jury remains undecided on this track I will leave it to fans to decide what they think of it. At the same time, it's not bad at all, but I don't think it actually enhances the album in any way. Beyond The Clouds closes the album for US fans. This is another big Journey ballad, but definitely leaves its mark upon the listener. Steve's vocals are perfect and a soaring chorus really drives this ballad over the top. Very soulful and featuring a memorable performance by all, this is one of the bands best ballads in Journey's post-Perry history. Closing the European version of the album is another track featuring Deen Castronovo on lead vocals. It's Never Too Late is what you would call a cracking rock anthem. Why this song was not included on the US version is anyone's guess! Deen's voice owns this track and crackles with emotion as he builds to a chorus which for me is the absolute best of the entire album. Written by Schon, Cain and Jack Blades, it's another big anthem in the tradition of Higher Place (also written with Blades). It without doubt ends the album on an absolute high.
This album has some definite advantages over the previous album, but as discussed, also has a couple of detracting points, which I believe will split fans - with some preferring Arrival and others favoring Generations. Personally I prefer the US version of Arrival and the European release of Soul SirkUS' World Play overall. Rougher, tougher and more diverse than Arrival, Generations is an album that still rates as a must-buy for melodic rock fans, but it isn't a classic. It could perhaps use an extra big chorus or two and is a little slow through the middle, but even with some criticism, the band have decisively moved away from the Perry fronted era and the songs within are still better than a lot of the competition out there. A definite highlight for 2005, but not the highlight.
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| Alice Cooper Dirty Diamonds | Spitfire / Eagle Rock |
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I saw Alice Cooper live last week
what a great show. And what a kick-ass band! Damon Johnson and Ryan Roxie on guitar...you don't get better than that. Drums are provided by Tommy Cluffetos. So why does this album sound like crap then? Well, Alice decided to make this album a raw, rock n roll record in the best tradition of classic Rolling Stones records. It certainly features a change of pace and direction for the singer, but will fans move with him? Alice played a few tracks off this album live - Woman Of Mass Distraction, Sunset Babies and Dirty Diamonds. They kicked ass as they should - and gave me cause to reconsider my initial opinion of the album. But no, the album does sound like crap. While the band are as tight as a goldfish's ass live, in the studio Alice has taken a different route. This is a stripped back almost garage band sound. The style chosen this time around is more rhythm and blues and retro. But it sounds like it was recorded in an outhouse without monitors. The title track is among the worst offenders. You don't have to forgo sonic quality to make a quick, live sounding, rock n roll record. As for the songs as a whole, I quite like the first half of the album. Dirty Diamonds, Sunset Babies and Woman Of Mass Distraction all have hallmarks of the classic Cooper sound. Also of interest is the Beatle-esque pop of Perfect. But elsewhere there are a several duff tracks. The middle of the album bottoms out to a real slow pace. The acoustic Pretty Balerina and the psychedelic Zombie Dance get voted worst tracks of the album. And what is The Saga Of Jesse Jane? Sounds like a tribute to Johnny Cash! Definitely not for all Alice fans. It's not until the rocking Steal That Car that things pick up again briefly. And the bonus track Stand should have been left where it came from. A rap song is one way for Alice to appeal cool to a new demographic, but those folk will not be buying this album, so leave it off. I'm sure there will be someone that questions my understanding of the album, but I understood Brutal Planet and Eyes Of... just fine. This just doesn't come close to those two albums.
It sounds terrible and features some songs too diverse for the traditional Cooper audience and certainly not in keeping with the quality output of his last few records.
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| Terra Nova Escape | Frontiers Records FRCD253 |
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I can't say I've warmed to Terra Nova's sound on previous efforts, but this one is a little better. The band took a detour in recent years, recording under the name Aquila, who had a more contemporary sound. But now they are back to their easy going, European 80's AOR feel. I think established fans will enjoy this release, but I'm not sure how many new fans they will convert. This is a very happy, uptempo, keyboard friendly AOR release, with a strong European feel and some breezy lead vocals and sing-along harmonies. Escape is not an immediate record it has taken me several listens to warm to it. The song titles reflect just about every clichι this genre has to offer and the album's title is pretty obvious. What the band does here is adhere to their classic sound, with a definite 80's vibe. I think the album starts off with one of the worst tracks on offer. Long Live Rock N Roll is just too cheesy and is ultimately a pop song with a thin drum sound. Not very rock n roll. Rock Bottom and Hold The Line are far stronger tracks. These define the band's sound European pomp AOR. Escape continues the high quality pomp. The band battles to avoid straying into overly cheesy territory, and fails on a few tracks especially the ultra syrupy You Are The One, which is just all too familiar. A better ballad is the track Heaven Knows. The album contains a couple of other duff tracks including War On War and the closing ballad Yesterday. There are some highlights however, towards the end of the album. Soul Survivor sees the band get a little tougher as does the catchy Part Of The Game and Back In The Eighties gets my nod as the album's best track (again with a grittier guitar driven approach). The mid-tempo ballad Lonely Is The Night is also superior to the other ballads on the album.
While it's not a knockout there are some memorable tracks on offer and it's certainly better than Eye To Eye a few years back and more AOR than Aquila.
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| Urgent Out Of Time | Brennus Music BR8132 |
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French melodic hard rock outfit Urgent are not top be confused with the Canadian band of the same name from the 80's, or the American band of the same name with the cult album Thinking Out Loud to their credit. These guys have a debut album here featuring a mix of melodic rock and hard rock songs, in that unmistakable European rock style. The biggest problem the guys have is the fact there are so many albums to choose from on the market right now and an abundance of high quality melodic rock. These guys have written some memorable tunes Running Out Of Time and Give Me No Warning and even The Wild & The Young offer some good ear candy. The guys obviously produced this themselves and I'm sure the budget was limited. They have done an admiral job, but varied sound quality is the album's weakness. A few pointers the song Rock N Roll Heroes is too heavy in the context of the rest of the album and needed a better chorus. The production quality varies too much when listening to Hold On compared with earlier tracks and RNR Heroes. What Love Is All About is another highlight for melodic rock fans and this is perhaps an area the band could concentrate more on. It has more atmosphere and some nice layered melodies and is a truly memorable track. Out Of Time is a good start for the guys and one hopes it gains them some much deserved attention. The album is in need of a bigger production budget and a more focused approach with song styles. There is definite potential here though, so one looks forward to future efforts. |
| Xsavior Caleidoscope | Atenzia Records ATZ02039 |
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Xsaviour features the talents of the great vocalist and always popular Goran Edman and the very talented Daniel Flores on drums and vocals himself a busy guy of late with Moonstone, Philip Bardowell, Novak etc. This is one for progressive fans. Serious progressive fans. This is one over the top record and is definitely not for those that live for 3 minute songs. For a progressive outfit, these songs aren't that long they however, don't contain a lot of changing structure and I think fans will either love it or hate it. I know what side of the fence I am on, but that does not take away from the fact it is very finely produced, sounds great and contains a very complex set of songs. The performances are also top notch. How could any performance from Goran Edman not be great? Despite some pleasant harmonies and chord structures, I have a hard time focusing on the music as those hooks are ever so brief and a 5 minute song with 5 different changes in tempo is a hard thing to follow. Queen fans might find some of the arrangements and layered over the top harmonies appealing, but generally speaking, this is one for progressive pop fans and those prepared to spend a lot of time on this release. |
| Waltham Waltham | Rykodisc RCD10698 |
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Waltham have been favorites of mine since they burst onto the scene with their indie release Permission To Build a couple of years back. The rise to much deserved fame has been slow for these guys, but this release will surely see them gain that rightful national and international exposure. The guys have signed to Ryko for an American and European release and one hopes the label will back them to the hilt. These tunes are just too good they should be on radio playlists worldwide and the band's energetic and somewhat legendary live shows need to be taken to the masses! Their new self titled album is basically a re-recording of the Permission To Build album, with some new tracks. I remain an ardent supporter and fan of that album. Ryko obviously believed in it also - so strongly that they wanted to get those tunes out there hence this re-recording. There is good and bad about this release firstly the songs are still utterly fabulous and this band has such a unique sound. They are as contemporary and as modern as they need to be in order to appeal to a wide demographic, including the all important teenage/youth market. They are also as melodic and retro as you could get, with an uncanny knack for killer hooks, great melodies and feel good songs. And of course, it doesn't hurt that the singer sounds like Rick Springfield! This album is Working Class Dog for the new millennium perfect power pop/rock. The downside is that for fans of the debut, the sound recording here isn't too far removed from the original indie release and 8 of these 12 tracks are from Permission To Build itself a re-recording of the band's first ever release The First Album. Move on already guys! We want more new tunes! On this version there are a few altered arrangements and even more backing vocals in some places, plus a range of subtle changes that come from any re-recording and also from having played the tracks live so many times. On the upside, fans do get 4 brand new tracks and local Boston area fans also get a new 5 track EP with the album, which is a very cool thing for the band to offer. But for the majority one hell of a cool album with 4 brand new tracks as part of the mix. For a review of the original release please read: Permission To Build. The new tracks prove that the songs written for the debut were no fluke and these songs are every bit as instantly catchy and memorable and fit alongside the older tracks perfectly. Joanne is another great anthem of unrequited love and is an uptempo power pop anthem with some tasteful harmony vocals. Call Me Back is another example of why this album is Working Class Dog for a new generation catchy rock music with great pop hooks. You Gotta Let Me In is a little darker and moodier and at 3 minutes in length gets to the point straight away. Be With Me is a new track, but sounds so familiar I could have sworn it was part of the last album! You can see why this fits into the mould of the older material and features a really strong chorus hook. I just love this band's constant sonic bombardment thanks to a duel guitar attack. Also included is the band's DVD Permission To Film, with a bunch of goofy backstage and on tour footage. Great for fans and an extra added value for this neat package.
Don't worry about songs, talk of an indie release, whatever just rush to get this bloody great album of catchy, hook filled power pop/rock. A little bit of the 80s, wrapped up in modern rock format, but as melodic as it comes and dare I say it a perfect example of mixing the old with the new and a great album to try and pull old-school fans into the present. I still prefer the original Permission To Build, release - but just by an edge.
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| Steve Walsh Shadowman | Frontiers Records FRCD249 |
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Best known for his role of the frontman of Kansas, Steve Walsh has also had a substantial career with his side projects and solo albums.
This is his first solo release since 2000's Glossolalia. Besides the voice fronting the music, the material here and Steve's solo outings in general don't have a lot in common with Kansas besides a natural tendency to be pompish. Steve has always been one to experiment and incorporate new sounds into his solo work and this is no different. In fact, this is one of his most diverse releases to date. The musical integrity of the release is unquestioned it will just come down to whether it is something Walsh and Kansas fans want to hear. Overall this is quite a guitar driven record. One could listen to the first track Rise and be scared off a high-tech pop verse diving into an almost prog-thrash chorus riff is not for the fainthearted! But tracks like Shadowman and Davey And The Stone That Rolled Away are more consistent and have that dramatic flair associated with Walsh. The acoustic flavored Pages Of Old could be lifted from the solo pages of Robert Plant. Hell Is For Heroes features drum machines and an almost techno rhythm and sounds a little out of place here. After, which features amazing orchestration from Symphony X's mastermind Michael Romeo, runs some nine minutes in length and is a true example of symphonic hard rock, with more time changes than a Dream Theater epic. Probably one of the better tracks on the album.
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Saidian ...For Those Who Walk The Path Forlorn |
Metal Heaven 00006 |
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Saidian's debut continues a strong year for melodic metal in Europe. This is yet another high quality release from a German band, whose name might be new to the scene, but whose personal aren't. Saidian features singer Markus Engelfried (ex-Brain Dance), bassist Manuel Glassmann (ex-Horny Speed), drummer Stefan Dittrich (ex-Karkadan) and guitarist Rodrigo Blattert (Citizen Kane). Not major names perhaps, but guys with extensive experience in the metal scene. What's on offer here isn't that original, but it is memorable. Vocalist Markus has one of those high-pitched metal voices along the lines of Halford, Rob Rock and Geoff Tate. There's a little old school Tony Harnell in there too I think. It's a bit over the top in places and the squeals will be best suited to fans that dig that style. Fans of bands like Edguy, Stratovarius & Royal Hunt will hear plenty of swirling keyboards, double kick drum rhythms and intense guitar solos throughout. Holding the album together is a strong production and some well placed verse and chorus melodies no better than on Silent Killer. The paces varies from flat out to slightly restrained there are no ballads on offer here! The closest the band comes to that is the very commercial track The Only One.
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Wig Wam Hard To Be A Rock N Roller....In Kiev |
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I did a brief review for these guys last year, but now is an ideal time to revisit this album, being that it has been repacked and re-released to cash-in, sorry, to capitalize on the band's recent appearance at Eurovision 2005 with their new song In My Dreams. That track has been added as the opening song on what was the album 667 Neighbour Of The Beast. That is certainly a more apt title, as it highlights the tongue in cheek nature of these glamsters. This album is a highly enjoyable voyage into past glories, where good times ruled and rock n roll was best served up big and the bigger the better. Taking inspiration from the likes of Poison, Kiss, Def Leppard, Tigertailz and early Motley Crue, these guys glam it up to the max, but back up their look and their attitude with some great songs. There is no denying that the likes of In My Dreams, I Turn To You, Best Song In The World and No More Living On Lies are great songs and great examples of instantly catchy melodic hard rock. There is some depth to these guys too the album contains plenty for fans of Scandi melodic rock and the guitar solos come thick and fast throughout. The band slows it down in places for a couple of solid ballads such as Tell Me Where To Go and Out Of Time. Somewhat darker thru the mid-section, the album reverts to good time rock n roll for the conclusion. Hard To Be A Rock N Roller ends the album on a positively glam-stocked high note.
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| Tony Mills Freeway To The Afterlife | Indie / Heavy Rock Records |
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Tony's name is synonymous with UK melodic rock, with his band Shy firmly a part of that countries musical history. With a new Shy album delivered and in stores, it was time for Tony to take a step away from AOR and please his own musical yearnings. This is definitely not an AOR record, nor anything close to what Shy represents musically. I suppose that is what solo projects are for. The saxophone in Tony's hand on the front cover should have been a giveaway, but it wasn't until I was playing the CD that I picked up on that. This is a record that covers a range of styles, but to summarize, is filled with breezy jazz numbers, blues and a little pop/soul for good measure. Tony's voice is recognizable, but the music isn't. The sax filled 8 minute plus Don't Hurt Me Anymore is the best example of an AOR lovers nightmare, but I do say that with respect. Tony showcases a very soulfulk side to his voice, proving the high-octane delivery with Shy can be altered, should the occasion fit.
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| Diving For Pearls Texas | Atenzia Records |
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Melodic Rock fans are fickle. They demand bands stick to their most cherished style, but they don't want the same thing dished up album after album. But, should the band experiment or try something new, heaven help them. At the same time, the brandishing of a band's moniker brings instant memories for what they are best known for and it's therefore fair to expect the music within to heed to that style. When it doesn't, should we punish the band for not being true to their sound, or should we always take each album on its own merits and award points for the individual album rather than the band's legacy? I prefer to rate individual albums for what they are. For example, House Of Lords deviated from their trademark sound with their last album Power And The Myth. Some were happy, but the majority were not. I was not worried by an updated sound, and style aside, it basically came down to not being a strong enough record. Same applies here. It's some 16 years since the last Diving For Pearls album so one should expect some changes. Whether fans of the debut chose to accept those changes will decide the fate of this album. Getting to know this album takes some time. Over the first few listens to Texas, one can hear tracks that are compatible to the classic debut, plus several more modern tracks that, at first, seem a little out of place. These are the ones classic fans will have the hardest time accepting. However, the differences between individual songs and styles softens with each listen getting to a point where it all just sounds like a fresh Diving For Pearls, albeit, with an extra updated twist. There is an added complexity to this album many of the songs have a modern twist in the verse, but a classic style chorus, or vice versa. Entwined throughout the album are elements of the bands classic sounds with a more updated feel. Aside from a few tracks, to appreciate the whole album, one has to accept that fact. As always, it does come down to the songs and there is no doubt there are a few brilliant songs within Texas. There is also a few fillers. Thinking About Things That Will Never Be is about as updated as the band gets and is more aggressive than past performances. Closer to the classic sound and most pleasing to these ears is the mid-to-uptempo melodic rockers I Thought About You, Heaven Only Knows and If I Only Knew, all featuring good choruses and plenty of hooks. The big ballad The Truth Is could have been placed anywhere on the debut without problem, so this is going to be a fan favourite. One has to credit vocalist Danny Malone for keeping his voice in fine shape. It sounds rich and warm throughout and there are some moments where you could swear it was 1989 again. Best of the more modern tracks is the nu-breed tempo of The Colours Show and the psychedelic ballad The Sweetest Sin. Elsewhere the material just isn't as strong as the tracks highlighted above and that is more the problem here than the style itself. I think there are about 4 or 5 fillers amongst some very good tracks. The album sounds fabulous thanks to producer/musician David Pratter, who along with Danny really was the sound of Diving For Pearls, but it must be noted that this album is primarily a two man show and no other past member contributes.
Without being unnecessarily negative, the track record for melodic rock fans accepting updated records from bands with minimal connection to their original line-up or style, is pretty bad, so this record has an uphill battle to be accepted from the outset. Given that it's taken 16 years to get a second album - if it isn't a mega-hit, one could assume this will be the last we ever hear from one Danny Malone. Now that would be a tragedy.
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| Iommi Fused | Sanctuary Records |
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Should there be any justice in the world, the collaboration between Black Sabbath great Tony Iommi and vocalist legend Glenn Hughes would be heralded as one of the most inspired in rock n roll. Sadly, their first collaboration was overshadowed by a record label that demanded the record, essentially an Iommi solo project, be released and mislabeled as a Black Sabbath album. Their second pairing would not be released until some 8 years after the event! Even then, it sounded great. Finally, the pair is able to work and promote a partnership together and although released as an Iommi record, this is Hughes/Iommi in every sense. The pair are perfect folly for each other. Tony Iommi has one of the heaviest riffing styles in metal and Glenn Hughes is one of the few with the voice and diversity to match. We've seen and heard Glenn the funkster and Glenn the soulman, not to mention Glenn the crooner. But Fused features Metal Glenn in action, and boy, does he sing his heart out here. I don't think I have ever heard Glenn go at it with more force than he does here. Drummer Kenny Aronoff pounds the skins like the workhorse he is, providing essential power to the music. Fused is not a commercial record, but neither was the duo's two previous encounters. This is a pure metal record with a couple of slightly lighter moments which offer a good change of pace. The beauty of this record is that is sounds totally in harmony with today's metal stylings and even bit as contemporary as rivals Audioslave and Velvet Revolver just better! At the same time, it still has that classic vibe, which ensures it should cross over between new and old metal fans and given the promotional push, as a great chance at commercial success. Opener Dopamine is one of the most aggressive numbers featured with a brutal riff and an intense vocal. Like on most of the album, the chorus here isn't a hands-in-the-air event, rather a subtle change in mood in this case, the song gets more intense. Wasted Again features some amazing vocals and Saviour Of The Real has a true metal groove. The band head back to the classic metal vaults for the slow-mid tempo Zeppelin-esque Resolution Song, which features a brutal riff. Deep Inside A Soul has every chance of mainstream radio play, as it's just a touch less intense and definitely more melodic. Pick of the album for me is the uptempo and almost 80's metal sounding What You're Living For. A strong chorus and perfectly placed tempo changes make it a winner. Closing the album is the 9 minute plus epic I Go Insane. Essentially a big melodic metal ballad, the song runs through several stages, building to a fitting climax. Producer Bob Marlette proves he is as versatile as the performers he is directing, with an amazing sound and mix. Surely the producer of The Storm and Sahara Snow can now find more work!
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| Bombay Black Mercy | Kivel Records |
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It's hard to find original records these days, but I think Bombay Black just about pull it off. With the swagger of bands like Kingofthehill and early Extreme, mixed with glam-ish chorus hooks and a big hard rock sound, these guys clearly offer something no one else in the market place has right now. A strong performance from the booming voice of Erik Johnson helps propel this record to greater things. The band offers quite a variety of music within, from hard rock with a funky swagger to some downright glam-ish moments, such as on Hooks. Bullet In My Head is a strong opener, but the glorious You For Me showcases the very best the band has to offer hard rocking through the verse, with a monster chorus layered in harmonies. Other highlights from within the album include I'll Get Through, which has touches of Motley Crue that sleazy attitude and thumping bass matched with strong harmony vocals. Everything doesn't appear to offer much during the verse, but big chorus from nowhere makes for another cool track. Get Out is yet another highlight it has a ton of attitude and some definite angst. Another reminder of the Motley Crue of old. The band slows it down for a ballad in Fade Away, which should be well received. The last few tracks don't match the impact of the middle section and that doesn't match the first few tracks. I think the album opens with the strongest couple of tracks and from there heads downhill, but it still remains a strong and original enough album to warrant some positive attention.
Recommended for fans of old school good time melodic hard rock.
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| Boystown Angels With Dirty Faces | Ironhorse Records |
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It's easy to see why these guys have fans of old school melodic rock and AOR talking. Although no exact date is given for it's recording, this release is clearly one from the archives. Short liner notes suggest it's from the very early 90's, but even then, keyboard friendly American FM rock from the 80's is the driving music force behind this band. This one for collectors and lovers of traditional AOR. Angels With Dirty Faces contains plenty of pleasant, breezy melodic pop rock songs and one wonders why it has taken until now to hear from the band. The album is an equal cut of mid-tempo rockers such as Get Up, I Need Shelter, Boy Inside A Man and Something In The Way You Touch all which show a slightly more urgent side to the band; and more keyboard laced, mid-tempo AOR pop songs. Examples here are tracks like the thoroughly melodic and keyboard drenched ballad House Of Glass and the moody 80's ballad Sure Thing.
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| Diamond Head All Will Be Revealed | Indie |
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UK classic NWOBHM band Diamond Head return sadly without original vocalist Sean Harris. In his place is Nick Tart, previously seen fronting Robin George's Life project. The band stated that this album would feature a more modern sound and that is somewhat true. The guitar sound is certainly down-tuned in keeping with modern trends. A major influence throughout the album however, seems to be more classic rock in origin - Led Zeppelin no less. Especially with Tart's Plant-esque vocals. However, concentrating on the songs of the album, I'm not thrilled by the contents. Nor am I impressed with the very rough production quality. The first track Mine All Mine for example sounds horrible, as do others throughout the album. Its better in a few places, but it's very rough and a long way from the band's heyday. There are no killer hooks to hang on to and at times the sound quality is demo-ish. Maybe one for some fans of Zeppelin and Diamond Head die-hards, but it's going to appear very average to the majority of others. |
| Geir Ronning Ready For The Ride | Indie |
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Geir Ronning is best known as the voice of Scandi AOR especially bands featuring guitarist Tommy Denander Sayit, Radioactive and Rainmaker. On Ready For The Ride, he finally steps out on his own with a solid solo album that features this fine voice in it's full glory. However style wise it is a departure from the norm and won't appeal to all those that have a vested interest in the previously mentioned acts. This is very pop album. Some songs have a strong soul feel to them the title track would not sound out of place in a Memphis church. Other tracks both ballads and pop songs sound almost as if they have been tailored to be pitched to the likes of N'Sync and Backstreet Boys. Jazzy in places, with the use of vocal choirs and a bass section, this album features a fine vocal performance and some very commercial songs, but not so much for Geir's AOR fans. |
| Brazen Abbot My Resurrection | Frontiers Records FRCD 244 |
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Nikolo Kotzev returns in pretty quick fashion when comparing the time between past releases. While the time spent recording this album may be quicker than the norm, the quality is just as fabulous as ever and this album will prove to be a treat for established fans and those akin to some quality European hard rock. As has been the case with each Brazen Abbot release, Nikolo mixes up the vocalists and as always Joe Lynn Turner and Goran Edman are on board, this time joined by Erik Martensson (Eclipse) and Tony Harnell (TNT). I think this over time will develop into my favorite Brazen Abbot release to date. Of the 4 so far, this has the best production and the best musical performances. The addition of a 31 piece string orchestra is a master touch, as it adds some lush orchestral moments within the album. Joe Lynn Turner gets the best tracks of the album I think and his long established relationship with Nikolo shows - the comfort these two have in working with each other is evident. Opening track My Resurrection is simply one of the best rock anthems of the year to date, with a ton of guitar, a dash of Hammond and some dramatic string arrangements nearer the end of the track. Joe also gets a crack at a great ballad Dreams. This mid-tempo tune features more lush string arrangements and a seriously smooth lead vocal. The piano playing lifts the track into another dimension all together. JLT gets to have a little fun with the AC/DC style rocker More Than Money and goes off totally on the heavy Rage Of Angels, which again features some intense string arrangements. Tony Harnell continues his stellar year with another memorable performance, which sees him feature on three tracks. Godforsaken and Lost both rock with passion and have the same musical approach as the Starbreaker material. It's great to hear Tony in such a heavy setting. The vocals on Godforsaken are something to behold and are among his most menacing ever. A special mention here for Nikolo's guitar playing he shreds throughout, but no more than right here! Not every track is an instant winner here though. Another Day Gone is a more dramatic track, with a dark and powerful edge. It's an intense track and isn't immediately likeable, but gets better each listen. Goran Edman takes command on a couple of classics and a couple of not quite so memorable tracks. His first is track two Bad Madman. It's Goran in an attacking mood, but I'm not as sold on the track as I have been with his past contributions. Flyin' Blind is much better and is more or less, classic Brazen Abbot with a memorable bridge and soaring chorus. Beggar's Lane is perhaps the pick of the entire album, or at least one of the best tracks. Starting slow with some really lush strings, the track builds to a point about two minutes in where the track really takes off. A particularly strong chorus is bolstered by the orchestral parts. Goran's last track is a big ballad Shades of Grey, which like a few other tracks here, isn't as immediate and takes some listening to in order to fully appreciate.
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| Northern Light Northern Light | MTM Music 0681-134 |
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Northern Light is a long planned project from Norwegian guitarist Tor Talle. A popular route to go in recent times is to gather the best vocalists within the scene and have them all contribute to various tracks on an album and that's exactly what Tor has done here. I generally prefer albums to feature one vocalist alone, but in this case Tor has chosen wisely and each vocalist seems to compliment the others. That in some part must also be down to the material on offer, which is consistent, well-written and memorable AOR. Classic style AOR has been a little hard to come by compared to past years, but Sha-Boom and Novak are two other examples of great current European AOR. Northern Light is a name to remember if you want your AOR dished up in a pleasant, keyboard friendly 80's style. The sound comparisons for Northern Light can largely be attributed to the influence of the singers taking part. Tor adjusts his delivery to suit the individual singers, but never loses focus. What he achieves, is a cohesive record that will also appeal to established fans of the bands these singers represent. That gives the album a solid crossover appeal. Featured vocalists on the album are Fergie Frederiksen (Ex-Toto, Mecca), Kimmo Blom (Urban Tale, Heartplay), Tony Mills (Shy), Peter Sundell (Grand Illusion), Rob Moratti (Final Frontier), Mikael Erlandsson (Last Autumn`s Dream) and Persa (After Eight). Contributing to the music are a few guests, the most noticeable is Street Talk's Frederik Bergh on keyboards, while Tor also lends a hand with keyboard and bass parts. The opening two tracks feature Grand Illusion vocalist Peter Sundell. I Will Follow You and Don't Turn Away are about as pure AOR as you will find very pleasant mid-tempo tracks. His other track Living On A Lie, at the other end of the album is just as good. Three of the best tracks on the album. While There Still Time lifts the tempo with a great little rocker and together with the mid-tempo ballad When I Close My Eyes - thanks to the vocals of Tony Mills - provides fans with two tracks better than anything from the last Shy album. Still My Hero and Lay Down Your Defences both feature Urban Tale vocalist Kimmo Blom and are both enjoyable without the impact of his regular band. The production is a little thin on these tracks and the chorus hooks don't quite hit home. I'm not so into Rain Of Tears, even though the chorus is great. The vocals of Persa aren't as strong as others on the album and the sound is a little dry. The great Fergie Frederiksen offers another highlight with the mid-tempo anthem of sorts Eye To Eye. High Above The Sky is a perfect fit for Final Frontier fans and The Story Lives On is a layered ballad that will definitely appeal to fans of vocalist Mikael Erlandsson, but coupled with the lackluster Wherever You Go (again featuring Persa), give the album a very slow finish after some otherwise glorious classic AOR moments.
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| Blanc Faces Blanc Faces | Frontiers Records FRCD246 |
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Proving AOR isn't totally dead or forgotten about; Blanc Faces offer AOR fans one of the strongest debut albums of its kind since perhaps the Mecca release. The backbone of the band is brothers Robbie and Brian La Blanc, who both have extensive rιsumι's in the music world, without previously striking for solo glory. Now is there time, as this album will firmly plant their names upon the scene as ones to watch for future releases. The album was produced by the band, but mixed by the great Dennis Ward. Now, if ever there was an instance to award Dennis some praise, this is it. I heard the pre-mix of this album and was a little worried. But the final mix sounds great and thankfully this album has now been given the chance to compete with the big boys. Musically this is largely uptempo, keyboard friendly AOR record, played with precision in an 80's mold that will definitely appeal to fans of old school AOR such as Survivor and Canada's Glass Tiger. More recent comparisons are to that of Mecca and the voice of Joe Vana. Fans of that album will certainly find more to like in this. While the mid-tempo Here's To You gets the album off to a pleasant start, it's Edge Of The World that really kicks things into gear. This is a powerful and emotion filled track with a great anthem chorus that brings back memories of such artists as James Christian and Signal. We'll Make The Best Of It heads back into the easy going mid-tempo rhythm established by the lead track. Vocally it's a cross between Alan Frew of Glass Tiger and Joe Vana. The ballad Stranger To Love again reminds me of the AOR stylings of Signal, which I'm sure will please those reading this. Not every track has the impact of the album highlights, but the album itself is consistent throughout. The album quality is slightly reduced through part of the middle, but the uptempo rocker Sorry For The Heartache makes amends. And the moody Mr. Mister like closer We Will Rise ensures that the album closes on a high note.
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| Robin Beck Do You Miss Me | Frontiers Records FRCD251 |
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Robin Beck has one of those truly sexy lead vocals that you just love to listen to. Along with T'Pau, Fiona and 80's Heart, she has been a favourite for some time. After several years in the wilderness, Robin re-appeared last year with the new solo album Wonderland. A more pop/contemporary release, it disappeared before it even got going, thanks largely to lousy promotion. It was a fine release very smooth but perhaps traditional AOR fans will be more welcoming of this release, which sees Robin back on old turf solid melodic rock in the vein of her best known record Trouble Or Nothin'. Do You Miss Me relies on high-tech AOR mixed with some mellower ballads which run close to the style of her other acclaimed record Human Instinct. Overall, this is a fine return to form, but it also has a couple of short comings. The main issue I have is the production and musical backing from Fabrizio Grossi. While enthusiastic for his first 4 or 5 releases in control, I am tiring of his overall sound and style especially the guitar tone. Musically speaking this record sounds exactly the same as Shadows Fade, Tommy Funderburk and especially the James Christian record. That, however, is good news for the many fans of those releases. Most people will be aware Robin's husband is the great James Christian, so comparisons to his recent solo album should not be a surprise she lent a hand with backing vocals there and James repays the favor here (with Lisa Dalbello also contributing!) Sound issue aside, there are some memorable songs within the record. That guitar sound I spoke of dominates Do You Miss Me, but it remains a strong track with some lush harmony vocals boosting the sexy and catchy chorus vocal. Walk On The Moon is mellower and not as instant, but Your Love Is Tough kicks in with a bit more angst and a raw, emotional vocal. The rock ballad Safest Place (I Wanna Be Strong) features an outstanding vocal and is one of my favourite tracks from the album. Another strong vocal drives the uptempo rocker What About Us. Coming Back For More also impresses as does the layered and catchy Takin' A Ride, which has a somewhat updated feel to it. Another album highlight closes the album. Bring it Back features an emotional and moody vocal and one of the better chorus hooks of the album.
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| Boysvoice Serenity | Escape Music ESM116 |
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Boysvoice are a German melodic hard rock outfit that is centered around singer and guitarist Mani Gruber. The band released albums in 1990 and 1993 and really could have gone on to bigger and better things, as they are of equal talent and substance as fellow German rockers Bonfire and Casanova. The band's original bassist - absent for the second album, but back again here is in fact Casanova's Jochen Mayer. In 2004, the guys hooked up again revisit the past and look at their old video clips and pictures. Following that meeting it was decided a new album would be recorded. Original fans are rewarded with an album that isn't too far from their original sound, aside from the obviously updated approach and production qualities. Serenity is a solid album of German/European style melodic rock and while it isn't an instant album filled with monster hooks, it is a well written and performed set of songs that get better with repeat listens. The guys aren't as obvious as bands such as Bonfire or Gotthard even, but they do write quality tunes. The album has a slightly laid back delivery, yet is still dominated by guitars and some of the band's energy comes to the surface once the songs become more familiar. Certainly tracks like Open Your Eyes and What You Get will give fans of German hard rock something to smile about. Light's Out and Crazy contain good hooks and the moody On Your Own and the heavier and somewhat funky Best Friend's Lover offer some diversity within the album.
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| Artica As It Should Be | Escape Music ESM115 |
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Artica's one and only album As It Should Be was originally released in the mid-90's, but even then sounded like something out of 1984. The Californian band have an interesting sound, mixing some Eddie Van Halen style guitar riffs with rich keyboard textures not a world away from the likes of Shotgun Symphony, Tour De Force, early Aldo Nova and Asia. Shotgun Symphony is where I find the biggest comparisons especially with vocalist John David Martin, who has that higher range style - like Shotgun's Tracy White. While the album's sound has dated some now, the remastered sound brings it as up to date as possible and I think the album will hold definite appeal with fans of early 80's American FM rock. A hint of Survivor and early Journey in the band's melodies and vocal harmony styles will only increase interest in them. Album highlights include the layered pop/rocker It's Over, the sentimental piano ballad (Your Love Will) Carry Me Home, the uptempo Since Loving You and the very early Journey sounds of Girl Of My Dreams. This release is a limited edition digi-pack including the bonus track System Of Justice, which is a little rough production wise, but is another example of 80's style high-tech AOR.
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| Robert Valdes Acoustic Journey | Indie |
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The last album from talented guitarist Robert Valdes was an all-rocking affair that centered around 80's hard rock. This time around, in between writing a new rock record, Robert strips it back to reveal the other side of the coin. This is an interesting record and somewhat original as far as acoustic albums go. Rather than just one voice and an acoustic guitar, this record also features drums on a couple of tracks and layered harmony vocals through several choruses. It's quite contrasting to hear stripped back acoustic versus combined with big harmony choruses. Robert possesses a great voice and this release showcases that more than the full band record did. A little Jeff Scott Soto, a little Kip Winger and a little of his own style combine to give listeners something memorable here. At the center of any good release are the songs themselves. Robert has gathered a strong collection of songs, the highlights of which include the opening track Don't Lose Heart; the emotional Hypnotized; the raspy He Lit My Way and a great little cover of the Winger ballad Miles Away. A couple of other covers are included and they add something familiar for fans between the new tracks. Y&T's Winds Of Change and Warrant's Face are both good twists on the originals.
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| Ricky Warwick Love Many Trust Few | Sanctuary 06076-84745-2 |
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Former Almighty vocalist Ricky Warwick returns with his second solo album. Now focusing on a mellower brand of acoustic driven rock than the more metal UK outfit he once fronted, Ricky has definitely found a comfortable groove. He has a knack for some cleaver lyrics and knows a great melody too. Love Many Trust Few is a thoroughly enjoyable, high quality album, filled with melodies not unlike John Mellencamp, John Kilzer or Tom Petty. From the more uptempo opener Johnny Or Elvis to the acoustic driven Learning To Fall, the album offers some great songs. Warwick's voice is rich and warm and for something a little mellower, I really think this album could strike a chord with a number of readers. The album was co-produced with Def Leppard's Joe Elliot, who also contributes backing vocals. It was also recorded at his studio. I am not sure if this makes sense, but if Joe Elliot made a solo album, I'd envisage it sounding something like this. |
| Billy Sheehan Cosmic Troubadour | Favored Nations FN2460-2 |
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Bass legend Billy Sheehan has contributed a lot to many artists over the years, so it only fair he gets a chance to shine on his own. Cosmic Troubadour is a bass player's bible featuring more riffs and slaps than previously thought humanly possible. It's not totally self-indulgent though these are songs, not solo pieces and Billy also adds vocals and guitar, while Ray Luzier supplies drum parts. Billy's not the greatest vocalist around, but his voice suits the material and musically speaking, the performances are faultless. An album for musicians to aspire to and for fans to admire. Not for everyone, but if you are a fan of the Favoured Nations roster of artists, this is definitely a solid release. |
| XYZ Rainy Days | Indie XYZ1126 |
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Initial press releases for this archive release suggested that all parties involved were happy to see it released. Not so vocalist Terry Ilous is far from happy. Rainy Days is XYZ's first ever recording, made before singing a deal which would see their debut released. It's coming out now via one-time guitarist Bobby Pieper. It features a couple of songs used later in the band's history, but also a stack of never before heard tunes. Being an archive release, one has to adjust expectations. But even then, this is a pretty rough recording and it's Ilous' vocals that sound clearest. The guitar and rhythm section are all a little muffled in places and the overall sound is very muddy. This is an interesting insight to the evolution of the band, but not something you can really crank or play too often. Definitely for absolute die hard fans only. |
| Terrarosa Terrarosa | Z Records 04970111 |
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Terrarosa is Ed Terry vocals, music and songs. It was announced by the label as a contender for the AOR album of the year, with comparisons to The Storm, Giant and It Bites. Reality however does not allow such fantasies. While a little It Bites might come into play on the more experimental tracks, this is nothing like AOR Gods The Storm and Giant. This 11 track album is a bit messy. Styles chop and change as does the production quality. Where the songs do carry a good melody, they are spoilt by a horrid sound quality. Yesterday's Sun and Empty Promises showcase a good performance, a potentially great vocalist and what could be a classic piece of music, if some money was invested in the recording. But tracks like Real World, Sacred and Gonna Get To You are loud and messy and sound like a 10th rate Winger. Just not enough here to warrant any recommendation to buy. However, I do rate Ed Terry as someone with big potential and hope he gets the right chance to fulfill that promise. |
| Cherry St. Monroe | Perris Records PER01512 |
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Most Perris Records releases have that expected American hard rock vibe to it mixing in a little glam and a little hair metal. Cherry St is no different and their new album carries on where the band left off on their previous release sleazy AC/DC style hard rock. The band's music is ok if that description fits your tastes, but the production is stripped right back and in places, very rough indeed. Guest vocalist for the first two tracks is Bulletboy Marq Torein. I think he has seen better days. In fact, even with other singers Shannon Stobel and Kevin Steele, it is there when the biggest problem is. I don't think any of these guys put in a great performance. An ok album, but nothing that Funny Money hasn't already done better. And one is complelled to add, at a mere 28 minutes playing time - value for money is not met. |
| Crucified Barbara In Distortion We Trust | Bad Reputation 310281-2 |
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Crucified Barbara are a Swedish all-female group that play an aggressive punk fuelled brand of modern rock. Mia Coldheart has a powerful voice, which jumps through the speakers alongside her lead guitar parts and the band's own sonic bombardment. Comparisons to Skew Sisken for the female angle and Motorhead for the brutal delivery would be fair. A little of the heavier side of Garbage might offer some example of the band's modern rock slant. Certainly not for the faint-hearted, nor for fans that dislike modern rock, the gals might offer something cool for those that like it loud and in your face and laced with aggression. |
| Gotthard Lip Service | Nuclear Blast |
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In an interesting move, Swiss rockers Gotthard signed with Nuclear Blast an almost pure metal label and proclaimed a move to a heavier direction.
Line-up changes, management and record label moves all conspired to put the heat on the band to deliver a great album, otherwise it could prove to be the last of their long, illustrious career. So the result? Well, the guys didn't really change their style to a heavier sound, but what they have done is returned to the hard rocking approach held on the first few albums, which should prove to be a fan pleasing move. And changes in personnel aside, this sounds like a classic Gotthard album no more, no less. The songwriting remains at the high standard set over previous releases and the familiarity in the usual raspy vocals will instantly put fans at ease. What is pleasing is the tempo of the record. The first three tracks simply rock. Vocalist Steve Lee is in fine form, again sounding like a cross between Michael Bormann and Cinderella's Tom Keifer. All We Are is a steaming anthem to kick off the album, Dream On is commercial rock at its best and the single Lift U Up has all the ingredients of a classic hands- in-the-air pop/metal anthem. Bon Jovi would do well to take note of how these guys have taken the formula for commercial hard rock from them and improved on it, while the former struggle to reclaim their anthemic roots. Of course all Gotthard albums must contain ballads and Everything I Want is a typical story of love lost and won, set to be sung to an audience of lighter holding fans in the months ahead. Thankfully the tempo of the album isn't killed by a switch to mid-tempo tracks or more ballads. Cupid Arrow gets things cranked again - in that commercial friendly manner. I Wonder is a little darker and tougher and changes the pace nicely, especially with a very melodic chorus. I've Seen An Angel Cry is the next ballad and is well positioned within the album. Stay For The Night sounds like classic Storm with Kevin Chalfant, but with the added thump of a heavier rhythm section - a great uptempo pop-rocker. Anytime Anywhere is yet another catchy and classy rocker with a gritty and dramatic feel. Another couple of uptempo rockers follow, making this one of the band's rockiest affairs. This is where things should have been called to a halt. A great album to this point, it now continues on two tracks to many. The addition of Nothing Left At All and And Then Goodbye is a detriment to the album as a whole. These two ballads (the last solely acoustic) ensure that the album ends on a slow note. Better would it have been to re-position Nothing Left At All and drop And Then Goodbye completely for a tight 3 ballad 50 minute rock album.
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| Royal Hunt Paper Blood | Frontiers Records FRCD245 |
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Royal Hunt have a significant history behind them and have managed to stay on top of their game with some very consistent records especially in recent years, thanks largely to the powerhouse vocals of John West and the musical collaboration between West and band dictator Andre Andersen. Their best record to date would remain to be The Mission, after Eye Witness impressed, but didn't quite match the quality of that epic release. Paper Blood comes at a time when the band needed to re-stamp their authority on the European melodic metal scene, given that there is ever increasing competition in this field. It comes also after another line-up change band stalwart Steen Mogensen moved on to Cornerstone full-time and guitarist Jacob Kjaer disappeared. In place of Jacob is Marcus Jidell, the man behind the epic metal concept record The Ring. For whatever reason, no bass player is listed on the album credits. Agreed, Steen would be a hard man to replace, but the album doesn't lack any bottom end. Who provides that? To the music at hand For the most part, Paper Blood is a cracking hard rock record which gets better each and every listen. Production is first rate, the vocals of John West are simply stunning and more melodic than ever, and the song line-up exudes more energy than most bands could conjure from their entire career on the vocal tracks at least. The selection of Jidell for guitar is an inspired choice, as his chops both fast and slow are perfect foil for the intricate styling of Andersen's keyboards. But in my opinion, the star of this show is West, whose voice is simply perfect for the material. His lead vocal power is up there with Jorn Lande and Glenn Hughes and the harmony vocals are as lush as any Jim Steinman production. This leads me to my problem with the album. There is one major flaw as far as I see it. Of 10 new tracks featured on Paper Blood, 3 are instrumental. Those 3 tracks take up some 17 minutes of precious album time. Note to Andre Andersen if this is what floats your boat make a solo album. You have John West in the band for a reason use him! I buy a Royal Hunt album for the very reason which this album delivers on for 7 tracks. But the other three are simply high-powered twiddle and at best are self-indulgent on the part of Andersen. Particularly annoying is the placement of these instrumentals. The album gets off to an absolute flyer with the intense hard rockers Break Your Chains and Not My Kind, only to be halted in its tracks by an instrumental at track 3. The album gets back in track with the fast and furious Never Give Up and the darker and more dramatic flair of Seven Days, only to again be halted by instrumental #2 at track 6. The album overall (especially on the vocal tracks) has a real dramatic flair. Whether it be the emotional delivery of West's vocals, or the multi-layered harmonies and backing vocals, each song impacts on the listener. 10 tracks of this ilk would have made a more consistent and enjoyable record for everyone.
Fabulous without a doubt and flawless in places, but not quite a masterpiece thanks to some self-indulgent instrumentals.
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| Circus Maximus The 1st Chapter | Frontiers Records FRCD240 |
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Circus Maximus have instantly put themselves on the progressive metal map with their debut album thanks to an album which contains some very catchy songs, great performances and a major label production quality. It also helps that the band has a sound that mirrors possibly the most acclaimed band of the recent progressive era Dream Theater. In fact, these guys sound more like Dream Theater than even they do these days. While I spend too much time lamenting why that band doesn't repeat the energy and sound of their best album Images And Words, Circus Maximus have gone and done it instead. 9 tracks spread over 70 minutes sees the band work both ends of the scale, with straight up melodic metal punched into some short and relatively straight forward tracks, mixed in with some epic progressive moments, including one track clocking over 10 minutes and another nearly 20 minutes. The band claim producer's credit, but master mixer Tommy Hansen ensures a clean crisp sound and perfect balance. Circus Maximus hail from Norway of all places, but sound straight from the pages of California's Dream Theater. Vocalist Michael Eriksen sounds like James LaBrie, but with an extra melodic touch that adds a little Geddy Lee and perhaps a little Tony Harnell when he goes for the higher register and the extra melodic hooks. Musically speaking the guys are as tight and as talented as just about any other prog-metal outfit out there. But they have the edge on everyone right now because this set of songs is truly memorable. I'll be the first to admit I generally like it straight up and filled with hooks, but even the longer tracks on this album kept me entertained and interested. No mean feat that and credit to the guys for this. Highlights? Well, there are no low points, but the opening two tracks and Why Am I Here pack a powerful and melodic punch, along with the epic 10 minute Glory Of The Empire, which is laced with solos, harmonies and great hooks. I'm not really taken with the instrumental track Biosfear (see Royal Hunt review), but everything else rocks. I'm still not sure the bonus track Hanuted Dreams adds anything to the album. Perhaps the label was worried about releasing an 8 track album. At any rate, it's not an essential addition and the album might have been better to end after the 20 minute epic The 1st Chapter.
Extremely well played and produced and even better extremely well written and arranged songs. Catchy, memorable and played like seasoned pro's.
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| Return Return | MTM Music 0681-135 |
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Return make their comeback to recording duties some 13 years since their last album V. Between 1987 and 1992 the band made 5 albums and one best of quite a feat. That would explain their large fanbase, earnt through delivering some high quality commercial European melodic rock. The band returns with its nucleus intact - Knut Erik Oestgaard vocals; Steinar Hagen guitars; Tore Larsen bass and Oyvind Haakonsen drums. Times have changed the band has updated their sound to walk a fine line between their past and sounds of today. The band's style and delivery has been updated in places and my guess is that some changes will not please long time fans. Previously the band has swung between Scandi AOR and heavier American style melodic rock, with this album taking in a little of everything. Things get off to a solid start with the hard rocker Every Little Step and the excellent moody ballad Save The Heart. All The Way is also a solid track, with a pleasant commercial feel to it not unlike Gotthard and the like. Three pretty solid melodic rock tracks in the listener gets hit with a change. TV-Song is a nu-breed/modern rocker with all the modern trimmings traditional AOR fans hate. All That I See is a sentimental ballad that attempts to draw listeners back in and in my mind does so successfully thanks to a raw, emotional vocal and some orchestral padding. Sadly some of that enthusiasm is again lost on Mr. President, an all-too-obvious political message that I don't necessarily disagree with, I just don't really want to hear it here and I think delivering the song's message is placed before the music itself - modern rock in flavour. Fallen Angel follows and starts us back on a rock to what might be more expected of the band. Not classic, but catchy enough. But once again, as things looked to be getting back on track, momentum is killed by an all-acoustic ballad. Again, an ok track on it's own, but nothing original or overly memorable. Heroes And Knights isn't much better. It rocks, but its updated feel won't appeal to all and it is missing a great chorus. Walk It Like You Talk is a little better a Bon Jovi style uptempo rocker that ends the album with an uptempo burst, yet it could still use a more memorable hook.
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| Robert Plant Mighty Rearranger | Sanctuary Records 06076-84747-2 |
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Robert Plant is the very definition of a legend. His work with Jimmy Page and Led Zeppelin are wisely heralded as some of the most important music in rock n roll history. His solo efforts have been largely impressive also. While taking a different path to that of his famous band, the albums have managed to dish out a few classics in their own. I remain deeply enamored with the albums Fate Of Nations and Now & Zen and to a lesser degree Manic Nirvana. In the other instances the solo material hasn't really inspired my long term interest and I really found Dreamland to be rather average. And that is the key here...those that love Dreamland will totally dig this as it's even better. But if you struggled with that album, this doesn't offer much joy. I own every Zeppelin record, but similarily was really disappointed with Plant & Page's Walking Into Clarksdale album - just too soft. Regardless of a loss of interest in Plant's recent work, I do anticipate a new record. It has every chance of being brilliant. Juding by critical reviews, it seems I am in a minority. The people behind this record the label and marketing folks seem deeply impressed with this album, as are much of the mainstream press, but I cannot wholeheartedly share their enthusiasm. Perhaps my frame of mind is not receptive to an album as subtle as this. With Stratovarius, Lande/Allen and Brazen Abbot on high rotation, Plant has proved to be a nice soft rock alternative, yet I still find it hard to get too excited about it. This is a real mood album and should you find yourself playing it at the perfect moment, I believe it will strike a chord with many readers. But make sure the mood is set before playing it. This is a very laid back and atmospheric release, with the bulk of material being softly sung and gently delivered. The emphasis is clearly on creating a mood and delivering an album that undertakes a journey, but whether listeners will still be awake at the end is the big question. What's missing for me are the soulful hooks and memorable passages of past genius such as I Believe, 29 Palms, Dance On My Own, The Way I Feel, Helen Of Troy and Come Into My Life. There is no doubting or questioning the musical intelligence on show within this record. The vast layers of instrumentation, the experimentation with non-traditional instruments and the change of approach from track to track all signal great musical understanding by those involved. One of the best album covers of the year and accompanying websites though!
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| Myon Slideshow | Escape Music ESM114 |
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Myon is one of those quirky rock groups which offer up something a little different than the standard melodic hard rock fare. While Finland is famous for its musical quirks, it's normally reserved for bands from the heavier side of life. Myon have a progressive edge added to their unique delivery of melodic pop rock. These guys really mix it up and deliver an album that readers of this site will either love or loathe. Those that love it will embrace it as something original, mixing pop and progressive and those that don't will be those that prefer their AOR delivered straight up classic style. This is the band's third album and it shows, as it's a strong body of songs. This is a progressive rock album presented in a pop setting, much like the band these guys most compare to Canada's legendary prog-pop outfit Saga. So, the delivery is a little quirky, but behind that lie some well written songs. For example, check out Forgive Not Forget the track has a classic AOR feel to it, with a lead vocal close to that of Ken Tamplin, surrounded by swirling keyboards and the odd change in timing. The ballad Died For The Moment adds a touch of dramatic flair, especially with the vocals and following that, Take Your Side continues the darker mid-album edge. Elsewhere Still Alive has a 80's pop beat and crunchy guitar riff; How Does It Feel has a great hook, although the drum machine is a bit off putting. Fire/Water closes the album with a bang it's a little heavier and the sound is definitely fuller. Vocalist Jukka Nummi has a voice not unlike Christian rocker Ken Tamplin. While definitely not as commanding in his delivery, his tone however is very pleasing to the ear and helps make the album more enjoyable.
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| Biss Face Off | AOR Heaven 00017 |
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I had no previous desire to hear a new Biss record they are just one band that had not done anything for me. But the new album Face Off proves to be one not to miss for fans of European melodic hard rock. It might have something to do with the inclusion of new vocalist Marc Storace (of Krokus fame), who sings in a more accessible and melodic way then ever; or it might just be that the guys wrote some great songs to record. Perhaps it's both. The vocals are indeed very pleasing and the songs are all catchy to the ear and demand further playback. Style wise the guys have chosen to stay on track with their first two albums, meaning this is a selection of no-BS, European melodic hard rock. This is a big record big sound, big production and quality songs for fans of the genre. Guitarist Ralph "Doc" Heyne provides some chunky hard rocking riffs as expected and Barend Courbois (ex-Vengeance) on bass and Jos Zoomer (ex-Vandenberg) on drums provide a more than adequate rhythm section. Michael Voss ensures that like everything he is involved in, the album sounds evenly mixed and perfectly produced. Talking tracks - Breathless gets the album off to a flyer, with Storace's raspy vocals sounding well and truly at home with the band. Rejected is perhaps the album highlight, with a catchy bridge, big chorus and an overall big rock feel perfect for the band and for fans of in your face hard rock. Very cool to see included a cover of the classic Icon track Raise The Hammer from their much loved Night Of The Crime release. Biss indeed do the track justice. The rest of the material is all original and new and highlights include the stomping uptempo rocker Calling; the NWOBHM inspired Fire In The Night and the dark and brooding Pyromania - featuring a good chorus with harmony vocals.
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| Kinrick Sense Your Darkness | Majestic Rock Records |
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Yet another big metal album! 2005 is shaping up as an all metal year. The pink and fluffy is being over shadowed by some truly strong melodic metal releases. Kinrick are an American 4-piece band, that deliver a no-BS style straight up album of classy metal tunes. Produced by fret-legend David T Chastain, these guys have a lot of energy and just as many riffs. Vocalist Stephen Fredrick (ex-Firewind) reminds me of a mix between a darker, raspier Don Dokken and Impellitteri era Graham Bonnet. Throw in a little Bruce Dickinson/Iron Maiden and Kinrick might just be taking shape. Guitarist Corbin King hails from metallers Vainglory and shows here a definite knack for power riffs and exciting solos. The album is pretty unrelenting. 45 minutes of pure metal riffing and big, gruff vocals is the order of the day. Call Of Honor is a good choice to open the album as it sets things up with a slightly more accessible sound before things get truly heavy. The album continues to grow in intensity up to Dressed Up As God, which allows a little more melody into the chorus. A double-headed dose of mean, tough and moody mid-tempo metal follows, before the double-kick drum pace of For Your Evil changes the pace. The title track closes the album in the same vein as the majority of the tracks are brutally heavy, mid-tempo stompers, drilled into your head by an authorative and commanding metal vocal.
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| Rob Rock Holy Hell | AFM Records |
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Some are calling this the melodic metal album of the year. I don't agree to that extent, but Rob Rock fans will surely be delighted with his new release. There is no doubt this is a quality release and continues in the exact vein of Rob's previous work. Joining Rob once again is guitarist/producer Roy Z, who is busier than ever this year with Bruce Dickinson and Masterplan already under his belt. I would have to rate Masterplan as this year's best metal album to date, but this isn't far behind it. Rob is singing like a star and it doesn't even need mentioning what a guitar hero Roy Z is. The album offers no surprises, which is the only factor which might keep it contained to established fans, rather than breaking into new territory. Slayer Of Souls gets the album off to a fast and furious start, with vocals, guitars and double-kick drums going in all directions. Although the album is almost entirely uptempo and in your face, thankfully there is some variation in pace. First Winds Of The End Of Time is a mouthful of a title and provides some of the album's chunkiest riff moments. The huge sounding Calling Angels has to be called an album highlight, even when there are no weak tracks included. I am really pleased to see a good ballad included. The softly sung I'll Be Waiting For You allows Rock to showcase a more melodic and passionate side to his vocal talents. Swirling keyboards and guitars are only outdone by Rock's monstrous vocals. Rock fans will be united in their praise of this album as there are no dud tracks. If there was to be any criticism it would be that there is only 9 new tracks and perhaps the format matches that of previous albums too closely. Minor points.
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| Bruce Dickinson Tyranny Of Souls | Sanctuary Records |
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Review by Mick Ward. Accident of Birth was a classic. Skunkworks - although a departure - was one of the most underrated albums of the 90's and came at a time where I think it's safe to say Dickinson was still searching for a true identity. But then came Accident which was the true master finding himself again having returned to the genre from which he originated, and hence delivering one of his finest moments. Its follow up Chemical Wedding quite rightly received critical acclaim and it was then odd to find Bruce's next release was a greatest hits affair. Considering he was the key that brought about the successful reformation of the classic Maiden lineup, surely another well received solo album would have solidified the Dickinson onslaught, but instead it seemed good fortunes were to be the order of the day. It may be a little belated but I'm happy to report that the release of Tyranny of Souls does nothing but show Dickinson is still in fine form as the album itself is up there with his best work. I therefore find it baffling to see early opinions of this album so varied. For fans of Dickinson to rate Tyranny of Souls a 6/10 is confusing to say the least. What on earth are these people hearing? What on earth were they expecting? To put it simply, although Tyranny of Souls may not threaten either of Bruce's previous efforts, it does on the odd occasion rear its head above the highlights of those very albums, but not often enough to be labeled equal. The Intro to Tyranny is appropriately haunting and lead track Abduction kicks off sounding like a cross between Silver Wings and any track off the Chemical album, and pretty much sums up what's in store. Heavy, pacey, and straight to the point. Track two is one of those mentioned classics that rears itself above the pack matching anything Dickinson has penned in recent times, the verse thumps away sounding pure metal with what I think is a nod toward Accident's The Magician. Splendid stuff. Things slow down with Kill Devil Hill, but mellow not. Perhaps not in speed but in delivery and lyric Kill Devil Hill is one of the heaviest tracks on offer here. Its atmosphere and lyric are engaging and this is becoming a favorite, its lyrics about crash landing an airplane into a hill (or something like that) manage to be anything but cheesy. Next track Navigate The Seas of the Sun is my one and only gripe, an acoustic tune similar to previous works such as Man of Sorrows (less the bombast) Omega, Gates of Urizon or perhaps Tears of the Dragon (again less the bombast). Here's my gripe. This is a decent enough song and actually for want of a better word is interesting. But the necessity to include such a song yet again is a little tiring particularly when to be honest Navigate is not even close to those already mentioned tracks. Lyrically it's cool, I just find its inclusion unnecessary. Small gripe! River of No Return is quite the turn around, its intro takes me back to 70's rock and purely for being that little different it's a true stand out. Power of the Sun is a simple rocker, a fantastic song that would not have been out of place on Brave New World had it been given that Maiden/Harris twist. Devil on a Hog is one of the best songs on offer here. Devil on a Hog would have fitted nicely on Tattooed Millionaire, its brave return to classic rock riffing and its glorious chorus captures everything that was gold about the 80's and early 90's before the big change. Although Devil on a Hog doesn't fit Bruce's traditional output since Accident, it's likely the classiest and catchiest thing on Tyranny. Worth the price alone! Bringing Tyranny in for landing are Believil, another slower track with a big fat chorus, not great but very much welcome, and last but not least the finale, evil sounding Tyranny of Souls which boarders on Epic, is another track that on occasions rears its head above the pack. Again, great stuff!
[I have to agree .I am not sold on all Dickinson solo work, but personally speaking find this a highly enjoyable, well played and well executed record. And to boot, sonically it's 100 times cleaner than the last Iron Maiden album. Cool record Andrew]
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| Wildside The Wasted Years | RLS Records CD91042 |
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Another band of huge promise lost in the change of style of the early 90's was LA's Wildside. Their Capital Records debut was a killer slice of high-energy sleaze rock, with a line-up that oozed attitude as much as they did class. Vocalist Drew Hannah and guitarist Brent Woods made as compelling a partnership as Slash & Axl Rose. The band made waves with that debut, but it was all down hill with the onset of grunge. A second album in 1995 saw the guys take the dreaded change in direction route that killed the rest of the bands grunge already didn't. Thankfully the band did record other material in the format of their debut which in fact, was intended to be their official follow-up to Under The Influence. That material and some other unreleased demos is presented here in a 14 track compilation. While the production isn't quite Capitol Records standard, it is above average for unreleased material including the demos. Style wise it's a mirror of the debut. Some tracks even give the best Under The Influence tracks a run for their money proof the band would have went onto better things had they been given the chance to. Watch for Crash Diet, Sweet Little Sinner, Hair Of The Dog and Kiss This Love Goodbye as examples of classic LA Sleaze.
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| Sonic X Sonic X | Z Records ZR04970110 |
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I want so badly to like this album as the guys behind it are really top people and have their hearts well and truly into their music. For the most part that shines through and makes this album as good as it can be the band's energy and enthusiasm is unquestioned and the song writing is also top notch. So what isn't? The production. Sadly the album as good as the songs are is hard to listen to, due to a muddy production and sonic bombardment that is simply mastered too loud. Fans of old school American hard rock a la Skid Row, LA Guns and Wildside will love what these guys do the album is 42 minutes of pure power, with each and every song showing some strong hooks and memorable characteristics. Harmony vocals are also a highlight, with the guys working together beautifully. But the sound is just terrible. The last couple of tracks are especially weak to be honest it hurts your ears to play at any decent volume. Some memorable songwriting will go largely unappreciated here.
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| Joe Perry Joe Perry | Sony Music |
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Does the world really need another solo Joe Perry record? In a time when some even question the need for a new Aerosmith record, the answer is probably no. But perhaps a solo outing allows artist to reinvigorate themselves and therefore return to their bands even stronger. We can live in hope. Joe Perry delivers what would have to be described as a die-hard fans only release here. The song quality and overall energy of the record isn't going to bring any news fans on board. What starts out as a decent record, quickly slides into bland mid-tempo blues pop/rock. The opening track is everything Aerosmith fans could wish for, with a bluesy swagger and a definite attitude. Following that is the breezy pop rocker with Perry doing his best soft Billy Idol impression. Both tracks suggest an album of promise. But sooner than you can get that thought onto paper, some truly sluggish numbers follow, killing the momentum set by the opening tracks. Of course there is some scintillating guitar playing befitting the legend that is Joe Perry, but that alone is not enough to make a classic album.
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| James LaBrie Elements Of Pursuasion |
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Review by Mick Ward. Whoa! On first listen to Elements, the latest offering from James Labrie - the mighty voice of Dream Theater, I was taken by surprise. Haunting acoustics introduce lead track Crucified and are joined by fat riffing guitars before taking off. The intro alone got me excited and still draws me back regularly. The fact that Crucified becomes quite the early Metallica-like speedy number and is most likely the heaviest thing James has vocalized over in recent times is a sure sign Elements of Persuasion is going to be quite the listen! And indeed it is! Dream Theater comparisons are expected, but to be honest these two are of different style, the obvious difference being Elements is not 'Prog'. Sure James dabbles and on the odd occasion even indulges in Prog, but for the most part this is an album of good variation and predominantly good rock. When James does indulge his support never fails to take on the task with ease, the musicians here are extremely gifted and of the highest order, very capable and well suited to Labrie's voice. One complaint however is that some of the songs sound to be forcing James to take on a more scream like vocal when perhaps it isn't necessary. Albeit I enjoy this heavy direction I find this is at times a double edged sword. On one hand I praise James for the direction however I don't find him as convincing when using his voice in too heavy a manner. I wonder if the heavy guitars were to be stripped back and a couple of the songs allowed to breathe more, would this allow James to broaden the atmosphere of those songs instead of the bombast? Maybe some of the songs would sound the better for it? Just curious, more on this shortly. Anyways things go left and right and up and down from second track on, but stand fast in the 'rock' approach. Alone samples some trendy scratching effects (don't be frightened it actually works okay!) and is quite a good song as is third track Freak which is yet again an interesting track with dark undertones and includes more sampling whilst staying 'rock'. Freak is lyrically some of the best work James has penned, nothing too challenging but thought provoking and I'm left a little baffled why he doesn't contribute more lyrics for Dream Theater? Good work. Loud guitars catch onto a nice walking bass line and make next track Invisible a very accessible song. More effects surround this one which has a simple but nice melodic chorus. Invisable reminds me (as do a few other tracks) of the more simpler DT rockers such as Lie from Awake. Good stuff. Things take a departure for the next track. Lost throws effects about yet again over a nice piano and bass line and the song rests in a softer delivery whilst running at a nice brisk speed. Undecided is next which returns to heavy, more akin to the intro of lead track Crucify but continues throughout at its start pace. A good song. Next up is the centre piece of the album, Smashed. 'Smashed' is a soothing ballad with luscious piano and acoustics similar in feel to Surrounded and Another Day from DT's Images and Words. For those I may have confused regarding my concerns that James might be forcing his vocals a little on this album, Smashed is in my opinion the perfect example of James allowing both him and song to breathe. I understand the contrast between heavy and soft music and the fine line that is endured when deciding how a vocal can best compliment a song, but here I think is where James nails it, giving a very convincing performance allowing both music and vocal to compliment each other. Forget the DT comparisons, they are only put to you in order to place you in the right frame of thought regarding where this little song takes us, Lost is a magnificent song. Lovely stuff and I raise a glass to this one. Things continue on without too much departure from what has already gone. Pretender booms out of the speakers and I rate this as one of my faves, fast heavy riffs and a wonderful chorus. Slightly Out Of Reach is another fine ballad with good use of melody and voice, Oblivious is a more modern nu breed like guitar orientated song, In too Deep is big sound big guitars (and double bass?) but nothing too memorable, and last but not least is Drained one of the better rockers on offer here. 'Drained' works due to its vocal guitar vocal guitar structure and works particularly well due to the awesome riff the guitar punches out. The song also contains a wonderful bridge and great chorus. Overall one of the better songs on the album and well worth the wait.
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| Vanishing Point Embrace The Silence | Dockyard 1 |
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Review by Mick Ward. Recently I was fortunate to see Vanishing Point live which resulted in my purchase of their classic Tangled in Dream which left me primed for this next release. Vanishing Point are an Australian band that are ever popular in countries such as Germany as they play in the genre of European melodic metal with just the odd touch of progressive thrown in for good measure. Embrace the Silence is the bands third effort. First and foremost this is class! Without a doubt this is one of the better releases of 2005 and for the European metal genre as a whole. This is personally for me, alongside Masterplan's Aeronautics, one of those rare albums I find difficult to shelve, repeated listens compulsory, which is a good thing as with repeated listens this whole shebang of nearly 80 minutes ingrains itself and begins to make more sense than just great songs with meaty riffs. Aside from great songs we get plenty of talent, first and foremost are the exceptional vocals of lead throat Silvio Massaro who it could be said single-handedly puts these guys on the map. Not one of the high register vocalists, like most of their European counterparts, Silvio manages high enough range when required. His strong mid range ensures you are listening to nothing other than a full blooded male, his is a damn strong voice and the change for this genre of music is very welcome! And fear not those Dream Theater-like schools of instrumental bliss, Embrace the Silence is choc full of guitar theatrics power drumming (double kick, hell, sounds triple plus and more to me) and compulsory key dynamics are all found stuffed in nearly each of these 13 tracks and truly I am in awe. Accuse me of being biased all you like, these guys are indeed professionals and they're getting my dollars! So just what have we here? Without wanting to dissect every track (Andrew would have to move to yet again a bigger server!) what I will do is point out some highlights and touch on some very minor grumbles. Hollow kicks the album off much like Surreal did with previous album Tangled, great riffs strong verses and reasonably commercial chorus. My Virtue starts slower but builds into what is one of the best songs on the album, one of the best chorus I've heard for a while and this is one of those tracks that will show the versatility, uniqueness and ability of Silvio. Skipping past If only I and Live 2 Live which are both solid but for me lacked that something special come chorus time, we get to track 5, Embraced. Embraced is one of the bravest tracks on offer here, a ballad which harkens way back to the 80's soundtrack era, a very strong intro takes us to a simple but enjoyable chorus. This isn't a favorite for me as it's a tad too clichι come chorus time but I've no doubt most melodicrockers will adore this one for its great atmosphere. Track 6 Season of Sundays is the highlight. Put plain and simple, don't miss this one. If there's any track one should sample to get an idea what Embrace is about, go no further than Season of Sundays. Next track Once a Believer is my personal fave which contains one of the most mind blowing musical interludes I've heard in this genre of music. Yes that includes Dream Theater! From a fast paced number breaking into soft pianos slowly adding and rebuilding to the original concept is extremely moving. This is Prog without the mess! From here we get a number of varying tunes ranging from more old school to modern day riffs ballads and rockers until things close similar to Tangled with track number 13 As I Reflect. I must also mention Somebody Save Me as another stand out rocker before closing time. There you go. 13 tracks and a good number of them classics.
Embrace the Silence? No way! Play it loud!
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| Adriangale Live Program | Kivel Records |
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The label took forever to get this to me and I suspect everyone that was interested in this release might already have it. But in the interest of serving the band, here's some info for those that don't own this yet. Live Program was recorded after the release of Re-Program and before the band decided to record again, which resulted in the Crunch album. Recorded in a makeshift warehouse, the band gives friends, family and fans gathered a high energy performance, but at times the sound quality reflects the location. What is essentially an official bootleg; this is a raw, 100% live audio capture from the night. The sound is a little hollow and the mix doesn't quite capture every element from the stage. The all important backing vocals sound a little weak but still play a role. Jamie Rowe sounds a million bucks as he always does and the energy of the band is what carries this release. Shame they can't get out and play more often, as the band would certainly be bigger and better known if they were a full-time working outfit. Tracks covered include all the favourites from the band's first 3 albums including a cool (if not short) acoustic version of Part Of Me, which runs into the great ballad If. A 1 minute solo is another track, so those 2 removed; the live show only runs 12 tracks. Cool, but never enough! Still, 60 minutes is a decent value playing time. Padding out the release are 2 unreleased studio tracks. The packaging says Closer, but it's not first up is All My Heart a cool, sultry and smoldering mid-tempo rock ballad that I think is a real winner. It showcases yet another side of the band I think fans will dig. Closing the album is a new version of Closer, which is only slightly different from the original.
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| Bad Way From Zero To Hero | Indie |
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Nu-breed invades Spain with this group of young rockers who have already established their name as one to watch for the future. Bad Way features a line up featuring some previously unheard of names, except for readers of the Melodicrock Noticeboard. Regular contributor Marc Vanway is the band's frontman and chief songwriter. Musical comparisons can be drawn to Green Day, Blink 182, Good Charlotte with a touch of influence from the band's heroes Marvellous 3 thrown in for good measure. I think that should give readers a very fair indication of what's on offer here. Fans of pure AOR read no further! But for those that like a bit of sonic bombardment to the ears and love it loud, in your face and brash as hell check this out. First off, the lead vocals are something to grow into. They are incredibly high-energy and suit the band, but the sometimes screaming / often yelling nature of them might not appeal to all, but boy I seldom hear such enthusiastic delivery. Match that attitude with the punk rock vibe of the music and the fact the songs are all of a very good quality means that fans finding their way to this disc are likely to be impressed. There are no ballads here and barely a let up in the double-time pace. Only a couple of tracks alter from the frenzied delivery, the rest rock like hell. Cocaine proves to be an addictive opener after a super-brief intro I'd rather skip; Nights And Mornings has all the energy of classic Sex Pistols; The Way sees the band briefly slow it down before delivering a great chorus hook and Our Little War is very commercial modern heavy rock.
Definitely not for fans of the 80's music scene or those that love classic styled AOR only. Definitely one for fans that have an ear for modern rock and contemporary FM radio playlists.
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| Harem Scarem Over:Load | Frontiers Records FRCD241 |
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Harem Scarem re-established their name as a melodic rock super-power with their 'comeback' Weight Of The World album. Their already outstanding catalogue of music has only grown in stature since, with the also amazing Higher album and now the new release Overload. Harem Scarem have never recorded the same album twice each and every release has its own identity and Overload is yet another example. One observation can be made of the band's recent output. While they have definitely updated and moved on from their past, each of the last 3 records have mirrored the vibe of their very first three records albeit not in the same order. Weight Of The World mirrored the acclaimed classic Mood Swings; Higher matched the mellower AOR vibe of the self-titled debut and now Overload mirrors the darker, moodier and more modern vibe of the criminally underrated Voice Of Reason album. The very nature of this record means some fans of other albums will not take to this as warmly as they might have Weight Of The World, Mood Swings or Higher. Overload has the same recording sound as the last two albums - that snappy drum sound, crunchy guitars and Harry Hess' slightly grittier vocals but this is a much darker and moodier album, not to mention a more aggressive album too. The delivery of Harry's lead vocals have seldom been done with such venom. The band has allowed a far more contemporary song style to influence the album, which makes this the band's most modern album since Voice Of Reason and some tracks from Big Bang Theory and Ultra Feel. Basically, this album is Voice Of Reason meets Higher, with a little Weight Of The World and Big Bang Theory thrown in. As stated, that may affect some fans rating of the album but not mine. I love this band to bits and rate them as one of the very best ever to be featured on this site. I really have enjoyed this album and think the move back to a darker, heavier sound is a nice change. The last album was brilliant, but very pop and this is the perfect companion to that album. The beauty of Harem Scarem is that they have a different album for just about every mood the listener may be in. This album is one for those days where things may not quite be going right and a little sonic therapy is needed. As usual, Harry's lyrics are aggressive, forlorn, emotional and as intense as ever. But what makes this album truly special is the extra emphasis placed upon making each song more complex that one would normally expect. No band takes simple pop songs and turns them into angst wridden melodic hard rockers like these guys. The extra time to write and record this album shows, and while the chorus hooks may not be as instant as the last two albums, they are certainly there featured alongside some astounding musical twists and added production layers and effects. Harry and Pete just don't write bad songs it's not possible. Each track here contains a verse, bridge and chorus, with extra melodies revealing themselves as time goes on. Track By Track: The album opens with the hard rocking swagger of Dagger a track which rocks to start with, before dropping back a notch for a more restrained verse. The bridge picks up a notch and the chorus turns sonically monstrous, with heavy, layered guitars and a strong, aggressive lead vocal. Afterglow is in every way a trademark Harem Scarem song. A poppy intro/verse, a burst of guitars in the Mood Swings style and then a chorus from heaven big, over the top and hooks and riffs going everywhere. Classic Harem Scarem and without doubt, the best track on the album but not the only classic included. Rise And Fall sums up the style of this album darker and moodier, with an aggressive undertow. Some very fine lyrics and an emotional delivery are a highlight, but the bridge to chorus passage is also a joy. The chorus itself is much heavier than the rest of the song and showcases the amazing ability of this band to move forward with their sound with every album. Some classic style Pete Lesperance riffs and a tasty solo puncture what is a pretty modern track. Seriously heavy vocals make this another amazing song. Don't Come Easy is another instant classic and album highlight. A drawn-out, moody intro dissolves into an emotional angst filled vocal, backed with some crunchy, heavy guitars. What is a modern rock song turns classic Harem with a big fat old-school anthem chorus, which trails into a progressive guitar riff and back into the moody verse. Songwriting at its very best folks Can't Live With You is nothing short of a massive rock ballad. It has an aggressive heart, but kicks in with an acoustic guitar and builds from there. Definitely part Weight Of The World and part Voice Of Reason, this features a chorus that has such massive backing vocals, Def Leppard would be proud. Forgive & Forget has a distinct modern rock guitar riff and an overall feel that would see it on rock radio if there was any justice. A fast and free flowing verse flies through a bridge into a dark, aggressive chorus, with Harry's voice textured with effects. It's a very aggressive track overall and is really in your face track. Straight from the pages of Big Bang Theory/Ultra Feel with extra points for some intricate guitar parts and big backing vocals! The second rock ballad for the album is All You're Getting, which starts with a piano intro, but quickly fires up into full band mode. A Queen-esque arrangement and Freddy Mercury inspired lead vocal, plus several layers of instrumentation make this an extremely high quality ballad and another great track. A personal favourite with some backing vocals reminiscent of Mood Swings. Leading Me On sounds like it might be another ballad, but come chorus time, bursts to life with a big guitar driven chorus that isn't instantly memorable, but gets better after each listen. Some super intense guitar riffing in-between parts of the song deepens the impact and appeal of the song. Understand You is another mid-tempo rock ballad, this one featuring some classy acoustic guitars and some added orchestration. A simple chorus gets more intense and in-depth as the song goers on, with some very fine harmony vocals building through the song and bringing it to a great climax. Same Mistakes is another example of great songwriting, with a verse that sounds simple, but on further listens, reveals extra details. The dark and moody chorus is wrapped in a big guitar sound which is straight from the Voice Of Reason album. Wishing was previously featured as the bonus track for Japan on the band's last album. My guess is that it is here merely to make up the running time of the album, as even with this extra track, the album only clocks in at 40 minutes. The song itself is a slow, moody and emotional ballad and fits the new material perfectly.
On the other hand, I feel the fans that have been with Harem since the debut and love every album will eat this one alive and rate it up there with some of the band's best ever work. It's every bit as consistent as the last two albums and the recording quality is nothing short of amazing. The second half of the album doesn't quite have the punch of the first half, but overall, the intensity of the songs is utterly engaging and the extra complexities within the music show musical maturity and intelligence few artists could ever match.
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| Styx Big Bang Theory | Frontiers Records FRCD247 |
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Ah, covers albums
an inspired reflection on one's past, or a desperate attempt to continue one's recording career? In this case - the former I think Styx is a valid artist to provide their own take on some classic rock songs as they really are the definition of a classic rock band. They have been there and lived it and from what can hear on this record, still have something to offer fans. Not every track here can be called an outright winner though and I found myself disliking a couple of tracks I thought would be sure-fire favourites. On the other hand, I also found myself liking songs I thought were left-field choices to include. More so than any other album reviewed this year, I think fans will debate the merits of this album ad-nauseum, so I'll do my best to get to the point and let the fans deliver the final verdict if they ever can agree Styx 2005 is stalwarts Shaw, Young and Sucherman, joined by Lawrence Gowan (who surely has earnt his stripes by now) and new boy Ricky Phillips (Bad English, The Babys, Coverdale/Page). This is not the place for a debate over the line-up everyone loves Dennis DeYoung, but this is the band as it is now and some would do well to accept that and get on with life. Track By Track: I'm the biggest fan Gowan as a solo artist and adore his voice, but for whatever reason cannot warm to this cover of I Am The Walrus. But, it has been warmly received and led to this album being recorded, so what do I know. I Can See For Miles sees Tommy Shaw doing his best Roger Daltrey. I like the style of this track. The band captures the vibe of the original and has some fun with it. The songs feature some impressive guitar work and (I think) will be well received. Can't Find My Way Home sees Tommy at the mike again, with a faithful rendition of the Blind Faith classic. As a stripped back acoustic track, the song has a feel good vibe and Tommy's voice sounds brilliant. Force of habit has me waiting for the crashing hard rock finish (ie. the House Of Lords version), but I'll get over that. It Don't Make Sense sees James Young up front for this bluesy 70's rock track. I'll be the first to say I don't like James' voice for the most part and tend to skip his songs but the bluesy swagger and laid back style of this song suits his voice perfectly. Time to rock again and Gowan's back to front I Don't Need No Doctor originally by Humble Pie. I love the fact this is a fast rocker and Gown sings his heart out. The band put an update stamp on the track and I can imagine this one will be rolled out on the upcoming tour. One Way Out is a track I'm still not convinced by it's a cute little boogie number featuring Tommy Shaw, who sounds very comfortable here. They take the Allman Brothers southern feel and recreate it well. This one will be down to personal taste. A Salty Dog is a Gowan sung version of the classic Procol Harum ballad. But I'm not digging this one either despite Gowan's vocal being strong, emotional and faultless. Summer In The City is one track I was worried about, but it seriously rocks and I'm pleased to say is my pick of the album. Tommy does a killer job on vocals and Todd and Ricky provide the thumping rhythm section needed to carry this track into greatness. Time for James Young again, this time on the Hendrix all-time classic Manic Depression. Once again the bluesy swagger of the track fits the voice and I'm surprising myself in saying I like the track. Talkin' About The Good Times is an obscure inclusion the original by The Pretty Things. Lawrence Gowan takes on lead vocals for a song which mirrors the attitude of I Am The Walrus and again features a Beatlesque vibe. It's ok again I'm surprising myself by not being totally sold on something that features Gowan. The dark and moody classic rock of Locomotive Breath is another song I'm not generally a fan of, but again find myself liking it due to it fitting James Young's voice and attitude perfectly. Find The Cost Of Freedom is a mere 1 minute long an acoustic guitar the lone accompaniment to some sweet harmony vocals. An interesting segway into another all-time classic the Free staple Wishing Well. No one could do any damage to this great track and Tommy Shaw sound well at home singing it, with the band sounding a natural to cover it. Blue Collar Man @ 2120 is a take it or leave it conclusion to the album. It's a classic song that would be almost impossible to corrupt. This version sees the band slow it right down for a bluesy 6 minute plus version. Tommy's altered vocal and tempo creates a strong mood and I think most will enjoy this adaptation. Different for sure but ok. However, I know some will hate it something about sacrilege perhaps?
Those not into the band generally might find something interesting here but established Styx fans have probably already made up their mind!
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| Wetton Downes Icon | Frontiers Records FRCD242 |
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Some thought it might never happen again, but former Asia vocalist John Wetton and fellow Asia founding member Geoffrey Downes (keyboards) have teamed again for what is their second album together outside of the band they made legendary. In recent times I have been left somewhat disappointed by John Wettons' solo output, but impressed with the most recent Asia album. I had no doubt that this would be a classy album and I believe Asia fans will agree it certainly is. As expected, this is a lush slice of Asia-esque pop/AOR, complete with complex arrangements, haunting vocals and intelligent compositions. I was a little surprised at how mellow the overall album is. Only a few tracks could be classed as uptempo, but the quality and sound is unquestionably good. Icon's main appeal is the aura that surrounds the music. There is a continuous theme provided by the voice of Wetton and the layered keyboards of Downes throughout the album that gel the songs together. The opening track Let Me Go (which includes an extended intro) is probably the pick of the album, although there are other strong contenders. This is an uptempo pop rocker which more or less defines what made Asia great big pompous arrangements and memorable choruses, wrapped up in an even mix of guitars and keyboards. God Walks With Us features a more sparse arrangement and a strong Wetton lead vocal. Orchestration combines with acoustic and electric guitars to make a compelling musical experience. I Stand Alone is a little more dramatic, while the very short Meet Me At Midnight again mixes orchestration with an acoustic presentation. Hey Josephine sees the duo recreate the early radio friendly pop days of Asia on what I think will be an instant favourite with many. The rest of the album continues as it started, but perhaps a little mellower in pace. The closing track In The End is a nice sentimental track that features the vocals of Annie Haslam during the chorus, which makes a nice addition to the album.
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Edge Of Forever Let The Demon Rock N Roll |
MTM Music 0681-132 |
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Edge Of Forever are a European hard rock band with the very big privilege of being fronted by the fabulous modern day voice of Axe Bob Harris. I said of their debut that it did not cover any new ground, but featured some strong songs and strong performances. The new album takes things a step further, with some individual sounds introduced and stronger song and performance aspects. The new album features none other than Axe guitarist/founder Bobby Barth on production duties so expectations were very high. This is a prime example that albums should never be rated or reviewed after only a couple of listens. I will admit to being initially disappointed with this album, but boy, has that turned around. I love this album it was Bob's voice that kept drawing me back, but having lived with the album for sometime now, all aspects impress. The performances by all are even better then the strong debut it's that and the quality of the songs that make this album the winner it is. The overall package is very solid production by Barth is great and everyone gives a memorable performance and gives everyone waiting for a new Axe album something to dig their teeth into. Special mention goes to keyboard player Alessandro Del Vecchio who is all over the record and guitarist Matteo Carnio who adds the necessary muscle to the songs. It would be amiss of me not to credit Bob Harris for an amazing vocal performance filled with power and emotion. I would seriously rate his efforts here as possibly the best vocals I have heard from him yet even better than his Axe recordings. Naturally the addition of Bobby Barth at the helm brings about comparisons to Axe and I would heartily recommend this album to all fans of Axe, fans of European hard rock and even some Yngwie fans. There remains plenty of neo-classical influences on this record although I think it's a more straight ahead hard rock album than the debut. After initially only identifying a couple of killers, I can now safely say every track on this album is classy. The Machine is a straight forward rock with a strong chorus, as is the closing track Edge Of Forever. Crime Of Passion rocks with a furious pace and contains some neo-classical keyboard moments that will impress all - in fact, I would have opened with this track. As it is, the album does not hit full pace until this track - number 3. Let The Demon Rock 'N' Roll is seriously dark and heavy and is a real grower. The powerful One Last Surrender contains an amazing vocal and a fantastic keyboard drenched chorus. A Deep Emotion is a ballad with another amazing vocal and reminds me of Terry Brock at his AOR best and My Breath Away is a rock song with a commercial anthemic chorus and yes, another outstanding vocal.
The long awaited pairing of the two Bob's Harris and Barth does not disappoint, even though the album needs a little time to reveal itself. But once it does, it just keeps getting better and better.
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| Zeno Zenology II | MTM Music 0681-133 |
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Zenology II is a collection of unreleased tunes from the archives of one Zeno Roth. In most cases I can see why these tracks haven't been included on past albums but that does not stop them from being fine songs in their own right that will appeal to already established fans of the pomp-hard rocker. Generally speaking this album does not flow as well as a regular studio album would, mostly because it was sourced from different recording sessions. For Zeno fans though, there is plenty to enjoy here. Despite being a compilation of sorts, the trademark Zeno sound is still in place and anyone with Zenology or Listen To The Light in their collections should enjoy this. The bombastic opening chords of Call Of The Heart, featuring it's swirling keyboards and over the top vocals is a great example of the direction of the material. Tonight is even more uptempo and Hard Beat goes completely over the top with a typically big bombastic rock chorus. Other highlights the glorious keyboard / guitar driven anthem Dreaming The Night Away; the over the top pomp of Victorya and the hard riffing Time. Former Fair Warning vocalist Tommy Heart appears on 2 tracks in his typical fashion, which could see some fans of his interested.
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| Soul SirkUS World Play | Frontiers Records FRCD239-E |
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It's been quite a journey (no pun intended) already for these guys. Not too many bands get to re-record parts of their debut album, especially after it's already been released! The independent release was released via the Internet before drummer Deen Castronovo stepped back to concentrate on Journey and his health. In stepped acclaimed Aussie stickman Virgil Donati. To revitalize the band and to enable the band to tour behind what they had recorded, it was decided that Donati and bassist Marco Mendoza would re-record their parts and the entire project would be remixed and remastered. Virgil's contribution to the band and these songs should not be undersold. Deen is a fabulous drummer and has his own place in this band. But Virgil is a more diverse musician and his knack for adding drum fills into seemingly impossible situations is evident throughout this version of the album. The additional drum fills and use of rhythm is in your face from the outset check out the added texture to Highest Ground and the opening beats of New Position. Peephole is now even more intense than it was previously and My Sanctuary rocks better than ever. Although some will be unhappy at the prospect of forking out for something they have already bought, fans of the band remain the winners from this arrangement. As the European release of World Play features a far better mix and master, but also adds no less than 4 additional tracks. I stated in my original review that this album was best suited to being played from start to finish, as it's a record that takes the listener on a journey and the songs are best listened to back to back, rather than individually. It's not an album I would lift several singles from; rather it's better when played as a complete piece of work. This is even more evident now. Two of the additional tracks are fills between tracks, Abailar To Mundo being a glory piece for bassist Marco Mendoza and My Love My Friend giving Soto fans something to cheer about. Together they help bind the album together and further add to the journey between the opening and closing tracks. The new tracks: Alive is the only true new track in the sense that it follows the traditional format of what a song is. And what a song this is a fantastic rocking, but melodic anthem with a snappy rhythm section and some funky guitar parts and a typical Jeff Scott Soto anthem chorus that would have sat comfortably on the recent Lost In The Translation album. Its addition makes it one of the album highlights. Abailar To Mundo is a funk-fest for all bass players and highlights Marco's Latin roots and his flair for a killer groove. My Love, My Friend is an accapela track, with Soto in full force, with the rest of the guys providing rich harmony support. Very Queen and very stylish. James Brown is the European bonus track and really just for a laugh. This is a R&B/Funk/Soul track with a swagger Glenn Hughes would be proud of and sees Neal Schon outside his normal playing parameters. Good fun, but maybe not for all! Still appropriate from my original CD review: World Play is an album that lives up to the high expectations a lot of people have been hoping for. It's a monster of an album, but not for the most obvious reasons. This album showcases what rock n roll is all about. It is an untamed record and showcases four first class musicians playing how they were born to perform. World Play is very loose and raw it's a fly-by-the-seat-of-your-pants kind of record. It is recorded how it sounded as they guys belted the music out no high-tech polish, no endless overdubs, no piece-meal note by note over-thinking. Soul SirkUS is part Hardline, part Talisman, part JSS solo and part Journey. Rather than the hard edge stadium rock of Hardline, Soul Sirkus has a far bigger groove and is less constrained by structured songs and formulas. Neal Schon really gets to let fly, and plays with the energy and conviction of a man recording his debut album. Vocalist Jeff Scott Soto gets to showcase the full range of his vast talents from his booming hard rock vocals, to some high pitch screams, back to soft soulful balladry, with his trademark funk and groove fitting perfectly with the flawless rhythm of Mendoza and Donati. The production might not be as crisp and clean as Journey, or as precise as the Hardline record, but the performances are electric. There are some monster harmony vocals throughout, with Jeff utilizing his trademark layered harmonies in line with supplemental vocals from the rest of the guys. I find myself liking different tracks from week to week, which proves two things the album is quite varied and it proves true depth, providing new experiences for listeners beyond the initial period of getting to know an album. Original Review Track By Track.
Where the album will rank with individual fans will be down to what they expect from the record and what they take away from it. On face value, World Play is one of the grooviest hard rock records in a long time and stands alone as far as style and content. Absolutely essential for any fans of Schon and Soto and anyone who adores the Hardline album. I'd already rated this album about as highly as you can get, but they get one more point for the awesome Alive.
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| Circle II Circle The Middle Of Nowhere | AFM Records |
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After a lot of internal upheaval and some unwelcome tinkering with the band's sound while on tour, it was important for Zak Stevens to get this album right. The band's debut album was critically and commercially successful and the fallout over departing band members cast a pail over what was supposed to be a highly anticipated follow-up. So with a new line-up in tow, the anticipation over this release was more to see whether it was possible to recapture the essence of the debut. I think most fans will be pretty happy with the results. The Middle of Nowhere is thankfully along the same musical path of the debut, but doesn't quite reach the high's that album did. However, there is 10 tracks and 50 minutes of well played, well written American melodic metal here and fans of the debut will, I think, still come away happy. New guitar recruits Andrew Lee and Evan Christopher prove to be worthy additions, providing the necessary muscle for Zak's songs. As expected, AFM Records have put a lot of money into this release and the production can't really be faulted. It's big; it's loud and right in your face. I think In This Life is a good moody metal track, but perhaps not a killer opening track. It's not until Open Season that things kick into high gear. Holding On hints at a more contemporary sound which continues through the record. Highlights include the moody Cynical Ride; the progressive, but melodic Hollow; and the aggressive edge of Psycho Motor, which features a cool chorus hook. The songs remain consistent and all within the same length, no epics here.
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| Brunorock Interaction | MTM Music 0681-130 |
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Credit to Brunorock - I've heard his past releases and really didn't rate them at all. I mean no offence, but it really didn't capture my imagination or strike me as anything overly original. This time around though, Bruno has caught the attention of MTM and with mega-producer Michael Wagener involved, has put together a more impressive package that will definitely find a bigger audience. Brunorock handles a good majority of the instrumentation and all the vocals but guest musicians on the album include Frederik Burg (Street Talk) on keyboards, Alex De Rosso and Bobby Altvater on guitars, and Skid Row bassist Rachael Bolan on several tracks. Musically speaking a good performance by all is captured on Interaction, but describing it is a little hard. Not everyone is going to like Bruno's heavily accented vocals, nor the style of the delivery. It's an interesting sound that varied between tracks and doesn't really compare to anything else on the market, which in the end might be a good thing. But at times, things don't quite gel. Vocal effects are used in places as are some modern production techniques, which is ok, but at times the album sounds a little pieced together rather than a free flowing example of rock n roll. The delivery sounds a little jerky if that makes sense. There are some good moments here It's All Been Done For Me is a good uptempo slice of European melodic rock; Pray For The Rain is a slightly dramatic 80s style rocker; and Let Me By The One is a smooth ballad. All in all, the songs are pretty catchy, but at times that isn't enough.
That said, it's Bruno's best release to date and those who have other albums will certainly see a major leap forward in the quality of this release.
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| Jay Miles 9 Hours | MTM Music 0681-127 |
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This is an interesting one. Jay Miles is a native of Switzerland who performed a number of recording duties for others before his own band Steamtrain released an album in the early 90s. It charted in Europe and Jay (born Jόrg Eichmann) headed to the USA to find fame. It hasn't happened, but Jay continued different recording sessions over the years and funded the recording of this album himself. I'm told Jay put a staggering amount of money into this release and playback reveals where it went. Not a single note is out of place and every song is a finely crafted and perfectly executed piece of Westcoast Pop/AOR. Its evident Jay has poured his heart and soul into this release. The hired guns involved in the recording of this album prove to be worth every cent, as the album is as smooth as any Westcoast release I can recall. Featured on the album are the talents of Steve Lukather, Michael Thompson, Neil Stubenhaus, Robbie Buchanan, C. J. Vanston, plus producer Mike Farrow and engineer Greg Ladanyi with none of these guys coming cheaply. As you can ascertain from the description thus far, this is a very fine album indeed. High grade performances and soulful vocals are the order of the day. However, one definitely needs to be a far of Westcoast to best appreciate this release and even then, some might find it just a little too sugary. It's very sweet, it's very polished and the style of Jay's vocals do take some getting used to. His delivery is obviously ultra smooth and the tone has a slight European accent and certainly a European feel to it. But the music that surrounds it is so perfectly placed, I'm sure a few listens in, all will agree it's a fine release. The material of 9 Hours ranges from bright, bubbly pop numbers through to slow, soulful numbers, all featuring what appears to be a fairly simple musical base yet on each listen, more layers are revealed in what turns out to be a pretty complex tapestry. Everlasting Love kicks off the album, with a dramatic musical burst that reminds me of Mark Spiro at his best. An uptempo feel good chorus is a fine way to start any release. I Don't Want To Hold You is darker and a little more dramatic while Safe returns to the breezy feel of the opener. Other highlights include the acoustic driven pure pop of Still Believe In Love and the uptempo Westcoast AOR of I'm Still Breathing. Some good ballads are featured, Angel allowing some acoustic guitar passages over a light vocal and Grandpa's Chair is as sweet as they come. The vocal on this track reminds me a little of Peter Cetera. Back On The Street and What About Us change the tempo of the album a little to offer something a little darker and more dramatic.
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| Fozzy All That Remains | Ash Records/Riot Dist. |
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As all are now aware, Fozzy features wrestling star Chris Jericho up front, singing his way to an alternative career path. After two successful albums of covers, the band moves forward to prove their worth with an album of original material. Metal fans should be impressed with the results. Jericho is a decent singer, with a voice somewhere between the gruff Zakk Wylde and the more polished Ozzy Osbourne. Musically he is backed by a band that knows their craft and delivers the goods. There is plenty of heavy and fast riffing and some more introspective parts giving the album a good balance. The band has a sound that compares to Black Label Society and Audioslave (a Chris Cornell influence I think) giving the band a true metal sound, which is also contemporary case in point, some nu-metal is featured in the shape of It's A Lie. Hook wise there is also some strong elements within the music and some memorable choruses are a bonus. This album is all about the riffing and the attitude .there's plenty of both. Nameless Faces, Enemy and Daze Of The Weak rock the best, while I will pass on the rap-metal of It's A Lie. There are no ballads here, not even a slowing down of tempo. Some moments of intricacy and delicacy for sure but this is a 42 minute, no fuss, no bullshit heavy rock.
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| John Sykes Bad Boy Live | Victor Japan VICP-62956 |
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Bad Boy Live is best described as an adequate release. It sounds great, the band kick-ass and it features some classic songs. But it doesn't blow you away and it doesn't really offer anything new for fans of the guitarist/singer. The most pleasing aspect is seeing Sykes take some time away from the Thin Lizzy tours a concept which surely has reached a use-by date. The most disappointing fact is that this release does not match the previous live release Screaming Blue Murder and doesn't actually feature many Sykes/Blue Murder tracks. The other item of note is that this album is recorded over 4 nights and has been pieced together. It does not flow seamlessly as if it were an as-it-happened-live gig. I don't like that I prefer live albums to capture the essence and energy of one performance not the best bits from a series of nights. It takes away the urgency of the live performance. Performance and sound wise, no complaints, but again, it doesn't surpass the previous Blue Murder live release. Kudos to the band for a tight performance. Marco Mendoza, Tommy Aldridge and Derek Sherinian are seasoned veterans and do their job perfectly. It's cool to hear Whitesnake's Bad Boys and Crying In The Rain included, but it's We All Fall Down that sets this affair alight. Cold Sweat also rocks and Jelly Roll never fails to impress. Snake fans are treated to no less than 4 tracks, with Sykes slowing things down for a moody Is This Love. Thin Lizzy are represented with 2 tracks, amazingly leaving just 5 Blue Murder/Sykes tracks to round out the release (one of those being an unreleased Thin Lizzy track that John finished off and recorded at a later date). My guess is the guys didn't want to repeat the Screaming Blue Murder track listing, but if one goes to the effort of recording a whole tour, surely something more impressive than a straight 11 track, 56 minute release might be better value for fans. How about a double CD of the whole gig, or at least pad a single CD out to 75 or 80 minutes!
Hopefully Sykes might one day see sense and accept a European deal so fans can afford his product at a reasonable price.
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| Unchain Unchain | Metal Heaven 00005 |
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This is an interesting release and although tagged as a Metal Heaven release, isn't metal heavy. It isn't AOR either though! It is a tough talking, hard driving release in a style not often seen in recent times. Unchain offer an album of well produced, well played bluesy hard rock a mix of fellow Swiss rockers Shakra and Krokus and also a hint of American hard rock in the style of Little Caesar, Circus Of Power and even some British hard rock in the style of The Almighty. I think that sound paint a fairly clear picture of the band's style. The band mention playing support to both Shakra and Krokus in their homeland, so it's not surprising to hear them on the same musical page. Swiss rockers really do have a set style to them. Unchain's debut album features just 9 tracks, but it rocks along at a fine pace, with a definite swagger in places. Get It Live has a definite bluesy boogie riff to it and I can imagine fans of Rose Tattoo digging this. The pace only slows once and that's for the 6 minute plus slow rock n blues of Yesterday. Elsewhere the pace is all pretty consistent. The songs and the delivery don't vary much, but the energy of the album and the band's delivery makes up for that. There is a 5 minute gap after the last track to 'hide' a short acoustic blues ditty.
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| Sha-Boom The Race Is On | DF Records DF1005 |
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Sha-Boom's new release reads like a who's who of Swedish melodic rock. Tommy Denander co-writes and contributed guitars and keyboards, Kee Marcello guests on one track, Thomas Vikstrom is responsible for backing vocals, Ian Haughland drums on 3 tracks and also joining in are also Marcel Jacob, Daniel Flores, John Levin, Mic Michaeli, Sayit and still more. The ensemble is lead by frontman Dag Finn who writes and provides lead and backing vocals. The band has 3 previous studio albums and a best of (released in 2002). Their last studio album was in 1990 and listening to this, you wouldn't think times have changed at all. Dag is the only full time member of the band held over from their past, but delivers an album in tune with how the band has always sounded. This is glorious Scandinavian melodic rock akin to the best years of the genre, the last 15 years seemingly not important musically speaking! Some strong lead vocals and some massive backing/harmony vocals drive the bombastic chorus hooks and Stage Dolls style tact is applied to the versus, which are equally enjoyable. The sound and style is very sweet, very pop and very easy going. Halford fans aren't going to find anything here, but fans of pop/AOR/Glam and the likes of Evenrude, Alien and most recently Wig Wam should eat this up. From the opening burst of Blah Blah Blah, this catchy as hell pomp/AOR infects your brain. Somewhere In The Dark gets moody, while My Home Town sounds like Street Talk. Not to be taken at all seriously (especially Big Bang), this is a good fun uptempo album. Ballads like Here I Am and Why Did I give fans a chance to mellow and reflect, but otherwise...rock like it's 1989.
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| Blind Date Blind Date | Perris Records PER01502 |
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This Perris Records release is an interesting album that will please fans of old school American melodic rock. Although written back in the heyday of hairspray heaven, the majority of the album was recorded in 2003 with 3 tracks included from the band's original formation in 1991. Why they chose to make a comeback now is anyone's guess, but I think they will reach some new fans and with the right push, could establish themselves as a crowd pleaser in 2005. The recording is strong and modern studio recording techniques have allowed the band to record a big sounding album without the budget requirements needed had they done this in 1991. The heart and soul of this album is the golden rock n roll era of the early 90's, where such bands as Danger Danger, White Lion and Firehouse ruled the airwaves. If that's you, then this album is definitely worth checking out. The sweet, harmonious vocals of Buster Grant aren't a world away from CJ Snare and Ted Poley and the band fits that commercial FM vibe of the time. The band cover all territories with the big rock anthems Don't Wait Up and We Keep Falling In Love over to heartfelt ballads like She's Walking and Dreaming, plus feel good middle ground with tracks like Daddy's Little Girl and Everybody's Baby.
A solid sound and some fine harmony vocals provide a winner for fans of the past, but those more attuned to today's hard rock sound might find them a little sweet.
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| Swirl 360 California Blur | Atenzia Records |
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California Blur is some 7 years in the making, after the band was left high and dry after the release of their debut album on Mercury Records.
The band is back better than ever thanks to a new deal with Atenzia Records in Sweden. Swirl 360 is another fine example of modern melodic pop rock that some will immediately avoid or dismiss, but those whose taste extends to such formats will find this a very enjoyable release. California Blur is packed with fine contemporary power pop in the vein of bands such as Jellyfish, Foo Fighters, The Cars and Cheap Trick. To bring comparisons closer to home for the AOR folk, I think the band's sound and especially the vocals of Denny Scott are comparable to the very fine Brett Walker albeit, dressed up in a far more contemporary feel. The laid back and at times blissful pop could also compare to the style and sound of Danny Wilde and The Rembrandts it's that type of easy going melodic pop rock that drives this band. Oblivion and California Blur are the two best tracks of the album both catchy as hell in a moody pop style that sees multiple hooks featured and some smooth vocals. It could be said that it's all downhill after the first two tracks, being they are the standout tracks of the album. But I'm happy to say there still remains some fine music to enjoy throughout the album so long as your taste takes in this genre. Chemical (My True Love) has another great chorus hook and a style that walks the tightrope between angst ridden pop and modern melodic rock. Nothing Left is another great pop song, mellow during the verse, but more lively come chorus time. One & Only and Postcard provide the album with a late burst of inspiration.
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| Kelly Keeling Giving Sight To The Eye | Mascot Records |
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This is interesting...I count myself as a fan of Keeling and his past work, but I'm not particularly blown away by this album. I think some will find it quite marvelous, but I feel others will agree with me. Read on
Kelly Keeling is a very good singer, using his abilities perfectly to carve out a long career in such bands as Baton Rouge, MSG and Heaven & Earth, not to mention many session performances. Kelly can cover a diverse range of styles and has an instantly recognizable drawl. This is his first solo album and I am pleased to see Kelly get wider press for himself rather than as a singer for someone else. He sings his heart out on this album and introduces himself as a very fine and articulate guitarist too. But parts of the album take a lot of listening to in order to best appreciate. Even then I'm not sold on a few tracks. I didn't have any expectation as far as sound, but the album is a bit darker and stylistically takes on a modern approach to the classic rock sound. I think one problem with this album is that it tries to cover too many bases and is a little bit of everything. Its diversity is admirable and Keeling tackles the styles with gusto, but that is also the main weakness of the album. I think the always changing style doesn't allow the album to slide into the best possible groove. The album covers straight ahead hard rock (Rising Of The Snake, Nothing); blues rock (Parasite); funky 70's rock a la Glenn Hughes (Broken); acoustic driven classic rock (Sunlight Needs The Day, Head Straight, Jesse); modern hard rock (Hell Is On The Way). Then there is Ground Zero, which itself is quite a marvel! This is an 8 minute epic that sounds more like classic Kansas or ELO! It's a fabulous epic with a monster hook. Funnily enough, the track was written by and features Kansas' Kerry Livgren. A lot of music to wrap one's ears around and a lot to digest before casting a verdict. Perhaps not one for Baton Rouge fans, but those that enjoyed the second Heaven & Earth album and like their music varied.
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| Not By Choice Second Hand Opinions | MapleMusic Recordings MRCD6425 |
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Not By Choice are a modern melodic hard rock outfit out of Canada and have a sound not too far removed from the likes of Blink 182, Yellowcard and Cauterize. The Cauterize connection might come into play because of the band's sound. They share the same producer one Murray Daigle (Emerald Rain). He uses the same hard hitting, crunchy guitar sound on both records, both which benefit from his input, as both records sound fantastic and are very in your face rock n roll, the exact desired effect in this style of music. The major difference between Not By Choice and Cauterize is the singer. These guys could use a better one Mike Bilcox and Glenn "Chico" Dunning share vocal duties, but sound very close to each other. Their tone is the same style of too many modern rock bands these days a little gruff and sometimes more emphasis on sounding loud than actually singing. Too many modern rock bands over deliver the attitude to hide the fact they could use a great singer, not just a decent one. Cauterize rise above the pack and appeal to fans of this site thanks to some great songs delivered by a great singer. While this is one of the better examples of commercial radio friendly modern rock, complete with that cross between punk attitude and power pop delivery, the guys could still use a few killer songs, stronger choruses and as I said, a great singer. Too may songs here fade from memory once the CD leaves the tray.
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| Frickin A Big Egos...No Ideas | Toucan Cove |
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These guys seem to be attracting as much attention for their cover of Rick Springfield's Jessie's Girl as they are for anything else. This is album number two for the American outfit that has a vibe similar to that of SR-71, a lighter Bowling For Soup, Simple Plan and .well, about a dozen other bands out there. The guys are a little more pop than some of their modern rock counterparts and Drive is a fine example of that. But tracks like Just Friends, while catchy enough, just lack punch and originality. Trend isn't much better. As for Jessie's Girl this is about the 5th cover of the song in recent years, but has been attracting the most attention. It's ok it's a pretty straight forward cover of it and the guys get that guitar sound close to perfect, but like most reading this, I'll stick to the original! Dump Me is a pretty good pop rock song, but elsewhere there's some pretty average lyrics and heard it before hooks. Oddly enough, the last few tracks really mellow out and are largely acoustic.
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Anberlin Never Take Friendship Personal |
Capitol Records 66607 |
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Nu-breed 2005 kicks into high gear with the release of the second CD from American modern rockers Anberlin. These guys have all the required energy, attitude and angst required, all wrapped up into a tightly produced affair, with guitars very much at the forefront of the mix and the delivery of the songs. A powerful and emotive vocal is the other important ingredient here. Too many bands rely on a singer that does more yelling than screaming and American modern rock is the worst offender at serving up second rate singers. Falling somewhere between the melodic punk-hard rock of Cauterize and the more classic melodic rock of Waltham, Anberlin have all the ingredients required to impress readers of this site even some that are entrenched in the 80s. A modern production and plenty of contemporary effects are at the forefront of this release, yet the base is comprised of finely crafted melodic hard rock songs. These really are power pop songs, disguised as hard driving rock songs thanks to an in your face guitar sound, which is quite heavy in places, all while hook filled choruses flow with a natural ease. The opening title track gets the band off to a strong start, with a cautious verse, but a hard rocking chorus. Paperthin Hymn has a similar approach, but the chorus and song in general gets heavier as it progresses. The angst wrapped up here is infectious. And Stationary Stationary is as contemporary as anything heard on modern rock radio today with a chorus hook that's very Waltham. The band prove they can slow it down for ballads too, with a softly spoken vocal behind the sentimental (The Symphony Of) Blasι. Other highlights is the anthemic A Day Late, the super heavy Feel Good Drag and the very melodic uptempo (and curiously titled) rocker Audrey, Start the Revolution! There really aren't any fillers present here.
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| Heartland Move On | Escape Music ESM113 |
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Almost two years to the day, UK melodic rock stars Heartland return with what is possibly their best ever album. A lot of care and attention has been put into this release something which shines through in every aspect of the album. Heartland has always been a personal favourite I have every one of their 8 previous releases. The band's debut was an AOR classic, which with a major label budget has been hard for the band to top. Each release has seen the guys get a little heavier and each release has seen an improvement in quality leading up their great last album Communication Down. But Move On moves not one, but two steps ahead, with important improvements in all areas, and especially in an area the band needed to work on most chorus hooks! Vocalist Chris Ousey and guitarist Steve Morris wrote and produced the album in the UK and famed producer Tommy Hansen mixed the album in Denmark, while also supervising the recording and placement of the rhythm section. In the grand scheme of things, the band's sound is not too heavy they remain a melodic rock act, yet this album is their heaviest to date, mainly due to increased urgency in the delivery and a super tight sound that features a wonderfully crisp and sharp guitar presence. The style suits the guys perfectly and the uptempo numbers really get the heart racing and feet tapping along. So, the sound is tougher and tighter than ever, the performances are flawless and the mix perfect. And the songwriting is their best since the debut. A great deal of Heartland's melodies are played out by the vocal acrobatics of Chirs Ousey. He turns a simple phrase into a hook and the band's verses are at times, just as catchy as the choruses themselves. But I've always stated that in order for the band to improve further, chorus hooks is where it needs to take place. Move On features some of the band's best chorus hooks since their AOR drenched debut. The vocals are layered more than ever before and feature extra orchestration which lifts them away from the verse into their own stratosphere. This change is largely due to the input of the quite brilliant Anders Rydhom, who produced the vocals, which are enhanced by fellow Grand Illusioners Peter Sundell and Per Svensson, adding their mighty backing vocals throughout. Track By Track: Opening with a bang, Hard Hearted Man bursts to life in double time fashion, with a snappy drum sound and authorative lead vocal that's typical Heartland and reminiscent of their last album. The chorus, although subtle, lifts the track when needed and a new classic is born. Some tasteful guitar work closes out the track, which is immediately replaced by an even more intense rocker - City of Lights. I love the heard edged guitar intro and the overdubbed soloing. Drums kick in and we are away again. The song builds further, with Chris Ousey's lead vocals as powerful as they have ever been. The chorus sees the song gain more momentum and the layered backing vocals are rich and glorious. This is another great chorus from the guys. The hard edged rock continues with Take Me Alive, although in a slightly different vein. This track has a different vibe entirely and is something a little different for Heartland. More great harmony vocals surround the chorus, which has a real bluesy swagger to it. Proceedings slow briefly for the semi-acoustic ballad How Was I To Know. The base of the track is acoustic, but the overdubs are all electric, giving it a real punch. A heartfelt vocal drives the track and again, backing vocals are used perfectly throughout. Ousey's voice is amazing at times and he really lets fly with some sustained notes. I'm Getting Ready is another album highlight even though every track has been great so far. I love the chorus on this mid-tempo melodic rocker, which features some big Grand Illusion style pomp vocals. The track clocks in at 6 minutes and changes focus towards the end. Classy songwriting at it's best. Hell Or High Water is a slow to mid-tempo track and doesn't quite fit the mould for a ballad or a rocker. Rather it's a moody melodic rock track that features a big harmony filled chorus that comes from nowhere. The track provides a great change of pace mid album. Time for a happy go lucky rocker in the guise of Too Sad To Cry. This is a simple, but classy rocker that reminds me of classic Heartland from albums such as Wide Open and Bridge Of Fools. Remember Me Continues the vibe of the previous track, but in a more uptempo setting. The chorus is simple, but fits the album well. Redemption is a rare instrumental for the band. I'm not a huge fan of these interludes on what is primarily a vocal album, but the track and importantly, the lead guitar melody is brilliant and I find it enhances the record rather than taking away from it. It makes for a cleaver break before running into the last three tracks of the album. I love that one of the album's best tracks and most energetic rockers is left until the back end of the album. One thing about this album is the precision in the running order it works beautifully and having this track placed here gives renewed energy to the listener. Where Do We Go From Here is a great uptempo rocker with a lush layered chorus and features a keyboard sound reminiscent of classic early Heartland and even Virginia Wolf. One Fine Day is yet another great track and is the prefect answer to the energy of the last track. This moody mid-tempo rock track has a feel good vibe and equally warm chorus. Closing the album is Rotate, a big funky rocker that's a little bit of fun and ends the album on a spirited high note.
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| Oliver Hartmann Out In The Cold | Frontiers Records FRCD236 |
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Sometimes the best surprises come when you don't expect anything. Oliver Hartmann is the acclaimed former vocalist for European hard rockers At Vance and current frontman for prog-metal act Empty Tremor. As a solo artist his name is untested and I quite honestly did not have any idea what kind of an album Hartmann would deliver. For the first time in a long time, I would go into an album with absolutely no anticipation nor expectation. 52 minutes later I am a converted Hartmann fan, left blown away by what is simply a joyous and uplifting musical experience. So often albums are held to particular styles, but this is just brilliant, pure melodic rock. So rarely does an album offer such musical brilliance that I am left with virtually nothing to compare it to. Oliver Hartmann's debut solo album is mix of moody melodic rock and heartfelt ballads, mixed with a couple of breezy feel good rockers. Every track offers something different and the whole sound of the album is a world away from what he is best known for. I think this will be a big favourite amongst AOR and melodic rock lovers and will establish Oliver's name as a class songwriter and performer of his own credentials. I love an album that is driven purely by the craft of great songwriting and that aspect along with Hartmann's powerful, yet accessible vocals is what makes this album so good. If forced to draw a comparison, I refer to Black Sabbath singer Tony Martin and his moody solo release Back Where I Belong, which saw that singer pull things back a notch or two to concentrate on some fine soft rock tunes. Out In The Cold sounds like a million bucks. Produced by Sascha Path and Oliver, not one single note is out of place. Well placed harmony vocals add extra texture and impact to the already powerful choruses and string arrangements throughout give the album an amazing intensity. Track By Track: Opening the album is the uptempo rocker Alive Again, a track which is one of the more powerful of the album, driven by Hartmann's own guitar playing. The chorus is instantly catchy, showcasing the range in Hartmann's voice, with some fine backing vocals adding impact. The angst ridden rock ballad Out In The Cold follows, with a burst of strings bravely offering the opening notes. Another musical burst, in the form of guitars gives way to an acoustic driven verse, which in turns leads to a full band chorus which is backed with more strings and a moody, emotional and powerful vocal. Brazen starts with an acoustic guitar and features another highly passionate vocal. There is some real angst wrapped up in the lyrics and the delivery of this album. The songs builds to one of the most passionate choruses I've heard in many moons. The track builds intensity as it goes and the last minute of the song is something to behold. The Same Again is an uptempo rocker with attitude and a definite sense of anger surrounding it. The aggressive chorus gives the listener no reason to doubt! I Will Carry On is an utterly brilliant ballad, backing with soaring vocals and even more string arrangements. The vocals are just perfect that hint of raspiness, mixed with a strong soulful feel. And is that bagpipes I hear, or just a synth? Every song is a winner on this album, but none more than the uptempo, pure melodic rock anthem of What If I. This joyous, uptempo melodic rocker with huge harmony vocals has a chorus which catapults the song into major contention for Song Of The Year. And what about that vocal in the last seconds of the song? How Long is a more straight ahead hard rocker, with a more restrained chorus, but an enjoyable beat. The Journey is the second proper ballad of the album, and is another great sentimental track, with a soft vocal that guides the song along. The chorus takes some time to appear, but works well in context with the song. The tempo and style changes a little with, Who Do You Think That You Are, which has one of the toughest guitar riffs of the album. This is a dark, moody and quite heavy mid-tempo rock track with an aggressive heart. Listen To Your Heart heads back into the uptempo feel good, melodic rock n roll vibe of the opening track and What If I. This is pure melodic rock and yet again features another great chorus that makes it an album highlight. Can You Tell Me Where Love Has Gone is a mid-tempo moody rock track with a big chorus and some fine harmony vocals. One of the best tracks on this already classic album is Into The Light. It's the perfect way to close the album. This 6 minute epic ballad is as haunting as it is beautiful and the melodies throughout send shivers up your spine. The extra orchestration and the glorious backing vocals make this yet another example of songwriting genius. And oh man, what a finish to the song.
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Dare The Power Of Nature...Live In Munich |
MTM Music 0681-128 |
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Dare punctuate studio releases with this new live album, recorded at last year's Munich Deep Impact Festival, and is in support of their last studio album Beneath The Shining Waters. I'm a longtime Dare fan and I like this release it's nice and raw and live as it happened on the day. Not all the vocals are perfect and not all the lush instrumentation of the studio versions is possible, so the tracks seem to have a little extra energy to them. It's nice to hear things stripped back a little and delivered in a more organic form even though a keyboard still triggers necessary backing tracks (and guys, it's time to get a bass player!). I note several tracks from this performance are from the band's last studio album notably Sea Of Roses, Silent Hills, Where Darkness Ends and Storm Wind. These tracks are delivered with a passion and an energy lacking on the studio counterpart. I upset Darren with my review of that album, but it has never been about the quality of the music rather an issue of energy and the fact that album sounded all too similar. I think these songs have been given a breath of life on stage. Surrounded with some other tracks of varying pace and style, the newer tracks are given further individuality. As for the remaining tracks of the set this is a very well oiled performance to an enthusiastic crowd. The tempo remains fairly laid back as expected, but thoroughly enjoyable more so with the extra roughness and the odd vocal fluff intact. I have noted that the set is in support of the band's current album - the majority of the set is comprised of tracks from that and the last album Belief. A couple more early classics might have been even better and it's a shame the band didn't have more than just one hour to perform. Classics such as King Of Spades, Into The Fire and Some Day go down a treat. And yes, despite the published track listing - these tracks are present. One major disappointment from the show is the axing of Abandon from the release. Said not to be happy with the performance, Darren cut it from the official release. It remained on the promo copy that I'm listening to, and I have to say that I think it sounds fine great even. Sometimes little errors are part of the live experience and recordings should reflect that. It should have remained on the official release. DVD: So, that's the good part of the review completed now for the DVD. What can I say about this release? Sadly I have to say that it is not great. Here is the scenario. You plan, organize and pay for an outdoor festival. You plan, organize and pay for a crew to come and film/record the gig for later CD and DVD releases. It then pisses down with rain all day and filming becomes restricted and at the end of the day the label is left with the task of putting something together to recover costs. Ok, so the band and label are not to blame, but I really don't think fans purchasing this are going to get what they expected. If you are just looking for a visual Dare experience, perhaps you will be happy but his is not a DVD equivalent of the audio release. Once choice that could have been taken is make use of the video footage available. That is not the case here instead the basic stage footage of the band is relegated to the background, while a screen size image of Darren Wharton's head is displayed singing the songs. Except it ain't a blow up Darren on stage its studio recorded footage of Darren miming the songs played on the day with the footage laid over the concert footage. And that's for the whole concert. The girls might like it, but the guys might tire of it rather quickly. If a camera angle was not available for the front-on shots, then so be it, I am not fussed about close ups, but I would like to see the band perform. And as it is, the close ups dubbed over "drown out" the performance, as if it is more important for viewers to be able to see a close up of Darren's head over the actual band on stage. Not only that, but additional visual passages of Welsh countryside are included, the DVD turning to those parts whenever a lyrical tie-in presents itself. We get hills, clouds, water and roses, not to mention Darren taking in the countryside with a pleasant walk. It's certainly something to look at, but in no way, shape or form is it a live performance and the overdubs and studio performance take away from anything that vaguely looks like it is happening live. For me it is far too messy to watch over any period of time. It would make a stunning 5 minute video clip, but as a performance or full length release, I can't imagine watching it from start to finish again. The interviews make for a nice additional bonus, with Darren talking in detail or Dare's history, but perhaps the audio quality of the interview could have been a little better.
But the DVD not sure I'd recommend that without first checking out it to see if it was indeed what the buyer was looking for or expecting. I understand the concet and the aim - but I did not enjoy it.
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| Lana Lane Lady Macbeth | Frontiers Records FRCD237 |
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It's not too often I get to feature my first review on this site of an artist that is so established as Lana Lane. Up until now, the majority of her releases have been concentrated on Japan - with individual licensing deals done with other territories - but thanks to a new deal with Frontiers Records, a wider European release is now possible. The first album of the new deal was the double live retrospective. Lady Macbeth is her first studio album of the deal and (I think) her 8th studio album overall (not including the covers, ballads and live releases!). The musical tag applied to Lana is symphonic melodic hard rock and while that might be a slight mouthful, in this case it's entirely appropriate. As is always the case, her long time partner Erik Norlander controls production duties and lush keyboard parts. He is as much a part of Lana's sound as the lady herself. Their vast experience as a team allows them to work as a well oiled machine and every note of this album is perfectly placed and executed seemingly without effort. Guests on this record include Mark McCrite (guitar, vocals), Neil Citron (guitar) and Don Schiff (NS/Stick) along with vocalist Kelly Keeling, who contributes some stunning harmony vocals to the album. Lady Macbeth is a dramatic rock album, which tells a complex story through its 10 tracks and 50-odd minutes of music. It's so well done however, that individual tracks can be appreciated outside the realm of the story, which I think it always an important factor with concept records. However, listening to it from start to finish takes the listener on a vivid journey which takes in the legendary story of Lady Macbeth and musically runs the gamut from intense and dramatic symphonic hard rock to lush, soaring ballads. The opening track sets the scene with a double time rhythm and some dramatic backing vocals, but it's the second track and feature song Someone To Believe that really hits where it counts. A great hook, an emotional ballad and a haunting musical accompaniment make it an obvious stand out. Our Time Now and No Tomorrow are both intelligent ballads which set up the story for the more intense numbers that surround them. Summon The Devil and Shine On Golden Sun feature dramatic rock passages, with Keeper of The Flame returning to the double time hard rock of the opening track. The Vision is another haunting piece, albeit and instrumental one this time. We Had The World and Dunsinane Walls run together to close the album and conclude the story being told. Both are atmospheric pieces of music and define the term symphonic melodic rock.
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| Evil Masquerade Theatrical madness | Frontiers Records FRCD238 |
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I was never sold on the first Evil Masquerade album and nothing has changed with the release of their new one. I guess this is one of fans of over the top theatrical European metal. In this particular case, the name of the album says it all. This is true European metal, nothing like the much praised Masterplan or Starbreaker albums, which crossover into other genre's. This album features a lot of shredding, some progressive moments and a furious tempo that is matched by few. However, you really have to be into this to appreciate the story and music on offer. I can adjust to most things and I do appreciate this is a solid recording with a good production quality. However, talking about evil clowns and writing songs called Bozo The Clown doesn't really do it for me, especially when it's wrapped up in neo-classical Yngwie shred fest metal mixed with progressive twists. Style and delivery aside, I find vocalist Henrik Brockmann rather annoying to listen to - his singing/shouting/acting really doesn't do it for me.
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| Dark Sky Living & Dying | AOR Heaven 00013 |
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This is the third album for German rockers Dark Sky. Recorded with producer Markus Teske (Vanden Plas), the sound of the album is all one could hope it could be perfectly mixed and well produced. The guys aren't AOR and they are not quite metal. They are very much a part of the German hard rock sound made famous by the likes of Bonfire, The Scoprions and Jaded Heart. Importantly, the guys seem to have some solid material on their hands, with good choruses and some well placed harmony vocals providing a good garnish to some meaty guitar riffs. If you enjoy European melodic hard rock, Dark Sky would be well worth a listen. There are some fine moments here. Highlights include Save Our Souls and Living & Dying, which both have solid choruses and equal guitar and keyboard fills; the singalong ballad You Are My Life; the stomping 80's rock of Back Again and the anthemic rocker The Feeling Is Gone. Give Love To Everyone is also a fine building ballad. The guys definitely have that German feel to them, with accented vocals and a style not unsimilar to The Scorpions and Bonfire especially.
Although everything here sounds great and is delivered as a quality package, I'm not sure the guys hold that star quality or that one certain aspect that could put them ahead of many other artists in the same position. That's something for them to work on for what will be an anticipated forth album.
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| Heartbreak Radio Heartbreak Radio | AOR Heaven 00012 |
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This is an interesting release, as it features a few different styles and sounds, with the line-up between songs also alternating. It makes for a release that is a little disjointed, but due to style and song quality, will still please a number of AOR fans. Heartbreak Radio is a band project which was founded in the year 2004 by production team Torbjφrn Wassenius/Claes Andreasson who are best known for their work with Last Autumn's Dream and the solo work of singer Mikael Erlandsson. Erlandsson takes up lead vocals on three tracks (singing more aggressively than on his recent solo records), with the remaining handled by Pierre Weinsberg (who uses a smoother AOR vocal, a la Steve Perry). Guitars are from Sayit, T'Bell and Tommy Denander so that alone should demonstrate what sound this project carries. Yes, anyone familiar with Denander and his guitar sound, and his previous projects will know exactly how this sounds. The 30 second spoken-word intro track is unfortunately a little lame, but the opening track isn't. Although clichι filled, Hard Rock City delivers a crunchy burst of guitars with Erlandsson singing his lungs off. Rockin' The Night doesn't impress as much only because it is perhaps a little bit stale. Now You're Gone is far better featuring the AOR tones of Weinsberg and a smoother, more polished sound. Let Me Have My Heart Again is an acoustic ballad featuring Erlandsson again in a polished performance. An enjoyable song, but it demonstrates how the album is a little disjointed, swapping from both singer and styles. The uptemo anthem Don't Look In Her Eyes is better - AOR fans will enjoy this one as they will Only You, which is a homage to Journey's Raised On Radio style. Knocking On Hell's Door sees the band try and play the bad boys of rock n roll, with Erlandsson again signing tough. But I'm not sure it suits and it certainly doesn't flow in the context of the songs before it. Love Don't Live Here No More is another anthemic power AOR ballad and after another couple of ok tracks the album closes with another Journey Raised On Radio style AOR track.
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| Stage Dolls Get A Live | Music Business |
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It took me far too long to get around to buying a copy of this, but if you are in the same boat, this review is for you! Get A Live has a few great things going for it and a few against. Stage Dolls are one of the most polished AOR bands on the planet, so it's really interesting to hear them in such raw surrounds as a pure live gig, straight off the soundboard, with no overdubs or quick fixes. As a sequel to the studio album Get A Life, this makes a good companion piece. The recording is rough compared to their albums, but the energy and the true experience of a Stage Dolls is captured and I like that aspect. In fact, I'll take that over a studio fixed live recording any day. So keep that fact in mind and forgive the band a few errors, a couple of dodgy vocals and a less than perfect sound. The other aspect is what to include on a single disc live album? 15 tracks sees most of the band's classics included, but a double CD/longer show would have been ever better! Still, there's a lot to love about any release that features such legendary AOR as Love Cries, Sorry Is All I Can Say, Still In Love, Love Don't Bother Me and Soldier's Gun. Few bands could boast as many classics and the enthusiastic audience sings along with just about every track.
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| Cloudscape Cloudscape | Metal Heaven |
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Swedish metallers Cloudscape are a new name to the scene, but their debut album is already one with pedigree. Recorded at the great RoastingHouse studios under the guise of Anders "Theo" Theander, the band could have not have picked anyone better to ensure their record sounded as good as it could. And sure enough, the production here is first rate the balance between vocals, heavy guitars, keyboards and a pounding rhythm section is perfect. Vocalist Micael Andersson counts Russell Allen and Jorn Lande as influences, as well as the more melodic tones of Coverdale and Bobby Kimball. The mix of influences suits him, as he has a tough approach that tends to mellow a little on the more melodic choruses. The band quote 70's acts like Yes, Rush, Deep Purple and Kansas as influences as well as the likes of Dream Theater and Symphony X and yes, there is a certain pomp flair to their delivery. But these guys are melodic metal all the way and their sound would appeal to those that also have enjoyed Masterplan and Symphony X, as well as Million perhaps. The music on offer is very uptempo double kick drum fills and furious riffing is the name of the game, but the strong authorative lead vocals of Andersson keep everything glued together. I like that the band include a good chorus in some of the songs although a couple more would have been even better. A good chorus gives the listener something to grab on to and remember. Highlights include the opening two tracks, which both contain solid choruses and additional melodies and the more progressive slant of Aqua 275 and Everyday Is Up To You has a cool rhythm and powerful progressive edge. Elsewhere it's all pedal to the metal. One slower, or acoustic driven track might have added a nice break in tempo during the album and perhaps a little extra emphasis on some extra hooks.
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| Evidence One Tattooed Heart | Nuclear Blast |
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I've put off reviewing this album for so long I'm not even sure a review now will be valid. But for those that are curious, read on. The fact I have been putting off a review in favor of other titles that needed attending to is not a good sign. I got right into this band when their debut album was released and anticipated the follow up. Sound wise it's a little heavier than the last album and features a more contemporary production sound. That's fine and the band sound ok too in fact, it's a good performance wrapped up in a great sound. But the all important ingredient is missing for me this time around. I love the sound of the tracks and I love the vocals, but the songs just don't engage the listener like I know this band can. There aren't enough strong choruses and not enough hooks within the songs on offer. They are simply all too much the same and don't leave any lasting impressions. There are some highlights and like I said, it all sounds fabulous, just not as engaging as previous album shave been. Best tracks include the high energy When Thunder Hits The Ground; Infinite Seconds, which reminds me of earlier songs; and the rock ballad In Love And War.
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| Black Label Society Mafia | Artemis Records |
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Once a band has moved on from the first couple of records normally acclaimed as the most ground breaking and continues on to clock up half a dozen albums, it's always going to be difficult to surmise which of them is the best. Especially when different fans get attached to different releases. So when in the case of Black Label Society, you reach studio album number six, it's a case of just making sure you get the sound right, have quality songs and the fans will do the rest. Mafia sees Zakk back in full in-your-face electric mode after the mellower Hangover Music release. This is exactly what we have come to expect from Zakk and BLS. Ultra heavy riffs, that aggressive in your face sound and yes, those vocals! I've warmed to Zakk's vocals over the years. I love his guitar sound and that aggressive edge he carries through his music. I love his work with Ozzy Osbourne. But that voice! Nevermind it works for Zakk and these days I accept it as part of the package. It wouldn't be BLS without that dark gravelly growl would it? The sound of Mafia is first rate, as you would expect from a seasoned campaigner like Zakk Wylde. A tough rhythm section is the perfect foundation for the sonic attack that is the guitar riffs and the vocals are perfectly mixed in. Highlights for me are the very Ozzy sounding hard rock of Forever Down; the brooding opening track Fire It Up, which smolders along; the moody and dark You Must Be Blind, which has a great vocal hook; and the straight ahead Say What You Will. Special mention goes to the piano ballad In This River, which features a great emotional vocal.
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Yngwie Malmsteen Unleash The Fury |
Universal Japan UICE-1078 |
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Here is the freshly edited Yngwie Malmsteen review. I removed the original late Friday as in the rush to get work finished for the week; I made a couple of errors within the review. That has also given me the advantage of giving the album a fresh hearing over the weekend. In hindsight, perhaps I was a little harsh on the album, but my overall feeling on the album hasn't changed too much from what I originally thought. I'm sure Yngwie fans will disagree with some points, but that's why the Interactive forum is provided. Over the last few years guitar great Yngwie Malmsteen has fallen into a pretty comfortable pattern of recording, releasing a new album at regular intervals. Looking back just a little bit, War To End All Wars was a bloody awful album. Things looked a whole lot better for the last album Attack!, which features the very fine vocals of Doogie White. His input, alongside a much improved collection of songs and sharp production made up for the disappointment of the previous album. Doogie returns again here and in theory is a perfect fit for Yngwie. I believe the two make good music together, but I do feel that Doogie's vocals are too low in the mix and could have been given greater emphasis. The great Mike Fraser has been brought in to mix the album, but strangely I think the overall sound of Attack! was better. This is a solid production - no doubt made even better by Mike's involvement - but I must confess to being unimpressed with the overall tone of Yngwie's guitar on this record. It's quite obviously his choice of sound, but I just don't dig the tone. Style wise, there are no surprises here and nothing that hasn't already been delivered previously. That's fine as there are some fine songs on offer and plenty of guitar wizardry to enjoy. Highlights for me include the straight ahead rocker Revolution, the dark and dramatic crunch of The Bogeyman, and the old-school sound of Beauty And The Beast. Instrumentally speaking there are 4 on offer, none finer than the Baroque acoustics of Fuguetta, but the others impress also for their finesse. For whatever reason, I think the instrumental tracks sound a little sonically better. There's plenty here for Yngwie die-hards to wrap their ears around with a whole lotta music to enjoy. I think the album might have been a little tighter with a shorter playing time and could have benefited even more with a slightly different guitar tone. I'd also like to see Yngwie concentrate on writing some truly memorable choruses. Unleash The Fury features fabulous solos (as expected), a solid rhythm section and powerful lead vocals (even if they are down in the mix too much). But what it lacks are some really memorable chorus hooks. The packaging is rather pleasing though the Japanese spare no expense as usual and add an expanded booklet and an enhanced portion featuring Yngwie playing 3 tracks in the studio.
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| Billy Idol Devil's Playground | Sanctuary Records 06076-84735-2 |
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Billy Idol has never been far removed from the news, so it's hard to believe it's actually been 10 years since his last studio album. Sure, there have been the compilations and the odd single, but it really has been that long! And being that his last couple of studio albums were poorly received, it's nearly 20 years since his last great release - Whiplash Smile. Devil's Playground sees Billy Idol return to being well, Billy Idol. Long time collaborator Steve Stevens is back and he really delivers the goods with a mix of furious riffing and composed soloing both in the electric and acoustic department. Producer Keith Forsey also returns he was at the helm of Billy's biggest albums Rebel Yell and Whiplash Smile. His knowledge of working with Billy and Steve helps create a return to that classic sound. This album sees Billy paying tribute to himself, with a mixture of textures from across his diverse career, but a definite emphasis on his classic sound from the late 80's. Generally speaking, this is a very catchy record and one which I think will please a majority of fans. It isn't an absolute classic, but by sticking to what he knows best, he manages to deliver a very enjoyable record that avoids the unnecessary experimentation of his last album or two. This is one for patient Idol fans to enjoy. Billy does a career wrap here, covering the pop/punk of his earliest days, the shredding melodic hard rock of his biggest hits, smoldering acoustic tinged rock with a modern edge and thankfully only one experimental track (Summer Running) which would have fit on the very ordinary Cyberpunk album. All this music is wrapped up in some tongue in cheek lyrics and oozes that feel good vibe. As stated, there is a little bit of everything here. The more I listen to it (at great volume), the better it gets. The very catchy World Coming Down and Sherri are a great listen, touching on his anthemic pop/punk roots; Rat Race is a darker and updated take on Flesh For Fantasy; Scream is Billy's Rebel Yell 2005 as Lady Do Or Die is his Sweet Sixteen 2005; and the acoustic driven Plastic Jesus and the darker Romeo's Waiting have a very contemporary style and have every chance at radio success. Body Snatcher and Evil Eye miss the mark a little bit trying too hard to adapt to the modern rock format. Far better examples come when Billy sounds more natural. Yellin' At The Xmas Tree is one track a little hard to pigeon hole. A terrific track with a great hook and laughable lyrics, it's inclusion is a little puzzling seeing the album's release is some 9 months from more seasonably appropriate timing! Still, it's all good fun and could feature as a surprise hit later in the year. Guitarist Steve Steven's role in making this album should not be under-valued. He is the thread that keeps it all together and his guitar tricks are simply some of the very best by anyone anywhere. Just take in the furious riffing of World Comin' Down. The man is a master of all styles and should receive far more attention! Drummer Brian Tichy also delievrs a powerful performance, with strong contributions in the songwriting dept also.
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| Talisman Five Men Live | Frontiers Records FRCD235 |
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This one is a real no-brainer. 27 tracks, 2 gigs, 5 rock stars, 2CDs
you do the math! Value for money and an utterly essential purchase for all Soto and Talisman fans. And those few that have an unhealthy love of Jeff's guitarist Howie Simon can also rejoice, as he joined Talisman on the 2003 tour as a second guitarist. A great move actually, as he really is a phenomenal guitarist and his contribution to the Talisman material should not be under-sold. Five Men Live features 2 CDs Live At Club Mondo in Stockholm and Live At Sweden Rock Festival 2003. Both CDs are the audio partners to the DVD release another essential purchase. This is as live as it gets nice, raw, in your face recordings featuring pro-musicians with energetic performances of some killer tunes. Club Mondo is the band's full set, covering 17 tracks, while Sweden Rock sees the guys limited by time a little, hence only 10 tracks. All the band staples are here I'll Be Waiting (complete with obligatory sing-along), Break Your Chains, Color My XTC, Mysterious, Crazy, Tears In The Sky, plus a few new tracks from the Cats & Dogs album which the guys were promoting at the time Skin On Skin, In Make Believe and Outta My Way. The sound quality of both is not flawless, it's more an official bootleg but both shows have been pro-recorded and sound fine. I tend to prefer recordings like this as they show the artist in their true element which with rock n roll should always be a little rough around the edges. Club Mondo has the better sound overall, which is excellent, as it is the longer show. Talisman really are a fabulous talented bunch of musicians. The bass playing of Marcel Jacob is some of the best you will hear and together with drummer Jamie Borger the rhythm section holds the band together. Guitarists Fredrik Akesson and Howie Simon provide the energy and Soto guides the ship like few frontmen can.
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| Judas Priest Angel Of Retribution | Sony Music |
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I think Judas Priest has delivered a solid comeback album which will sit alongside past Rob Halford fronted releases comfortably, but have stopped short of delivering a metal classic. I expect a great deal of variation within other reviews for this release. Some will hate the album at all and some love it. The majority so far seem to be enjoying it for what it is an album we all knew would come, but weren't sure when. Thankfully wise heads prevailed and the band saw what money they could be making on the tour circuit with Rob Halford back in the fold. Things were worked out, a new deal put in place and an album to tour behind was conceived. Expectations were high, as Rob was the last to deliver a metal classic with his Halford release Resurrection. And given the man behind that album (Roy Z) was on board here to produce, metal fans were hopeful. I don't think too many will be disappointed, but the band certainly didn't deliver an all time classic. However, hype surrounding the re-union has driven this album to achieve the highest Billboard 200 chart debut for the band. Angel Of Retribution is a good metal album that touches on the band's classic sound, while also updating things just enough (without being too much). It is great to hear Halford back in the line up and I think this album surpasses the two efforts with Tim Owens. The album opens with Judas Rising, delivering the intensity fans craved. Deal With The Devil continues the pace before Revolution turns dark and slow. Also of note is the very commercial Worth Fighting For and the excellent ballad Angel I'll await feedback on these ones to see what long time fans think. I think both are pretty good tracks and offer something a little different. Other noteable tracks for me are the classic sounding Wheels Of Fire and the double time rocker Demonizer. The most reaction I have read surrounds the epic 10 minute NWOBHM track Loch Ness. It seems most have been left scratching their heads, but surely the band have to be taking the piss with this one? Spinal Tap perhaps? Take the concept lightly, whatever you do!
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Liesegang / White Visual Surveillance of Extremities |
Escape Music ESM112 |
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Guitarist Bill Liesegang and vocalist Doogie White are both stars with long pedigrees, established names in the rock scene, each with their own fanbase. This paring makes a lot of sense. It offers both gentlemen a chance to expand their range and further build credentials. And due to the quality of the album both goals are achieved. Billy's last album No Strings Attached boasted 3 different singers and was half instrumental. It was a solid release, but if anything, lacked some continuity. Focusing on this album as a band project, with one singer, gives it a truly cohesive feel and while it remains fairly diverse musically, the album is held together perfectly by Doogie's performance and the consistency of the material. Former Rainbow vocalist and current Cornerstone and Yngwie Malmsteen crooner Doogie White is a natural star and even though he is respected and renowned in this scene, deserves to be a wider household name. Liesegang is also a great talent, his work as guitarist, bassist and part time keyboard player, not to mention producer, keep this album to his usual high standards. The only thing I would ask for is more music! There are 11 great tunes here, but it's been some years since Bill's last album and while you always get quality, it would really enhance his standing if the period between his releases was shortened. Let's hope this album is a springboard to more regular releases. His fanbase will grow expedientially the more people get to hear music like this. Speaking of the production, the overall sound of this album is superb. A beautifully balanced mix (from the expert Tommy Hansen) and a crisp clean sound allows everyone to shine and the guitar solos sound perfect when they take off from within the songs. Just check out Snake Eyes to get what I mean. Adding musical support on the album is the great Roger Scott Craig, whose keyboard work alongside Bill's adds depth and texture to the guitar driven material. Track By Track: A Prayer For The Dying and Snake Eyes are both finely tuned rockers, with a touch of the classic Rainbow sound to them, mixed with Doogie's British hard rock approach and the sound of the last Cornerstone album. Both tracks appeal to me a great deal, and feature strong choruses and some fine guitar play. Last Temptation is something very different and I must admit to being underwhelmed the first few times around. But boy, what a grower! This is a dark and modern rocker in the vein of Black Label Society and Ozzy Osbourne, with added effects and a truly contemporary metal feel. It's very heavy and very dark, but showcases an amazing White vocal and some diverse guitar riffing. Worlds Collide is a more gentile and passionate rock ballad, with some very fine reflective guitar soloing and a smooth lead vocal. New Addiction kicks off with a funky bass line, and an atmospheric, experimental passage of music, which leads directly into a much heavier and aggressive modern rock styled chorus. Quite a contrast and musically challenging. Vivaldi is the first of two instrumentals this one providing guitar shred fans with a fine display of fast soloing and Yngwie style musical theater. The Gathering features some amazing understated guitar work and another passage of experimental vocal delivery, before turning into a traditional Sabbath style rocker, with a dark, mid-tempo heart. Lost Horizons builds from a slow intro into a straight forward double kick-drum rocker with a suitably strong chorus. Doogie can sing this stuff in his sleep and fans will love it the song is perfectly placed within the album. The Ballad of Bible John is a tougher, darker, heavier and more experimental track, with plenty of guitar play and some effects filled vocals. There is no set structure to the song, but it's filled with riffs and works well in context with the rest of the album. Black Winter is a six minute plus hard rocker with a modern feel and some hooks which become more familiar with each listen. A great vocal makes the track. Closing the album is another instrumental, Old Father Time. This is a more laid back and reflective track, with some acoustic guitars being featured alongside a new age style musical feel.
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| Headrush Headrush | Frontiers Records FRCD233 |
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Headrush is the brain child of Italian guitarist Alex De Rosso, who is responsible for guitars, keyboards and programming. Joining him is vocalist Robert Tiranti (Labyrinth) plus Dave Fini on drums and Mauro Catellani on bass. De Rosso is best known for his past solo albums and a stint as guitarist in Dokken, touring with the band in 2002 and 2003. Most recently he was behind the AOR release featuring Kevin Chalfant - Shadowsfade. The album sees Alex move between a modernized hard rock feel and a more familiar Dokken styled approach, albeit a little more laid back such as Dokken's current style. The album features some solid guitar playing along with production effects and is definitely set in a modern rock mold, with a traditional rock heart. Vocalist Tiranti has a voice not dissimilar to Don Dokken, bit at other times matches that of Lynch Mob's Oni Logan (another George Lynch connection) and Badland's Ray Gillan. The guys are enthusiastic in their delivery, but the album takes a lot of work to get into. Even then, with the songs fully familiar and the hooks all known, there remains a certain element missing. I just don't think the songs are strong enough and over 12 tracks, the style and delivery does not vary enough. There are some moments of greatness, like Not Just Anyone, with its urgent tempo and quick fire chorus; the Badlands influenced bluesy rocker Ordinary Man; the very Dokken-esque Catch 22 and the fine ballad Silence. Elsewhere the tracks are consistent, but don't quite match high quality set my some other releases currently on the market.
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| Starbreaker Starbreaker | Frontiers Records FRCD232 |
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Starbreaker is the big album of the moment and is a major talking point amongst fans. But does it deliver? Was there ever any doubt? This album delivers big time and will serve to further enhance the reputations of the two main identities behind it TNT/Westworld vocalist Tony Harnell and Last Tribe guitarist/musician Magnus Karlsson. Having Tony Harnell on vocals will always bring comparisons to TNT, but Starbreaker is a different beast altogether and is only comparably to TNT in that both bands share the same vocalist. The comparisons to Last Tribe are more recognizable, as this album falls into the musical sphere of that band - which is European hard rock and melodic metal. Yes, this album is that heavy and without any doubt, Tony Harnell handles the pressure placed upon him with ease and sings for his life on what is easily the heaviest album of his career. The crossover potential of this release is almost limitless, as you have the melodic rock fanbase Harnell brings to the project, added to the hard rock and European metal lovers of Last Tribe, who themselves are a band on the rise. Then there is the whole Masterplan fanbase, who could easily be converted to Starbreaker fans, due to the quality and intense power of the material. Karlsson is a master of his genre and provides some ear-crunching riffs throughout the album. His placement of keyboards is perfect and the added texture of those help add to the character of the album. Although written and recorded across two continents and three studios, this album sounds and flows very cohesively. Harnell and Karlsson prove to be an inspired pairing, coming up with some great songs together. Fabrizio Grossi is the producer and bass player for this project, but this is not to be confused with the projects where his team of players stamps their sound across the whole album. Fabrizio's role was to take the music from Karlsson and mix it with the vocals of Harnell, while adding his own parts. No mean feat, but considering the obstacles, he has done a fine job. The album may not be a perfect 100 as far as production, but it's extremely good and the energy of the songs is what captures your attention. Extra credit for the intense delivery of the songs should go to drummer John Macaluso, who is all over this album. His double-time bombardment might be a little over the top at times, but it really drives this material home. The sound of the drums here that snappy tin drum sound is a further element that makes the album even more appealing to followers of current melodic metal. Track By Track: The album opens with an interesting short intro before guitars and the rhythm section burst through, with Harnell in full brazing glory appearing shortly after. The drums snap along at a rapid rate and the guitars of Karlsson are sonically deafening! Die For You is hard, heavy and right in your face, but the chorus is still glorious and after a verse of verbal intensity, features Harnell back in full melodic mode. Lies is another cracking tune, but features the reverse of the opening track a melodic verse that leads into an angst filled screamer of a chorus! I love the instrumentation of this track a haunting vibe, with great keyboard fill, which leads into that powerful chorus, where the tempo is at least doubled to match the guitar onslaught. Break My Bones begins with a crunch and a flurry of riffs before a wonderful melodic verse with a very smooth chorus floats over some well placed drum fills. The song then does a 180 spin into another ear crashingly heavy chorus, followed by some great guitar soloing and another big chorus. Crushed is another high energy hard rocker, with another softer passage during the verse, this time broken in two by some vocal effects before a relatively straight forward chorus breaks through. Days Of Confusion starts with a short, yet beautiful piano passage before the guitars blow it away! But it quickly returns, with a very soft and melodic vocal from Tony. Once again the chorus is far heavier, but the mood and melancholy of the song is carried through. Tony's powerful vocals through this track are a major highlight. Transparent follows a similar pattern of heavy into, lighter verse and hard hitting chorus and what a chorus this is one of my favourite hooks of the album, which isn't far from a TNT style melody. Light At The End Of The World features more piano, again laced with heavy guitar, but like Transparent, this track has a more melodic heart, with another great chorus. Cradle To The Grave sees a slight change in style and format this is a ultra heavy rocker with a modern twist and some seriously menacing guitar riffs. More powerful vocals and a solid chorus continue the enjoyment of the album. Underneath A Falling Sky features another piano into before heading into a progressive rhythm, with swirling keyboards and changing tempos. A crunching riff and a moody vocal lead directly into a big melodic hard rock chorus, which acts as a direct contrast the rest of the song. The effect is perfect and the song is an album highlight. Turn It Off features another strong chorus, but the tempo and rhythm of the song is very close to what has passed before. Dragonfly is a hard hitting instrumental piece, featuring plenty of guitar flurries, but I'm looking for a vocal to kick in. Save Yourself closes out the album with a rush. This is another high intensity track, with a pounding rhythm, fast tempo and urgent vocal. The chorus is classic Tony Harnell and is yet another strong contributor to the overall album quality.
The album is a winner in every regard and will be rated very highly by all those that purchase it. Both Harnell and Karlsson have done themselves and their fans proud and I look forward to future collaborations between the pair. Without a doubt, the very fine Starbreaker debut is just the beginning of a franchise. And I should also mention the fabulous artwork - eye catching and extremely well done, giving extra value to the package as a whole.
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| Darren Smith Band Keep The Spirit Alive | MTM Music 0681-124 |
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It seems years ago that rrummer Darren Smith left Harem Scarem, but it was only after the first Rubber release in 1999 that he stuck out on his own. Working towards a solo career, there were a few false starts before the tracks for the Black Star album were laid down. Due to a naming issue, the band moniker was dropped for the European release and the Darren Smith Band was born. Being that the album was recorded and mixed in the Harem studio and produced by Harry Hess, it should come as no surprise to hear the album has strong ties to the Harem Scarem sound. Darren's love of modern rock and Harem's own affinity with varied styles and current production techniques shine through on Keep The Spirit Alive itself a quite varied mixed of modern, punk/pop and traditional melodic rock. What you don't get is an album of alternative takes on Sentimental BLVD or Staying Away tracks Darren sang lead on for Harem Scarem. But there are influences from both present. The album is best described as having the production sound of the last couple of Harem Scarem albums, mixed with the more modern and free flowing spirit of the Rubber releases with a couple of unique twists of it's own thrown in. The drummer turned vocalist has previously displayed his vocal ability with a couple of lead roles within Harem, but is better known for his harmony vocals. Here he takes lead on all tracks and shows he is a fine vocalist, albeit a gruffer and raspier version of Harry Hess. Guitarist Mike Hall (Killer Dwarfs/Helix) does his own solid Pete Lesperance style axe-work and provides the crunch the tracks need. The high energy rockers It All Comes Back and Keep The Spirit Alive get the album off to a cracking start, with the latter track providing some big Harem style harmonies come chorus time. There You Go is a strong rock ballad where Darren gets to highlight his voice in a different light, while the other big ballad King For A Day goes even further, with a truly memorable hook. The modern pop/rock of Rubber is represented by the very catchy When I Was You and Still On My Radio - two classy rock anthems, both with a tasty chorus hooks. Everybody Knows is a hate fuelled rocker with someone getting a right proper spray from Darren! Why Do I is a fabulous uptempo Harem Weight Of The World styled rocker which will be a fan favourite. And closing the album is a rather unique modern pop ballad Taking On Water, with some great effects and importantly, a very memorable chorus. Not every track is an instant knockout, with an utterly horrid cover of Love Hurts really blowing chunks mid-album. Not only does the song not suit the album, but the vocals sound truly strained. The other clunker is one of the two bonus tracks. So Low is an industrial modern rock track that doesn't suit the album at all and will send melodic fans running for the hills with their ears in a bucket.
Personal tastes will dictate your admiration for this project, but regardless the great thing about these guys and this album is that every song has a strong chorus and can be instantly recalled from memory. Few albums have that clear ability and I find myself humming these tunes constantly and liking them more and more each listen. Yet another winner!
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| Novak Forever Endeavour | MTM Music 0681-125 |
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Although a regular on the European music scene, this is the solo debut for Sweden's Andreas Novak. His voice is very engaging and Forever Endeavour is a very pleasant and enjoyable album of traditional melodic rock and AOR. Musical assistance on the album and production duties are both handled by Mind's Eye main man Daniel Flores. Together the pair has delivered a great album. No better is that demonstrated than on the opening track Nowhere To Run, a breezy feel good melodic rocker with a great chorus, but also several other vocal hooks. How Does It Feel showcases the other style of the album - a somewhat moodier, but equally enjoyable slice of AOR. The overall album style is hard to compare to anyone else which in this case is a very good thing, as the style and sound is not instantly recognizable with any other new releases currently on the market. The guy's clever knack of dropping extra vocal hooks and additional melodies into the songs makes each and every track stand alone, but there are some extra special highlights. The title track Forever Endeavour is a prime example of the point just made. The chorus itself isn't huge, but the extra melodies and hooks make the song one of the best. Another Woman is somewhat of an oddity in the melodic rock world a duet! Martina Edoff is the lady in question, with a great voice - this is a fine ballad. Follow Your Heart features some tricks, but is based around a strong chorus and some lush arrangements. While there are some fine songs within, about this point I'm thinking a big anthem would be handy and sure enough, Don't You Remind Me delivers big time! One of the finest songs of the album, and indeed, one of the very best AOR songs of 2005, this is a monster! Closing the album is a big rocker followed by a progressive themed ballad. Fine stuff indeed.
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| Miles Above Move Or Be Moved | Escape Music ESM111 |
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Canadian modern rockers Miles Above impressed with their debut and have come back even better for album number two. This is a very fine slice of modern pop/melodic rock, which sees the band more focused and more intent on delivering a truly cohesive record. The 13 songs of Move Or Be Moved are a little tougher than the style of the debut, with lead guitar playing a more prominent role. In the last review I was talking about sweet harmonies along the lines of · Rubber - Ultra Feel , but this time we get gritty and emotion filled rock songs, more akin to Matchbox Twenty. Previous comparisons to BBMak and Martin Stenmarck could still be valid, if you factor in a grittier guitar sound. However, I think the style of this album most resembles Sweden's Higher Ground as it has that unique modern rock feel, without actually depending on any set sound or trend. The tone of the album is quite moody a melancholy vibe hangs over the songs, which are largely mid-tempo. Highlights from the album include the very commercial rocker Close My Eyes, which features some orchestral parts which really add depth. The opening pop rocker Faith Unkind features a great hook and a clean, raspy vocal. Little Miss Innocent has another gritty chorus after a smooth intro and verse and the use of banjo in melodic rock must always be applauded! The mid-tempo ballad August Ends sounds like it would be at home on any FM radio station in the world and the extra orchestration makes for a lush sound. Gimmie Nothing has a certain swagger and a more attacking guitar riff and vocal. Another highlight is the awesome 7 minute ballad that closes the album. God Help Us is filled with orchestration and has a haunting and emotional feel. Certainly not your average melodic rock tune!
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| Neal Schon i on u | Favored Nations FN 2430-2 |
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Journey/Bad English/Soul SirkUS guitarist Neal Schon returns for his latest solo outing I On U. Neal's ability to play any style has seen him vary his approach over each solo album, but I On You sees the man stripping it back and keeping it simple which in turn serves him well, as the guitar really speaks to the listener here and the solos are precisely what fans will be hoping to hear. The album was co-written and produced with Igor Len. The two work together well as they have an established relatioship through their collaboration on Neal's album Electric World. Having this common theme through the record keeps the music and delivery consistent. Not since Neal's sensational debut solo album Late Nite have I heard a group of instrumental songs that really speak to the listener and hold the interest such as this selection of tracks. The songs center around a mid-tempo vibe, with a couple of up and a couple of slower numbers to add balance. The addition of live drums on all but 2 tracks helps create a fuller sound and the additional loops and programming added by Igor create the variations between songs. The rest is all Neal and I On U sees him in fine 'tone'. Standouts include the uptempo Blue Passion, with a progressive beat and a great set of solos; the 7 minute long Timeless Motion, which reminds me of his early days in Santana; the haunting Moon Dust and the snappy Burning Bridges.
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| Outland Long Way Home | Melodic Symphony MS CD-002 |
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Outland is back for their second album, which carries on exactly where the debut left off. Fans of keyboard friendly, classic style 80's AOR will not only be impressed, they will be blown away. The band delivered an impressive debut, which was one of the few classic style American AOR releases of 2004. This is even better the songs are stronger, with better hooks, the production is tighter and the performances are right on the money. I think the overall vibe of this album is a little tougher, but it's AOR all the way. Part Survivor, part Bon Jovi, part Boston and even part Stage Dolls all in their earliest 80's forms if it wasn't already clear, 80's fans will eat this up. Borderline is as impressive an opening track as you could wish for, with a tough, hard edged guitar riff, strong vocals, memorable chorus and a tasty solo mid-song. Each and every track has a solid chorus and a slightly different feel from the track before it, which is supremely enjoyable for the listener. Highlights include The Hardest Part Of All, which has a moody verse, before a keyboard driven ballad style chorus breaks through; Madeline, which has an instantly catchy chorus; Long Way Home, which has that great old-school keyboard sound and harmony vocals and the big ballad Somebody Just Like You. Special mention for the uptempo rocker Turn Some Pages, which is classic 80's melodic rock all the way. Hollywood closes the album a cover of the Thin Lizzy classic, which mixes the original with the band's own style. An enjoyable way to finish a great album. The addition of Pat Torpey (Mr. Big) on drums gives the album a nice full sound and kicks the rhythm section into high gear.
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Various Artists VH1: Metal Mania Stripped |
Immortal |
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The premise of this compilation is well and good, but the execution of it leaves a bit to be desired and in the end falls into the category of good, but could have been so much better. The main issue I have with this, is it only features a few originals recorded especially for the release and those originals really are only the most glaringly obvious tunes by the artists in question a clear grab for the casual fan, not the dedicated fan who supports the existence of these bands every other day of the week and who would be looking for something a little special. In addition, those fans are again screwed by the fact the rest of the tunes are culled from already published acoustic releases it's a good chance the die-hards already have many of the songs featured here. Although it's claimed that some of these tracks are garnered from rare sources, the fact is some are glaringly obvious, like When I Look Into Your Eyes from Firehouse's Good Acoustics and Wind of Change from Scorpion's acoustic release of a year or two ago. The 6 newly recorded songs are Sister Christian, Ballad of Jane, When The Children Cry, Save Your Love, Don't Know What You Got (Till It's Gone) and More Than Words Can Say. Night Ranger produce an enjoyable performance for their breakthrough hit, and Great White's brilliant Save Your Love is culled from a recent live performance which will soon be released as a full album. Elsewhere it's just the front men for Cinderella and Alias performing their classics and Mike Tramp doing the predictable When The Children Cry, a track he himself recently admitted the world didn't need another version of. One of the best tracks is LA Guns' new version of Ballad Of Jayne, featuring new guitarist Stacey Blades.
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| Metal Majesty 2005 | Lion Music LMC123 |
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Metal Majesty is essentially pomp rock icon Valensia and his other personality moving away from the pomp and ceremony of trading off Queen riffs to 'paying tribute' to a heavier God Whitesnake, Blue Murder and er, Queen. And boy does he 'pay tribute'! Kingdom Come's classic debut remains one of my favourite albums from its era. However, at the time it gained notoriety for all the wrong reasons and it went on to sell a truck load. I enjoy it for what it is a blatant 'borrowing' of Led Zeppelin riffs, updated and Americanized for what was at the time a huge market for hard rock. History is repeated with Valensia's 'borrowing' of material for his new release. Had this Metal Majesty album any chance of selling 2,000,000 units, I would think that Mr. Coverdale and Mr. Sykes might be talking to their lawyers. There's plenty on offer here to mull over! While the music will have listeners diving into their memories for where the riffs originated, there is no denying the strength of the material, or the energy of the delivery. Quite literally, it sounds like Freddy Mercury joined Whitesnake. Queen's The Miracle album meets Whitesnake 1987 and the debut Blue Murder. Regardless of the 'influences', this remains a highly enjoyable listen, made even better by the big fat production sound and the quality of the performance. The energy of Valensia's delivery is highly addictive and fans of The Snake or John Sykes, not to mention establish Valensia fans will find a lot to like here. Additionally, the album is far superior to the debut album This Is Not A Drill. Better songs, better production and more addictive hooks. From the opening bars of Still Of The Night, er, sorry, We Rocked, those memories of Kingdom Come flood back not to mention the memories of Whitesnake's 1987. Valensia has come extremely close to matching the guitar play of John Sykes and while the vocals are more his own, the Coverdale/Sykes mannerisms are there for all to hear. The uptempo shred fest of Ready To Roar has the feel of Whitesnake's Slip Of The Tongue album, complete with Steve Vai comparisons. Love Will Make You Bleed sent me to the writer's credits to make sure it wasn't a cover! Yes, this is so close to Blue Murder's Jelly Roll it just ain't funny. While I love the premise of this album, something this close to another track isn't fair to the original writer. This track comes complete with an acoustic intro which bows to a big passionate rock ballad finish where even some of the lyrics are the same! Instead of 'Love Will Break Your Heart' in Jelly Roll, we have 'Love Will Make You Bleed' here. Crying In The Rain is next er, sorry wrong album again. Hold On To The Night is next up here and Freddy does his best Coverdale here, complete with dramatic intro and shredding solos. Burying Heather is a truly bizarre track. This sounds like Queen meets The Beatles and reminds me of Zoot's take on The Beatles classic Eleanor Rigby, complete with strings. It's time for another tribute to Still Of The Night this time under the guise of Hell Hounds On My Trail. Aurelia's Night doesn't bring anything to mind, which is a good thing! A simple guitar driven rocker. For some reason Alone, Unknown and On My Own and Zenith remind me of George Michael singing Queen. We seem to have dropped the big hard rock approach for a more acoustic driven pop feel, with synth parts and a true 70's feel. A couple of interesting tracks, but two that don't really match the premise of the first half of the album.
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| Rick Springfield 12 Inch Collection | BMG Japan BVCM-37564 |
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BMG have never shied away from issuing yet another compilation from one of their artists. Just look at Hall & Oates! But Rick Springfield isn't far behind. This time it's BMG Japan in control, but I have to say, this is a very welcomed release. Part of a series of releases 12 Inch Collection on this occasion targets Rick and sees his special remixes from the 80's summarized in the one place for the very first time. Rick Springfield has always been ahead of his time especially during the 80's where he experimented with synthesizers, dance beats and technology in general. Even at the outset of the 12" boom in the early 80's, Rick was there with remixes from the Living In Oz album. The technology filled Tao album is best served by the 12" remix and Celebrate Youth and State Of The Heart are represented here. Rock Of Life is represented no less than 4 times, but for completists, that is not a problem. Best tracks are the Human Touch Extended Mix, Rock Of Life 12" Mix and Celebrate Youth Dance Mix. A previously released version of Souls (Live) is added, as is the Rock Of Life singe b-side Language Of Love (which everyone should have by now). Those two tracks aside, the rest of the tracks featured are most welcomed and listening to this throws you back a decade or so to a time where the release of a new single was highly anticipated, just to hear what the artist did with it on the extended version.
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| Masquerade In Disguise | Sorcery Studios 090904 SSMASQ |
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Euro-rockers Maquerade have compiled a dozen tracks that were recorded or demoed for one of their past studio releases, but never used for whatever reason. In Disguise is a nice step back in time for fans of the band, with the energy and style of the band clearly evident. Main Attraction and Alone Again are great examples of songs unlucky not to have been used previously, as is the ballad In Your Eyes. The purpose of this release is to archive lost treasures and reach fans of the band which I think has been successfully done. Not every track is a winner, but the vast majority have something going for them. There remains one problem one which dedicated fans of the band will probably overlook. The sound quality is average at best. Some tracks are clearly demos, while others sound complete, except for the less than perfect quality. But there are a few tracks which sound too muddy to enjoy properly and cranking the volume is not an option as the sound just doesn't hold up.
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| Silence Nostalgia | Vinny Records VR-017 |
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French band Silence had their last album released on MTM and really only featured a couple of standout tracks. The rest of the material struggled to find suitable direction and style and the songs were just not memorable enough. Still featuring vocalist Jerome Cazard and multi-instrumentalist Bruno Levesque, the band have come back with a much tighter release, this time sticking with the quality European AOR they showed they were at least capable of in a couple of places on the last album. This is very smooth indeed and draws comparison to Street Talk or Urban Tale/Heartplay. Mainly it's just nice to hear AOR without having to reference comparisons to Journey. The heavily accented vocals of Cazard might not be for all, but he does a fine job with the material on hand. Highlights include the opening AOR anthem Stupid Man; the sweet, uptempo Chrome & Glass; Electric Harps for its strong chorus and the moody A Passing Show. One criticism of the last release was the long length of the album 65 minutes again here, but the increased quality of the songs helps that pass quickly although an 11 track 55 minute album might have been a little tidier.
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| Threshold Subsurface | Inside Out Music 93723 01032 8 |
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Being new to a band with several albums already under their belt doesn't happen to me that often, but it's always an interesting journey to discover such talent no matter when the discovery is made. From all reports, this is one of the band's best albums to date, but I'll have to retrace my steps before I know that first hand. Threshold are an English rock group with a traditional British melodic rock sound, updated with a contemporary delivery and a distinct progressive rock edge. The most recognizable comparison is to that of early Asia, with the huge harmony vocals, and layers of rich keyboards mixed with the hard rock and guitar driven sound of prog-rock's finest Dream Theater. Add it a little Dare and Kansas and you get one interesting listen. Subsurface was released mid-2004, but it's taken me forever to get a promo from the label. Needless to say, I am very glad it has arrived and given that I had no real expectations, I must admit to being thoroughly impressed. Coming from a melodic head, with a liking for commercial and pop influenced progressive music, I rate this as my favourite album of its kind since Dream Theater's Images And Words. Mission Profile, Ground Control and Stop Dead are all fabulous tracks, driven by fat guitar sound, wrapped up in layers of keyboards and a prog-fuelled rhythm section not to mention great hooks. However, it was the lead track from the album Pressure that really blew my top. What a brilliant prog-AOR anthem. The band are obviously great musicians, but lead vocalist Mac is the stand out for me he has a strong, deep voice that handles everything thrown at him and is supported by some fine layered harmonies. The songs range from 4 to 10 minutes in length much like those of Images And Words, with some songs twisting around multiple melodies rather than the stock standard single hook.
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| Casanova All Beauty Must Die | Escape Music ESM108 |
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German melodic rockers Casanova haven't recorded an album since 1999's Sway. The band has changed their style since their earlier work which was typical European melodic hard rock. This time around the band has updated their sound to bring in modern production elements and an all-round updated feel, which does include some modern rock elements. But there is still plenty of melody and in places the band stands out as offering something truly different as long as you don't mind artists that update their sound to remain contemporary. Highlights from the album include the opening track - On My Love, which is an interesting opening track. Its lush arrangement and mellow approach is something new for the band and signifies that this album will be different to what might be expected. Happy features a raspy vocal and a very catchy chorus; Would has another very catchy chorus, a sing-a-long of sorts with a mellow verse and retro chorus. Last Of The Runaways is an acoustic driven pop/rocker with some nice Rembrandts style harmonies. Under My Skin and After The Love Goes are more like the traditional Casanova and features a solid guitar riff and catchy melodic rock chorus. The material is interesting and challenging and ultimately very well produced - the extra production tricks make for an interesting listen. A few more catchy choruses might have been a plus, but the melodies do get more familiar after repeated listens.
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| Enuff Z Nuff ? | Frontiers Records FRCD231 |
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Enuff Z Nuff have been peddling their Beatlesque pop rock for nearly 20 years now and I'm yet to be converted as a fan! Strangely enough, I've never warmed to their music, but before you all mail in; I recognize their talent and know they have a vast fanbase. You don't stay at it in this business for that long without talent, great songs and a certain charisma, which Enuff certainly have. Question Mark is the band's latest album, recorded as a 4-piece, with Chip Znuff and Donnie Vie again the focal point of proceedings. I really don't think there is much to explain this 12 tracks release is a semi-acoustic, semi-electric driven tunes in that unmistakable ZNuff style, mixing a retro 70's vibe with Beatle-esque harmonies and bring that all into the 21st Century. The only surprise for me was Hang On For Life, which lifted the tempo of the album big time. It's the most rocking track I have heard from the band since their first few records. Joni Woni sees the band experiment a little further, with heavy distorted rhythms. Towards the end of the album is an unusual cover which sees the boys rocking again Queen's Stone Cold Crazy. Not bad Elsewhere it's the band's signature sound - fine and sweet acoustic driven retro pop.
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| Final Frontier High Tension Wire | Frontiers Records FRCD234 |
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High Tension Wire is now released outside Japan through Frontiers Records. There is one track difference - Half Way Home is
a bonus track for Japan, which is replaced by a bonus track for Europe - Let Me Be The One. Let Me Be The One is a feel good piano ballad that gathers momentum as the song goes. Just as catchy as the rest of the band's material and a solid addition to the album. The original review of the Japanese release does not need changing and reads as follows: For the uneducated, Final Frontier features vocalist and frontman Rob Moratti and Von Groove's Mladen, who contributes guitar, bass and keyboard parts. Sonic X's Lawrence Falcomer adds valuable texture with his lead guitar work. This is the band's third album and best yet. The guys have improved with each release and High Tension Wire features not only their best selection of songs to date, but also an improved production quality, in particular adding a little bottom end to the sound. Final Frontier play nothing but pure AOR the sort of fluffy, feel good music Journey are loved for and the type Styx and Foreigner peddled to the masses year after year. But the guys don't merely serve up the best of what we might already have. The smooth, high pitch vocals of Moratti, coupled with some extremely catchy hooks and layers and layers of vocal harmonies are Final Frontier's trademark and High Tension Wire delivers 11 original tracks that stand on their own, yet draw comparisons with the favourites from the genre. Track By Track: High Tension Wire opens with a tougher mood than seen on the first two albums. The more direct guitar sound and the beefier bottom end provide the bass for a rocking song that turns to bliss with a high pitch chorus hook. Two Different Worlds is classic AOR, with a clean mix of electric and acoustic guitars and subtle keyboards, with Moratti's Steve Perry inspired vocals gliding over the top. The verse is pure Perry, while the hook filled chorus is pure 80's glory. Angel Of The Lake, with it's distinct 70's vibe, builds beautifully through the verse, to a chorus inspired by Dennis DeYoung Styx. Beauty And The Beast is one of those songs that is just instant, thanks to a hook that stands out like dogs balls. The song itself has a mellow vibe, but the chorus is pure anthem joy and pays homage to classic Journey. Hearts On Fire is a little tougher and one of the tracks that makes a better impact on the second and third listens. More Steve Perry mannerisms can be heard, which suits the song. Hollywood Drama is a keyboard friendly tune in a style that Final Frontier have done a few times before, but it remains just as welcomed and enjoyed here. The moody rock ballad Sunset At Dawn starts as an acoustic driven tune with a more in your face lead vocal and builds in tempo, with some ear pleasing soloing towards the end of the song. Also present is an impressive orchestral accompaniment which adds impressive depth. Something More To This is everything Final Frontier are loved for big bombastic vocals, smooth guitars and a memorable chorus layered in vocals. Who's Gonna Love You Now is a tune with a real swagger and reminds me of 70's Journey and in particular the vibe of their classic Lights. Vocally speaking, Rob does his best Perry, not to mention his best full stop. Listen To Your Heart is a pure 80's, mid-tempo AOR number with a great hook and memorable chorus. A true feel good pop rocker that would have found a place on a movie soundtrack had it been 1988.
This won't win over anyone that has moved on from the early AOR sound, but for those of us that live with one foot planted in the past this is an album for you!
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| Joe Lynn Turner The Usual Suspects | Frontiers Records FRCD230 |
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Joe Lynn Turner has had a long and distinguished career one which continues to roll on unabated. How can an artist, who has been in the business some 30 years manage to record and release what could arguably on of his best albums to date? Well, simply from recognizing what his strength's are, writing great songs around that premise and having people around him that drive him to outstanding performances. That's exactly what has happened, as out of all Joe's solo records, I will now go for this one first above any other as I think it is simply the best collection of songs he has recorded. Joe has had a varied career which has always had that blues rock stamp on it, but has also seen him diversify into soul, straight ahead rock, hard rock and classic rock covers. The Usual Suspects covers all areas (no covers though) but remains a very focused and cohesive record. It's funny I should make the same comment here about Joe as I did Glenn Hughes and his current album, especially when the pair are inextricably bound in their careers. But both singers have really looked back over their careers and delivered records that pay tribute to all aspects of their histories, while moving forward in the direction that best suits them. In Joe's case, it's straight ahead melodic hard rock, with a bluesy rock edge. The single best quality of this album is the strength of choruses. That's maybe one area that needed some attention and this album delivers each and every track. Track By Track: Power Of Love is the best example. This is a soaring rock anthem with a huge hook and is classic JLT as he should always be. Devil's Door is a tougher, darker, 70's style hard rocker, with some inspired bluesy guitar parts over a powerful lead vocal. Jack Knife is a double-time rocker that is a clear reminder of Deep Purple and Rainbow and will be another fan favourite. After three fist pumping rockers, it's time to mellow out. And again, Joe does it in style, with two contrasting ballads. Really Loved is a very smooth blues ballad, with some atmospheric keyboard and harmony vocal parts. Joe sings with as much emotion and feeling as he ever has. The second ballad Rest Of My Life follows in a more traditional rock ballad vein with a tougher approach, some guitar impact and a big chorus. Into The Fire is a different beast again. It's a rocker, but maintains a restrained vibe, never breaking out of its reins, while offering something a little different for long time fans. Blood Money is a pretty much straight ahead blues based mid-tempo rock track. At this point I'm thinking a tempo lift would be very handy indeed, but rather another mid-tempo ballad is offered. Thankfully All Alone is a great track with an emotional vocal and a solid chorus. But, a tempo lift is definitely needed now and Ball And Chain does just that. Joe delivers a cool raspy vocal, but I would have liked the tempo to have been upped a little further still. Live And Love Again is another ballad and although there are already a few on the album, this is another great one with a big, powerful vocal and some great melodies. Unfinished Bizness is a European bonus track, but I'm thankful it's here, as it closes out the album in the best possible way. It's a big fat rocker, with a Deep Purple vibe and another great vocal that defines what Joe Lynn Turner is all about.
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| Thunder The Magnificent Seventh | Frontiers Records FRCD228 |
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Thunder are another band that have delivered a variety of styles on their albums over the years seemingly getting mellower as time went on until they eventually disbanded. Since their reformation, it's obvious the guys have clearly decided to listen to their fans more and through this and their last album, have delivered exactly what they were best loved for in the beginning. Shooting At The Sun was a very strong comeback album that saw the band head back towards their hard edged, dirty rock n roll style, as was where they started with Back Street Symphony and Laughing On Judgment Day. Now for The Magnificent Seventh, which is just that magnificent! The band further return to their roots with what is arguably their heaviest, or most rocking affair since those first two classic albums. This new album also tops Shooting At The Sun due to an even stronger collection of songs and a super crisp production in which Luke Morley's guitar is given center stage. You've heard the lead track and single I Love You More Than Rock 'n' Roll, which is destined to be a live favourite, but what else does the album offer? Highlights include the stomping rocker The Gods Of Love, which includes a heavy fire guitar riff that reminds me of the first time I played their wonderful debut as does Amy's On The Run and One Foot In The Grave, which are more classic Thunder rockers, with guitars right in your face. Fade Into The Sun is something a little different the tempo is up, yet the vibe a little more urgent and the guitar sound is something new. Good to see the boys mixing it up a little. You Can't Keep A Good Man Down is nothing short of a barnstorming, bring the house down rocker, which works well in it's position in the running order. And what a guitar solo! Always enamored with the mid-tempo rocker, Thunder continues to deliver there also with a couple of solid tracks in Monkey See, Monkey Do and The Pride. I'm Dreaming Again is a soft, sentimental, acoustic driven ballad as is Together Or Apart both tracks breaking up the intensity of the rockers around them and adding texture to the album the latter getting a little bluesier and dirtier as time moves on. To finish the album, you guessed it - One Fatal Kiss rocks again, but this time just a little less than some earlier tracks and in an original format.
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| John Norum Optimus | Mascot Records |
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I am or at least was a huge John Norum fan. I simply adore his guitar playing style few guitarists can deliver such chunky riffs so smoothly. But since Face The Truth each solo album he releases is worse than the one before and this is no exception. In fact, I rate this his worst album to date. Why do we have to suffer another tuned down, grunge style, modern rock album from a classic rocker? How many fans really would choose this style over something more traditional? John has had a definite interest in this sound, as he was toying with it on Slipped Into Tomorrow and even World's Away. Same with the Europe album tuned down to the max. But at least the Europe album had some great songs. Any album John records will rock, as he has that big fat guitar sound that just oozes riffs, but this album just bores me. I'm sure I'll get some flak for that comment, but this really isn't a patch on his past glories. The song quality is just not there. John's debut Total Control was a great extension of what Europe was doing at the time and remains a favourite of the era. Then Face The Truth blew just about everything else out at the time out of the water what a monster rock album that was, with vocalist Glenn Hughes providing some of his best hard rock vocals ever. Since then it's been down hill - Another Destination was a patchy follow-up, but still had a few highlights, and I don't listen to World's Away or Slipped Into Tomorrow much anymore -although the latter was still a decent hard rock record. This album may rock but I won't be playing it much after this review. I have flogged it for the best part of a week or two and like a couple of tracks, but I can get better elsewhere if it is this style I wanted to listen to. It's not John's dark and gruff vocals, I've enjoyed him singing in the past although he's no Goran Edman or Glenn Hughes! What it is, is the repetitive tone of every track that same down-tuned guitar riff over plodding mid-tempo rockers that simply don't have any spark or definitive hooks to draw the listeners back in. Two instrumentals out of 10 tracks doesn't help either. The better tracks include One More Time - a mellow, dark ballad; Time To Run is a good modern rocker with a Sabbath-esque vibe and Taking The Blame reminds me of John's earlier style although still featuring that tuned down sound.
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| Seven Wishes Destination: Alive | MTM Music 0681-122 |
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Sweden's Seven Wishes return for album number three and their best release to date. The band took extra time recording this and the results show. Destination: Alive sees the band perfect their sound even further and move away from past comparisons to Dokken, Fifth Angel and the whole LA scene. The band now seems much closer aligned with their European location. Vocalist Pelle Anderson retains a certain comparison to Don Dokken, but his heavily accented vocals are unmistakably European and I note several tracks on this album are sung at a lower octave seemingly the range of delivery is more varied than previous releases. This is an album which requires several listens. I find its charms grow with each listen and while there are a couple of fillers, the overall quality of the material is the strongest the band has delivered yet. Following on with more compliments, this album is also their best produced effort yet it's a great European melodic hard rock record, evenly mixed for a clean sound. Highlights are the opening uptempo hard rocker Cross My Heart, with it's double kick drum fuelled chorus; the powerful and moody Euro-rocker Won't See My Cry, which features a cool change in pace and a strong chorus; Follow The Stars, which couldn't be more European in style if it tried and another big Dokken styled rocker Goes Around Comes Around, which is as catchy as they come. There are a couple of ballads Time To Say Goodbye is a very moody and melancholy track and Gone With The Wind has an epic feel and some atmospheric backing vocals to emphasize the chorus.
Their new label deal with MTM Music will see their album get a wider release than previously, and because of that and the overall quality of the release, should see them pick up new fans and restart stalled momentum.
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| Honeymoon Suite HMS Live | Frontiers Records FRCD229 |
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HMS Live is the fourth release culled from the 2002 Gods Festival in Bradford, UK. The town itself holds little charm, but the festival overflowed with it. The quality of the Gods line-ups are seldom witnessed in any other AOR event in the world, particularly so for the 2002 event. The outstanding Jeff Scott Soto and Harem Scarem sets have been in release for some time, and Hardline added their release last year. The Soto and Harem releases were superb, the Hardline one not so. The mix delivered on that release did not capture the performance on the night. Honeymoon Suite's release falls somewhere in-between that of Hardline and the first two releases. This is a competent mix, with all instruments equally balanced for a clean listening experience. But it's not quite as flawless as say, the Jeff Scott Soto release. It all comes down to who mixes the material, as all sets were captured using the same set-up. Playback is thoroughly enjoyable, but the sound is a little rough in a few places, missing the volume and impact the band had on the night. However, the release does capture the energy of the band and their highly polished run through of crowd pleasing hits. Other Side Of Midnight, Feel It Again, Looking Out For No. 1, Stay In The Light and Bad Attitude all received a warm response and newer tracks What I Know and Touch The Sun fit the set effortlessly. There is a small bit of editing between tracks I would have left that in to ensure continuity as there remained 10 minutes of disc time to play with. The DVD release adds the pictures to the audio (obviously!) and is a great reminder of the day that was enjoyed by all. The band and their revised line-up show off their wares their professionalism and super tight show is a reflection on the number of live performances the band does in their native Canada each year. If you have any of the 3 previous DVDs, you will know the set up the daft band intro is kept in place, but would have been hard to edit, seeing the band were already in place, so I'll forgive that. The Gods DVDs have all been quite something and this is no exception a very worthy addition to the collection of any Honeymoon Suite fan.
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| Masterplan Aeronautics | AFM Records |
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One of the year's most eagerly anticipated metal releases is one of the first off the ranks. The January 24 release of Masterplan's second album is another step towards world domination for the band. One of the very best hard music vocalists in the world is Jorn Lande. He fronts a band whose line-up may not consist of household names, but whose recording pedigree runs deep. Should the label do their job properly, these guys will soon be far better known. Aeronautics takes the blueprint of the band's debut and builds on it to create an even more impressive beast. The debut was something pretty special, but without making to many changes, this is close to magnificent. While not as instant as the debut that album featured a couple of pretty catchy anthems to grab on to Aeronautics is far more consistent and song driven affair. The first run through offers the listener a lot of promise, but it's the subsequent plays that sees the promise delivered. This is an incredible collection of songs that gets better with each listen, as the intricate musical weave unravels, revealing the layers and the melodies beneath the surface. And the key to this depth and maturity is an utterly sensational production job by man of the hour Roy Z. A better choice could not have been made and Roy delivers a package that is as tight possible, while remaining evenly mixed and a joy to listen to. He has also brought out the best possible performances in everyone Lande's vocals are among the best recorded anywhere, the urgent riffing and inspired soloing of Roland Grapow drives the record, while the rhythm section is amongst the most brutal I recall. And adding melody and dramatic texture to the record is keyboard master Axel Mackenrott. Once digested, it's easy to see the many moods this record has. The dark and pounding opener Crimson Rider is brutal, yet melodic; the natural choice of a single Back For My Life takes on a certain commercial feel and could easy fit amongst the top charting songs anywhere in the world especially in this post-Evananscence world. The anthem Wounds is anything but that during an enthralling moody verse, but suddenly doubles momentum during the breakthrough chorus. I'm Not Afraid is driven by that monster rhythm section and some soaring vocals, but it's the keyboards of Mackenrott that creates the mood on this album highlight. The band rock through Headbanger's Ballroom, but prove they can change tempo and slow it down during After This War. Into The Arena is another brutally heavy track and Lande's vocal is again inspired. How he brings melody to such a heavy track is amazing. Dark From The Dying is yet another track that reveals itself after several listens and provides another change in texture to the album. It seems to provide some ease in the intensity of the album, which is ideal leading into one of the best tracks on the album in Falling Sparrow. I believe this track will be a favourite with many as it has a brooding moodiness to it and through a winding chorus provides Lande with one of his best vocals of the album. Determined to end the album with a high impact track, Black In The Burn fits the bill perfectly. This track really builds from a killer intro into a monster of a track that winds through some 9 minutes of pure metal joy. The prog-rock tinged song features inspired vocals, intricate piano work, deafening riffs and a mid-song passage to rival Metallica, making this another classic track and an example of perfect world class metal in 2004.
This band has a great chemistry and one hopes there is plenty more to come. A live CD and DVD next would be nice.
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| Glenn Hughes Soul Mover | Frontiers Records FRCD227 |
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Glenn Hughes can sign it all blues, funk, pop, metal, AOR
you name it. He ain't dubbed the voice of rock for nothing! And over his vast and distinguished career he has recorded it all at one stage or another. His career has had more stages than Broadway, and once again, in the lead up to this release we are faced with fresh claims from Glenn that this is his new 'stage' this, to me, is the start of the next phase of my career, states the man himself
again. These u-turns might be hard for all to follow. No one can expect Glenn to stick to a particular path for any length of time. Dedicated Hughes fans however, are very patient and simply accept the musical rainbow Glenn is content upon delivering. One look through his solo catalogue showcases a very diverse path and Soul Mover is another u-turn from the straight ahead classic rock that has dominated recent releases such as the last solo album Songs In The Key Of Rock and the Hughes Turner releases. Despite claims this album would be something pretty different, I find it simply to be just more of the same Glenn Hughes fans know and love. There is nothing here that hasn't been done before but possibly this style hasn't been done quite so well before as it has been here. Soul Mover is another great Hughes album one that features a heavy does of blues, funk and soul. This is simply Glenn Hughes doing what he does best with some quality songwriting along for the ride. Soul Mover is part Feel, part The Way It Is and part Building The Machine. And it's part Red Hot Chilli Peppers, thanks to a major contribution from Peppers drummer Chad Smith. Joining Hughes and Smith on this mission is long time associates JJ March and Ed Roth, plus guest Dave Navarro on a couple of tracks. The musical journey of Soul Mover will best be appreciated by long time Hughes fans those that appreciate his whim for experimentation. The album offers some hard rock attitude with a heavy dose of funk, such as the groovy opening track Soul Mover and the distorted hard funk of High Road and the psychedelic Orion. Change Yourself and Let It Go both offer something different, with an updated style and sound that mixes retro with contemporary. There's also the true 70's funky pop of Dark Star and a little straight ahead rock on Isolation and Little Miss Insane. There is possibly nothing finer on the album than the Santana inspired rhythm of She Moves Ghostly, which features a wonderfully soulful vocal, and some inspired percussion only someone of Chad Smith's caliber and background could offer.
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| MPG Martie Peters Group | MTM Music 0681-109 |
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Martie Peters is or was frontman for the Danish melodic hard rock outfit Push, who disbanded in 2003. Martie was the principle songwriter and vocalist, not to mention sometime guitarist and co-producer - alongside his longtime buddy Anthony Lledo. This is Martie's first solo record released under the moniker of MPG. But one look at the credits will please Push fans. For the line-up features Push drummer Jesper Werner and guitarist Martin Slott. So MPG is the re-birth of Push on a new label and with a new outlook. I didn't realize just how good this album sounded until I went back this week and played the old Push albums. I've always been a big fan of the bands songs but the production behind the delivery has always been a little sub-par. I haven't let that get in the way of enjoying some fine classic style melodic hard rock, but the extra time Martie has spent putting the MPG album together really shows. This is a sonically pleasing album in that for the first time it allows the catchy pop metal style songs to fully shine. This is an album that should see Martie reach a bigger audience, as he really has a classy record on his hands. In continuing the re-birth of Push theme, two tracks from the last album are remade here - Only Dreaming and the essential feel good anthem Heart Is An Empty Space both for the better I might add. They both feature a beefed up production and extra musical layers. There are 8 fresh new originals, lead by the monster moody rocker The Beast Inside, which was previewed on my own compilation release last year. This track simply drips with lush vocal harmonies and a moody angst that makes it an ideal album starter. Martie's Mike Tramp styled voice and White Lion friendly approach to rock n roll is carried on into the new album, but more now than ever he has a set of songs that really makes a cohesive record. There are a number of highlights, with no tracks simply filling in space or time. Riot On The 5th Floor is an energetic double-time Def Leppard styled pop metal tune; Takes Some Time is a soft haunting acoustic ballad; A World Without You is a thoughtful, somewhat moody mid-tempo rock song with a great chorus. Special mention for Bird On The Wire, which is one of the great songs of recent times packed with harmonies, layered vocals and hooks to kill for. Rounding out the 10 originals is the last track, Dixie Toot, a cover of the 1974 Rod Stewart/Ron Wood track. As expected, this cover packs in al the fun of the original, complete with a retro blues rock feel and some killer piano chops.
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| Last Autumns Dream II | Frontiers Records FRCD226 |
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Last year's debut from Last Autumns Dream saw the pairing of Europe's backbone (Mic Michaeli, Jon Leven and Ian Haugland) with one of Sweden's great pop/rock vocalists Mikael Erlandsson and former Fair Warning guitarist Andy Malecek. Although it might have been better produced, the album was a fine slice of European melodic rock, leaning towards a heavier, darker approach for the usually pop friendly Erlandsson. Unfortunately three lads returned to Europe for a new album and a tour, which left Erlandsson and Malecek without a band. In step the Talisman duo of Marcel Jacob (bass) and Jamie Borger (drums), plus Thomas Lassar (Crystal Blue) on keyboards to rescue the project. LAD II does not suffer from the absence of the Europe guys, as the talent of Jacob, Borger and Lassar is well established. The album does however, suffer from a lack of quality songs. Sonically, the album is still lacking a crisp production the style has shifted here from the more dramatic debut to a somewhat simpler style here but the sound is still a little muddy in places, despite the rhythm section being better represented in the mix. The songs are really the downfall of this album though to open with the limp ballad Brand New Life is the first mistake and the inclusion of a cover of the Zeno classic Heat Of Emotion is the second. Zeno's version bristled with energy and was a right 'over the top' anthem. This version has no energy at all, doesn't go near the peak of the original and features a horribly strained vocal from Erlandsson. In fact, Erlandsson sounds just a little hoarse on several tracks - raspier and rawer than the polished performance on the debut. The album does have it's good points the smooth, emotional ballad So Much Love In The World is as classy as one could hope for, Helpless is good uptempo AOR, as is Up In Paradise, and the funkier This Gotta Be Love is a good tempo changer mid-album.
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| Tommy Funderburk Anything For You | Frontiers Records FRCD218 |
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Vocalist Tommy Funderburk may not have the most recognizable name, but to die-hard devotees of the AOR scene, he is somewhat of a vocalist God. His work in Westcoast favourites King Of Hearts is some of his best loved work that project also featured Kelly Keagy (Night Ranger) and Bruce Gaitsch (Richard Marx). He also sang lead vocals on the Boston album Walk On. And I should add some of his studio credits with artists such as Motley Crue, Whitesnake, Richard Marx, Rick Springfield, Starship, REO Speedwagon, Coverdale/Page, among others. Tommy has one of those angelic AOR voices that you could listen to for hours. His slightly higher range and blissfully melodic tone is perfection for this genre. It's only a shame he doesn't make more records as a frontman. His session work keeps him busy enough, but he also runs his own record label Sovereign Artists, which is making inroads in the USA. In getting the great man onto a new record, Frontiers Records has again used the formula of the Fabrizio V.Zee Grossi recording team having them supply the music, production and organization, while Tommy is left with the ease of just supplying the vocals an din this case, the original songs too. Anything For You is the result, which features some slightly rockier material than what Tommy has released himself in the past largely due to Fabrizio's influence over the material. It's a record that will please new and long time fans alike any record with Tommy on vocals is going to be a good one. Without the Fabrizio team, this record wouldn't have been possible. Yet with him comes the album's only flaw the listener gets the same production (especially guitar) sound of previous releases featuring the Fabrizio tem - From The Inside, Vertigo, Over The Edge, Perfect World and especially James Christian's Meet The Man album. I've been a big fan of most of these releases, but I am tiring of this guitar sound and the repetition of the same production style. As with the James Christian release I don't think Tommy's voice and high-tech American AOR style quite matches that of Fabrizio's. Had both records been made in house by the singers themselves with their own bands, a more natural sound might have been forthcoming. Thankfully though, Tommy has provided all but 2 of the songs on the album, so it's a very natural range of material for his voice. It's also his most diverse release starting with the tougher, hard edged Learning How To Love, flowing into the perfect AOR of Remember Our Love to the sultry title track Anything For You. Only You Can Give Me sounds like a tougher King Of Hearts style track, while the big ballad To Say You Love Me turns back to pure AOR. The moody You Got The Love and The Garden have a certain swagger, while Skin starts slowly before a poppy chorus kicks in. Second Chance and Say A Little Prayer are ok, but lack the punch of earlier tracks.
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| Shy Sunset And Vine | MTM Music 0681-120 |
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I had some immediate reservations after my first listen to the anticipated new Shy album. My first thoughts were that the 10 songs that make up Sunset & Vine were far too much alike and the pace throughout was very much the same, blending one song into another. As is the case with many albums, further play back helped reveal individual songs and highlight a few new AOR gems. The production on Sunset And Vine is first rate and features a clean and even mix throughout - allowing guitars and keyboards to breathe effortlessly inline with the rich high-pitched Steve Perry like vocals of Tony Mills. Tony has upped intensity of the guitars for this album, making it a somewhat rockier affair. This improvement in the album is precisely what I had hoped Dare would do on their last album. Still, this is about as smooth as AOR gets made that bit rougher with the extra guitars but it's still one for fans of the purest form of the genre, with it's roots firmly planted in 80's melody. The high-pitch vocals of Mills are a little less over the top on Sunset & Vine. He does a great job of containing his range and encompassing some lower register at times. This is best described as Journey-esque AOR along the lines of Final Frontier, Two Fires and Hugo, but with that twist of English style a la Dare and early Heartland. For those looking for some classic AOR, go no further than the ultra smooth opening track High Time, the moodier Open Your Heart, the essential anthemic and multi-layered Don't Jump The Gun and the other essential track the feel good Walk Through Fire. Elsewhere the songs don't quite have the impact they could have had given some tempo variation.
That said, there are some fine AOR moments here and I think the majority of Shy fans and classic AOR lovers will be more than happy with the result.
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| Greenhouze Greenhouze | MTM Music 0681-114 |
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This is an interesting record. The name itself won't be familiar to anyone, as it is the debut album for project mastermind Lars Levin, (providing all music, majority of the songwriting), who is joined by vocalist Solli (Sons Of Angels, 21 Guns) and several guest musicians who round out the line-up. The CD booklet features lyrics only, without any further credits at all, so I'll rely in bio information to fill in the gaps. This Norwegian based project features music not dissimilar to Dare at their most atmospheric, plus fellow AOR masters On The Rise and Stage Dolls. However, while comparisons between Greenhouze and these AOR masters can be made, this album doesn't reach any of the heights they do. Now, this album sounds a million bucks it's wonderfully compiled, with a lush, multi-layered production to rival a major label release. It also has a certain sense of feel good warmth - with a mellow vibe throughout - constructed from thoughtful, sensitive environmentally themed lyrics and accompanying acoustic and electric guitars and a wall of melodies. Just as Dare and On The Rise feature rich, musically complex tunes, so to does Greenhouze and at times the listener is sent on a real journey. Sounds great doesn't it? And in many ways it is .but no matter which way one looks at it - there remains one major problem. The songs just don't go anywhere. The listener may be on a journey but there is no point if you never reach a destination. Take the opening track The Point for example. It builds through this mysterious intro, with a deep poignant lyric and the wonderful vocals of Solli laid over a soft piano, before guitar and drums rip in seemingly preparing the listener for blast off into AOR Heaven. Another layer of guitars and we are on the edge of bliss but then it's gone .back to another verse. And so it continues .this album features all the ingredients of a perfect anthem filled moody AOR release just the type I love except there are no anthems! It's almost as if the climaxes of the songs are missing. You can supply all the musical padding in the world and the best production since Def Leppard's Hysteria, but if there are no choruses to match, what will draw the listener back in for more? Waterline is another track that offers so much and probably delivers more than any other track, but when run in serial with the rest of the album, it just isn't satisfying enough. However, one tracks with stand out chorus Here In The Air turns out to be one of the weaker tracks! Two of the best tracks are Rain and Train Song these are for Stage Dolls fans, mirroring their moody sound and style.
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| Jesse Harms The Best Of What I've Got | Indie |
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Jesse Harms is another name that may not be a household name, yet he has contributed so much to the rock scene over the years. This is his first solo record after more than twenty years making other people look good. Best known as Sammy Hagar's keyboardist and songwriting partner, Jesse has also written classics for Heart, Eddie Money, Freddy Curci, BB Steal and REO Speedwagon to name a few. The Best Of What I've Got is an amply titled album. Featured here are several new songs alongside Jesse's own versions of some of the tunes recorded by other artists. The album was recorded throughout 2004 and features the multi-talented Harms on lead vocals, keyboards and percussion. Joining Jesse on the album is some other well known names. Drums are performed by the mighty Ron Wikso (Greg Rollie, Cher, The Storm, David Lee Roth, Foreigner); Guitars are by Vic Johnson (Hagar), Dave Amato (Speedwagon) and several others and Bass is performed by Ricky Phillips (Babys, Bad English, Styx) and John Paul McClean. Jesse's solo style is a mixture of classic AOR with a more stripped back Midwestern feel the album contains an earthy, organic rock n roll feel. All of these influences are featured on the album as it rolls through some varied material, all recorded with the vibe way to insure a cohesive sounding and easily flowing album. Kicking off the album is the breezy, laid back Down On The Beach, which could easily have found itself on a Hagar album, had the singer had the good sense to ensure Jesse stayed with his band. Things've Changed and Both Sides are both Jesse versions of tracks included on Hagar solo records. Both tracks feel natural and at ease in this surrounding and have a real charm to them. Hold It And Cadillac Ranch are the most stripped back and organic tracks, with a country/southern rock edge that showcases Jesse's diverse writing abilities. Walk On Water (recorded by Eddie Money), All I Want Is You (recorded by Alias' Freddy Curci) and Make Me A Believer are all great examples of Jesse at his melodic rock/AOR best. And Chasing Down The Wind is a particularly great ballad co-written with John Waite and Charlie Midnight. There exists an original version with Waite on vocals, but he blocked the use of it when Jesse proposed it be included on my first MelodicRock compilation CD. Jesse's lead vocals fit the song perfectly and it rates as one of the best tracks of the album.
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| Damned Nation Sign Of Madness | Scarlet Records SC 095-2 |
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There will definitely be some resistance to this release from the melodic and AOR sectors, as Damned Nation have modernized and beefed up their sound considerably from the band's previous hard rock based albums. I was pretty impressed with the band's last album Grand Design, with its chunky guitar riffs and big hard rock choruses. Sign Of Madness is a change in sound, approach and style and may not sit well with some fans. But there is an opportunity for the band to pick up new fans from the heavier side of the tracks. As stated, this is a lot heavier and features a modernized sound as well as a more contemporary production style with a distinct drum sound more in line with some metal releases of today and a heavier, darker guitar tone that matches the more intense, sometimes brutal, semi-industrial approach of the songs. Another change for the band is with their vocalist. Out goes Thomas Thorsen, incomes the great Matti Alfonzetti. However, this is not the melodic friendly Alfonzetti such as on his great solo album Ready this is the modern rock singer we heard on his last album, which is close to what his vocal style is on this album just more aggressive and tougher to match the music. The production quality here is probably the best of the band's career, and the songs are consistent and on theme. Wall Of Illusion is probably the most easily accessible track of them all, with Stranded not far behind. Both prove to be good melodic metal tracks and should this style be to your liking, will provide enjoyment. Bringer Of Light is an ear crunching number that contains a fairly good set of riffs. Still Alive provides a break in the onslaught, being a moodier, reflective track. The main problem here lies with the songs, not the style. Yes, it's far heavier and a major change in direction, but there just isn't enough variation or stand out melodies with the tunes to encourage repeat listens, or to convince old fans that the new direction is a change for the better.
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| Gary John Barden Past And Present | Escape Music ESM106 |
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Gary John Barden (aka Gary Barden) has a long resume that stretches back through the Michael Schenker Group, Statetrooper and Silver. He has one of those assured rock voices with a blues edge and a certain warmth similar to that of Deep Purple stalwart Ian Gillan. Past And Present is exactly what the title suggests this is a brand new recording of Barden's past classics from his time with MSG aside from the last track, a short instrumental piece. I have read mixed reviews for this release and I can understand why. When recreating music that made you famous, a number of pitfalls stand in your way. None bigger than fan resistance to hearing remakes of songs already made classic after years of play back. Personally speaking, I have no particular ties to the music of Barden-era MSG and can take this album for what it is enjoyable. This is certainly not an acoustic record, but the acoustic guitar is certainly the base instrument for the album, which sees Gary performing stripped back and updated versions of the songs. Electric guitar still plays a prominent role as one would expect and it's Michael Voss that provides the bulk of the excellent guitar work here.
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| Platens Between Two Horizons | Frontiers Records FRCD211 |
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The debut Platens album Between Two Horizons is a prime example of why an album should never be rated by first impressions. My first spin gave me no hope of finding a lot to like, however as a review requires several listens, the extra time put in gave this album a chance to come alive. While this is still not going to appeal to everyone, Platens does offer a lot for fans of European style hard rock, spiced with progressive and pomp moments that help to create a rather varied and diverse record. Of 11 tracks on offer, 7 float around the 5 minute mark, 3 of which pass 6 minutes. There is a lot of music on offer and it's pleasing to hear new melodies and hooks revealing themselves with each listen. Platens is a melodic rock project the brainchild of Dario Grillo, a young and talented singer, songwriter and musician born in Palermo, Italy in 1979. He has a background training with classical guitar players and attended the Palermo Music School, where he studied classical guitar and music theory for two years. In 1998 he joined Thy Majestie as lead singer, adapting his voice to the heavier sound of the band. Dario left Thy Majestie in October 2003 in order to dedicate all his energies to this album, which sees him playing all the instruments. The voice of Dario Grillo may not be for everyone his distinct vocal tone has a strong accent, but his delivery and passion cannot be faulted. The music of Platens varies from ballads drenched in acoustic guitars to songs featuring dramatic progressive passages to foot to the floor melodic metal. The balance of the album could be easily described as melodic hard rock with a strong European flavor. Dario has also produced the album, for which further credit should be given. Being that he plays all of the instruments except for drums, Dario has managed to create a very cohesive record with an even mix that captures a full band sound very well. Between Two Horizons is described as featuring a "driving melodic hard rock approach" very close to the sound of such bands as Fair Warning, Terra Nova and Grand Illusion. I have to agree especially with the European hard rock comparisons to Fair Warning and the pompous, over the top nature of some songs which compare favorably to the style of Grand Illusion especially when the harmony vocals come into play.
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| Waysted Back From The Dead | Majestic Rock Records MAJCD050 |
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Any Pete Way release is going to be received with some enthusiasm, based upon his amazing career of music. Pete decided to bring back his long time side-band Waysted a name that brings found memories and big expectations. From what I have heard, this album proved a challenge to get completed - it took quite some time to get the tracks completed and ready for release. I guess that's why the regular release boasts a mere 8 tracks, while the Japanese release adds two extra tracks, which I will address later. There are two eras of Waysted and both have their individual fans. The last two studio Waysted albums featured a young Danny Vaughn pre-Tyketto and featured some very commercial straight ahead melodic rock which fans loved. Save Your Prayers is still a highly regarded classic. The first era featured vocalist Fin, who provided a bluesier hard rock voice, which would prove to be a perfect match for Pete Way's songwriting style and bass playing and is closest to the sound of UFO - Way's main gig. The announcement of a Waysted reunion drew excitement from the AOR crowd, but Back From The Dead features Fin and is therefore a return to the bluesy hard rock of UFO. Fin's a good old school style vocalist and fits this material perfectly. The style of the album is only a short hop from recent UFO releases and the classic Waysted sound. While the sound and style is there at least for fans of the classic era Pete Way - the songwriting and vibe is a little different. With only 8 tracks to play with, each track should be a gem and that is quite simply not the case. There are moments of brilliance, and some stunning guitar playing from Chris George - whose work replaced original guitarist Paul Chapman's riffs another reason for the delay in getting the album done. There are also passages where things don't flow as well and the song cries out for a good hook and something memorable to draw the listener back. The opening track The Alternativa is some 7 minutes long, but holds the listener to every note. It has the energy, the purpose and the drive that every track deserved. From its brooding intro to the rugged, raspy vocals of Fin to the inspired extended guitar shred, this is Waysted at their best. Garden Of Eden sounds like it could have been lifted from either Mogg/Way album and rocks along ok also. The mellower, acoustic driven Dreams is another ok track, but the tempo of the album is halted somewhat. I like the chorus hook for Must B More 2 It Than This and the song itself features some solid guitar playing. More along the lines of this and The Alternativa would have been cool. The Price Of Love is horrible a mere 2.56 long, the songs features a crappy chorus and some pretty rough vocals. Breakfast Show features another monotonous chorus. Some of the guitar playing is first rate, but the song itself goes nowhere and the lead vocal is again pretty rough. The 6 minute I'm Gonna Love Ya is a bluesy ballad that brings the album quality back up and is another highlight. It builds tempo as it moves along and features some fine blues guitar riffing and a solid vocal. Lost In Cleveland is another very rough and at time gruff track (vocally speaking), but it does have some charm. Sadly, it closes out the album and after 41 minutes, the album that took a couple of years to complete, is done. The Japanese bonus tracks are both classic UFO tracks, redone by this line-up for this occasion. The Wild, The Willing And The Innocent and No Place To Run are both faithful renditions of the better known originals, but are considerably rougher and rawer. Going by the import price of Japanese CDs, I'd recommend the import version for strict die-hards only.
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Thunder I Love You More Than Rock N Roll |
Frontiers Records FRCD223 |
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Thunder preview their new album The Magnificent Seven with a crowd pleasing single. I Love You More Than Rock N Roll may be a mouthful, but the music is also a pleasing earful. The band cut to the chase and deliver a no frills, good honest mid-tempo rocker that is derived from the sound of their classic debut, mixed with the updated sound of their last album Shooting At The Sun. This guitar driven anthem is bound to become another live favourite and bodes well for the material and direction of the new album. What really blows me away though is the non-album track Closer To The Flame. Holy smokes, this track rocks big time and is a new Thunder favourite already. If this was left off the album, what does that say about what is to come? An acoustic version of the Loser the best track from Shooting rounds out the EP before another sneak peak at the upcoming album. The Pride is dark, heavy and somewhat menacing and sounds everything like Thunder 2004 should be. Once again, it sounds like the energy and style of the band's debut album has been updated.
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| Crown Of Thorns Crown Jewels | Frontiers Records FRCD225 |
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It's a credit to any band that can put together a Best Of collection and spare the listener any filler tracks. So what compliments do you bestow upon a band that manage to conjure up 46 tracks with barely a dud amongst them? Crown Of Thorns are highly regarded in the melodic scene, but outside our narrow confines they remain virtually unknown. Of course Jean Beauvoir is known as that dude with the mohawk who had that hit single in the mid-80's What I'm saying here is the band deserves more recognition for their talents and their knack of quality songwriting. Sadly their chosen genre was becoming horribly out of fashion and that situation has only deteriorated since their classic debut was released in 1993. The line-up has changed over the years, with frontman/writer/producer Beauvoir and bassist Michael Paige the only constants. Their 1993 debut featured a monster budget and some of the best songs ever dished up in this genre. The selection of tracks from that release include the utterly essential melodic rockers Standing On The Corner For Ya, The Healer, Dying For Love and my favourite, Secret Jesus. No other albums have matched the intensity of the debut, but that was always going to be an impossible task. Nevertheless, albums like Breakthrough remain highly enjoyable today and featured here is another couple of classics in Only One Who's Lonely and Breakthrough. 1998's Lost Cathedral saw the band come close to matching the debut, with a tough and gritty album with a stack of great melodic hard rock songs. The title track, the ultra moody Live And Die and the anthemic Greed Of Love are all featured. Destiny Unknown and Karma were both solid albums, but they did see some fillers creep into the mix. However, as is the case with every album, new classics were also found. Bird On A Wire, End Of The Century, Heaven Tonight, Til You've Had Enough and Before It Slips Away are all classic tracks containing the best melodic rock Crown Of Thorns can offer. Added bonus tracks for this release include two Christmas songs, recorded recently. But these tracks have only seasonal relevance and in all honestly are a blight on the compilation as a whole. They are not the best selling point of the compilation and thankfully have been left as the last tracks, so we can end the compilation with the awesome ballad Once In My Life. These two Christmas tracks are sonically sub-par and a little cheesy. I'd go as far to say that All I Want For Christmas is the worst sounding COT song ever. For the established fans with all albums to date, there is little else on offer as far as rarities or unreleased tracks.
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| Richie Kotzen Acoustic Cuts | Frontiers Records FRCD222 |
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As with my recent review of Paul Gilbert's acoustic release, Richie Kotzen targets fans with his interpretation of 10 past classics. Rotzen's release varies from Gilbert's in that it is studio based and a little more structured than the looser live release from the guitarist Kotzen would replace in Mr. Big. 10 tracks at 36 minutes is a pretty quick serve of music, but as presentation that features only a lead vocal and an acoustic guitar, any longer would have seen proceedings begin to drag. 10 tracks is a perfect selection of songs from Kotzen's past and is more than enough to give fans a taste of something a little different. Kotzen has a certain warmth to his voice that suits this environment and there is an enjoyable difference in these songs and this performance. You can really hear the passion and the emotion in the vocals, which give new life to the songs.
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| Johnnie Degiuli Songs In Dee | Indie |
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Johnny's album has been out sometime now in one form or another, but I have always managed to miss reviewing it. Thankfully it's now getting a wider release through EMI Canada, who wisely recognizes the valuable contents and feel others will agree. They will Johnny has recorded a very enjoyable set of songs that encompasses his past and present with Honeymoon Suite and the future, through touching on some new musical styles. Honeymoon Suite modernized their sound on their last Canadian release Lemon Tongue. It was scaled back somewhat for the European Dreamland release which was a mix of Lemon Tongue and other more traditional sounding unreleased tracks. In places the band nailed it moving forward with glimpses of brilliance, but on other tracks it really felt like they were in unfamiliar territory. JD seems to have a better grip on what works for him and what sounds like a good idea. The music of Songs In Dee is largely based around a more modern melodic rock sound with updated production tweaks, samples and a commercial pop feel. Through some cleaver songwriting, well placed hooks and a wonderful vocal performance, the album works extremely well and brings the Honeymoon Suite sound into the new century, without alienating traditional fans. The sound is best described as a cross between the smoother Dreamland and the grittier Lemon Tongue, with a touch modern pop/rock, a la the Pete Lesperance and Harry Hess solo albums.
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| Creighton Doane Learning More & More About Less & Less | Bullseye Records BLR-CD-4063 |
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Creighton is best known in these circles as drummer for Canada's Harem Scarem. He also contributes additional percussion and backing vocals to the perfectionist group. But there is so much more to Creighton. Along with Harem's Harry and Pete, he is a well known and respected songwriter and artist producer, having worked with other Canadian artists such as John Boswell, Maureen Leeson and sister Melanie Doane. Also unknown is the fact this is his second solo album, the first having been released in the late 90's. On Learning More & More About Less & Less, Creighton handles lead vocals, drums, bass, guitars and keyboards. A number of guests help out during the record, but the majority of the album provided by the man himself. Guests include Pete Lesperance on bass and guitars, Harry Hess on backing vocals, with sister Melanie and Ray Coburn appears on piano. The album is a very tidy package indeed and the production quality and mix is up to the usual high standards of the people involved. Style wise, Creighton's album is an extension on the recent Harem Scarem / Rubber modern rock direction. The production mirrors the punchy rhythm of Weight Of The World and Higher, and the songs are very much in a Rubber/Pete Lesperance solo/Harry Hess solo/Butch Walker kinda vibe, with a little psychedelic pop thrown in for good measure. Harder rocking tracks like True Love Story and Give It Up also touch on the power pop/punk of Blink 182 and Simple Plan. The other side of the coin is the Beatlesque balladry of Dummy and Unexplained, which is a style Harry also touched on with his Just Another Day album. Creighton's singing voice holds it's own and fits the music perfectly, but I would probably rate it behind Pete's.
If you own both Harry and Pete's solo albums, then this would be a comfortable and wise investment. I prefer the other two solo albums ahead of this, but that statement isn't intended to reflect upon this album, as it is finely crafted and preferences will come down to personal taste.
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| Soul SirkUS World Play | Soul SirkUS Records/Warner Music |
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Soul Sirkus is the first new hard rock supergroup along in some time. The band features legendary axeman Neal Schon, acclaimed vocalist Jeff Scott Soto and the meanest rhythm section in rock n roll Deen Castronovo on drums and Marco Mendoza on bass. World Play is an album that lives up to the high expectations a lot of people have been hoping for. It's a monster of an album, but not for the most obvious reasons. This album showcases what rock n roll is all about. It is an untamed record and showcases four first class musicians playing how they were born to perform. World Play is very loose and raw it's a fly-by-the-seat-of-your-pants kind of record. It is recorded how it sounded as they guys belted the music out no high-tech polish, no endless overdubs, no piece-meal note by note over-thinking. This isn't a perfect record, nor is it the best sounding release you will ever hear. But it is about as honest and as energetic as it gets. Soul SirkUS is part Hardline, part Talisman, part JSS solo and part Journey. As one would expect, it's a true mix of the line-up's past experiences, blending together to bring something new to long time fans. Rather than the hard edge stadium rock of Hardline, Soul Sirkus has a far bigger groove and is less constrained by structured songs and formulas. The bulk of the album was recorded in just 4 days. Yes, you read correctly. It took several weeks to mix the album after that, but the music was recorded in very quick time and that's why you can feel the energy of the record feeding through the songs. Neal Schon really gets to let fly, and plays with the energy and conviction of a man recording his debut album. Vocalist Jeff Scott Soto gets to showcase the full range of his vast talents from his booming hard rock vocals, to some high pitch screams, back to soft soulful balladry, with his trademark funk and groove fitting perfectly with the flawless rhythm of Mendoza and Castronovo. The production might not be as crisp and clean as Journey, or as precise as the Hardline record, but the performances are electric. There are some monster harmony vocals throughout, with Jeff utilizing his trademark layered harmonies in line with supplemental vocals from the rest of the guys. I find myself liking different tracks from week to week, which proves two things the album is quite varied and it proves true depth, providing new experiences for listeners beyond the initial period of getting to know an album. Track By Track: Highest Ground is one of a couple of obvious Hardline-esque tracks and opens the album with an extended intro that bursts to life with a big Schon supplied riff. The mid-tempo hard rocker has a vibe similar to Hardline's Life's A Bitch, but a far groovier soul. New Position bursts to life with a snap and doubles the pace of the opening track. This is a freely rocking track that features a real swagger and a dirty guitar riff from Schon. The highlight of the track is the chemistry between Soto and Schon, who's vocal and guitar lines dart in and around each other throughout, all while the rhythm section carries the groove. This track features some truly wild guitar work especially at the end of the track. Another World returns the album back to a mid-tempo groove, but with a heavier and darker vibe than Highest Ground. Jeff's vocals offer something new for fans of his a growling, moody rasp that matches the smoldering guitar riffs. The track features another nice solo and some solid harmony vocals in the subtle chorus. This track isn't as instant as others on the album. I think it works well in the context of the album, but wouldn't rate it as highly when judged as a stand alone track. The first taste of the softer side of the band comes with the 6 minute plus Soul Goes On. The title says it all this is a revelation for fans of both Schon and Soto as it features two killer performances. Jeff's vocals are some of the smoothest and most soulful of his career and Neal's slow, meticulous soloing is a joy to listen to. There's a definite Journey sound in his guitar work, especially in the song's longest solo, mid-way through the track. Right about now I'm thinking a tempo lifter would be good and Peephole delivers. This song is one of two written by Schon and Sammy Hagar for the defunct Planet US project. It's the only one of those tracks featured here and suits the album and vocalist Soto to the ground. This is a tough, aggressive, hard hitting rocker with a supremely dark message about child abuse, delivered in a high-impact way. The track sounds like a Hagar track and Jeff delivers a very Hagar-esque vocal. Another outstanding vocal, this is Jeff at his best, moving from a brooding rasp to a high-pitched scream. Periled Divide follows the intensity of Peephole perfectly. It builds slowly from a soft guitar riff to an accompanying vocal, which gets a little more urgent each minute of the song. The song is only mid-tempo, but it has this feel about it as if it's about to break out into something bigger. It doesn't, but the extended guitar solo and some layered vocal harmonies continue to build the song and work the feel of the track in its own favor. Schon's hard edge riffing is a highlight. The swagger of Praise sees the guys provide another well placed tempo lift. This is a swinging song that features some very loose and very groovy guitar riffing, not to mention a Talisman inspired lead vocal from Jeff. This is an easy going, breezy rocker with a good fun message. Well placed and much needed in the terms of where it is positioned within the album. A little screaming and some kick ass guitar playing towards the end just add extra value. My Sanctuary is another killer track that is a personal favourite. Keeping the tempo up and sending the album into overdrive, this song rocks from the outset in double time and features a thumping bass line, over powered by a hammering guitar riff come chorus time. As this is another big Hardline styled rocker, I feel it will be a fan favourite. The mid-song pause and break to a guitar solo only serve to increase the already high energy levels. The mid-tempo'd and moody Friends 2 Lovers is an interesting track and a somewhat original one. I don't think I have heard anything like it from Schon or Soto previously, although it's nothing too far removed from either's usual style. It just has a certain twist to it. Maybe it's the appearance of a keyboard during the chorus, which climbs from the verse without any fanfare. Only the added vocal layers give any hint of its arrival. A very simple guitar riff gives way to a classy solo towards the end of the song. I can't wait to hear what Journey fans think of Coming Home. This feel good mid-tempo ballad is the only track on the album which has a really obvious Journey flair, and for me this is one of the best tracks Journey never released! From the opening bar, it's Neal Schon in full on Journey mode, with that tell-tale soft guitar playing a perfect match for the super soulful lead vocal. This is perhaps one of Jeff's finest ever vocals and if I didn't know better, I would swear the soul of Steve Perry had possessed Jeff. Even down to the seemingly adlibbed vocal expressions and soulful delivery of the chorus. Amazing! Close The Door is a mid-to-uptempo rock track to close out the album. I think it's perfectly placed here, as it's probably my least favourite song on the album. But saying that, I'm quite partial to it this week, which is further proof the album has changing moods and will keep listeners entertained after the initial euphoria has evaporated. The song has a great little boogie inspired guitar riff and features another great vocal, but perhaps could have been a little faster or heavier still.
Where the album will rank with individual fans will be down to what they expect from the record and what they take away from it. On face value, World Play is one of the grooviest hard rock records in a long time and stands alone as far as style and content. I have fears the album will not receive the promotion and attention it deserves and could struggle to reach the fan base I know would be interested in it. The production could definitely have been better the rhythm section could have had more impact, but any tweaking could have resulted in the album losing some of its raw energy. Absolutely essential for any fans of Schon and Soto and anyone who adores the Hardline album. Bring on album #2.
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| The Ladder Future Mircales | Escape Music |
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Steve Overland has had a busy year. Earlier on he starred on a very fine AOR record called Shadowman a project with Heartland's Steve Morris and the Thunder duo of Harry James and Chris Childs. This time around Steve is partnered with his former FM buddy Pete Jupp (drums), Dare and Ten guitarist Vinny Burns and bassist Bob Skeat. Additional guitar and keyboard parts are again supplied by Steve Morris, who also produces. This release is the perfect companion to the Shadowman release which was warmly received by fans. This is also an essential addition to any FM collection, as the songs of The Ladder are all former FM songs that were never used back in the day. Some may argue that they weren't used at the time because they weren't good enough but one listen to this will demonstrate that clearly isn't the case. I am not overly worried by the origins of any song just as long as the song holds it's own in the present and as long as it still has a great hook. That's definitely the case here these are some fine pure AOR tracks all freshly recorded and arranged in 2004 for this release. Musically speaking, the sound is almost identical to that of Shadowman. But I did raise the issue of pacing with that album. The Ladder is a superior release as not only is it perfectly produced and mixed, but it also varies the pace and tempo throughout, offering a selection of songs that work well together and provide a very smooth listen. Track By Track: Like Lovers Do is an uplifting way to start any album. This uptempo pop/AOR track features a great guitar hook and a relaxed vocal guide the listener to a catchy and memorable chorus. Closer to Your Heart is a moodier track, featuring a more urgent vocal and another good chorus. Some delicate guitar parts open the song, but that builds to an enjoyable solo and a bigger finish. Do You Love Me Enough is the first ballad for the album and won't disappoint fans of Overland's soulful rock voice. Some well placed harmony vocals add extra texture. Dangerous is a harder edged song of some 6 minutes in length. The mid-to-uptempo rocker features a subtly but effective chorus which adds extra keyboard melodies. Baby Blue is another mid-tempo track, but is has a different feel than Dangerous this being a more soulful AOR number. All I Ever Wanted is a breezy mid-tempo pop song that could have had a stronger chorus, but it fits the album perfectly. Time For Changes is a great acoustic driven track that is joined by electric guitar and features another soulful vocal and song hook. Say It Like It Is changes the album tempo again to a more uptempo melodic rock feel. When Tomorrow Comes is another ballad, but different than Do You Love Me Enough. This is a moody mid-tempo ballad with some fine acoustic guitars and a soulful heart. Too Bad closes the album by rocking out a little. Another good uptempo number, this rocker has a simple, but effective chorus and features more of the very fine backing vocals used throughout much of the album.
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| Mike Tramp Songs I Left Behind | Frontiers FRCD224 |
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As with many musicians, Mike Tramp always records a few extra songs per album and weaves what he considers the most fitting tracks into the final running order that will be released as an album. Songs I Left Behind is an obvious title for a collection of those extra songs that were left off an album at the time as they didn't quite fit, or already were represented by a song that sounded similar. This CD is an absolute no-brainer for fans of Tramp, as it delivers an extraordinary 16 additional tracks never before released. There are no surprises for the style here either if you own Capricorn, Recovering The Wasted Years or More To Life Than This, you won't be surprised to hear a selection of melodic rock songs driven by Mike's dual acoustic/electric guitar and vocal style. Highlights include the opener, Sometimes, which featured on the Melodicrock Vol. 2 release, the breezy uptempo rocker Do It While You Can, the harder edged Over And Out, and the sentimental ballad Love Won't Wait which has a very familiar ring to it. Yes, the 4 best tracks are all stacked at the beginning of the album, but there are other highlights, such as Before The Night (a stripped back ballad) and Show Me (a gritty rocker, unlucky not to be included on an album already). If there was any issue of complaint, it would be that the overall collection of songs is fairly laid back and certainly stacked with ballads and mid-tempo numbers. Not too many rockers here and the pace of the last half of the album is a little slow. But these are unreleased songs, so the flow of a regular album is harder to achieve and not as high a priority. A couple of extra rarities are included the original version of Falling Down complete with different versus and an original version of Darkness, the classy ballad, which has a totally different feel here. Both songs are better as they are known today, but these versions give a good insight into the writing process.
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| RTZ Lost & Found | Frontiers Records FRCD220 |
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There is no doubting RTZ main man Barry Goudreau is a vital contributor to the legacy of melodic rock through his work with Boston, Orion The Hunter, RTZ and now as Delp & Goudreau. RTZ also features Boston singer Brad Delp it was the duo's chance to work together outside the constraints of Boston. Naturally RTZ's sound is not far removed from that of the classic rock band with the biggest selling debut album in history. RTZ's Lost & Found is the band's third release - their second to feature unreleased material. Only the debut Return To Zero can be claimed as a full official album recorded from start to finish. The band released the album Lost in 1998, which contained 10 unreleased tracks. Now another 11 see the light of day on Lost & Found. This collection of songs will be sought out by fans of Boston and RTZ, and will sit comfortably alongside the other albums. The songs are all well written and highly enjoyable, and feature more great examples of pomp rock at its best. However, it must be said that the quality of the recordings is definitely not regular release quality. Had these demos continued on the path to completion and wound up as completed songs, they would have made a very fine album indeed. But being that they are pretty rough and clearly only demos, the appeal of this release will be limited to die-hard fans and collectors. One Step Away and Fool For Love are classic pomp rockers which see the album start in positive fashion and Such A Fool has an enjoyable chorus hook. Rise Above It All can also be included in the best tracks of the album. But after the opening 4 tracks, things get a little rougher. For example Social Disease is noticeably rawer and I'm On A Roll features a slight sound drop-out which gives away the origins of the material. Rock The Night sounds really tinny and from this point the material sounds more dated than the tracks that kick off the album. As a special added bonus for this European release, Frontiers Records and Barry Goudreau have teamed to provide great value in presenting the Delp & Goudreau album as a second CD in this package. Great value for those that are yet to purchase that album, which until now, has only been available through Barry's website. My original review of that release can be viewed here.
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| Mysterell Sensational | Frontiers Records FRCD221 |
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The debut Mysterell album is a very mixed bag indeed. While the overall quality generally remains high, the styles within are quite varied. Mysterell is essentially a one man band - Torben Lysholm, formerly of Danish hard rockers Pangea. Here Torben sings, plays bass, guitar, drums and keyboards, with only Lene Riebeau providing anything extra, adding backing vocals. The biggest single issue with any album that is written, produced and performed by one individual is the ability of that person to make his performance sound like a full band. While that is easier today than it ever has been, it is still quite a challenge and is the one area I feel Mysterell falls down with. The biggest culprit is the drum programming the automated sound hits you with the first bar of the album and continues throughout. If you get used to that quickly, it will help the overall enjoyment of the CD. The CD has a high-tech pop/rock feel, with production comparisons to fellow DIY artists Jeff Paris and Brian McDonald. Delivery is quite varied though, touching on the multi-layered, programmed feel of Def Leppard, the moody AOR of Harlan Cage, the smooth Westcoast of Chicago and even a little Hall & Oates soul. The album's nearest neighbour would have to be Brian McDonald's Voyage which also mixes Def Leppard pomp with smooth Westcoast. Don't Ever Stop and I Belong To You are both uptempo and catchy melodic rockers in a Def Leppard production style. Why? has a moodier approach, with a Harlan Cage vocal sound. When You Love is a slow, sentimental Def Leppard Euphoria era ballad. Bring The House Down is another Leppard style rocker, in line with Steve Plunket's Auotgraph, who also headed down this path on their last album. There Was You sees the album stop dead in its tracks and head in another direction. This is a very sugary Westcoast ballad with a heavy dose of Hall & Oates soul. Remember Me is another ballad, this time reminding me of Brian McDonald and his knack of building a song through to a high-impact rock finish, which is what happens here. Help Me Find The Way (Back To Your Heart) is the third ballad in a row and sees the album suffering a little for it. While nothing original, this is a pleasant and sentimental power ballad, with some added orchestral texture which makes it a sure for selection for Karate Kid 6 should they need a closing ballad. Sling Shot sees a return to the uptempo Leppard-esque pop rock. I think the very soft chorus lets the album down though a verse that builds the mood is left out in the cold once the chorus hits. Take Me To The River is a more enjoyable rocker with a stronger chorus. The Challenge is a 3 minute guitar instrumental, which is ok, but nothing phenomenal to close the album with.
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| Plunge Hometown Hero | Atenzia Records |
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Plunge is a new modern hard rock outfit out of the USA that features SR-71 member Mike Ruocco. But this is not a newly designed side-project. Mike formed Plunge when he was a teenager, alongside bass player Brian Magill and drummer Mac Calvaresi. Mike has worked for several years to complete this album, which was signed by Atenzia after SR-71 toured through Europe. The album was produced by the band together with Scot Spelbring (Marvellous 3, SR-71), so there are no prizes for guessing the band's sound is close to that of the star nu-breed outfit. The album was mixed by Jeff Juliano (Dave Matthews, John Mayer, Jason Mraz), so a guarantee of sound quality is easy to provide. This is a great sounding record for fans of the nu-breed / modern rock sound. Naturally it compares to SR-71 and also Mars Electric and Neve, but Plunge does miss something those acts have a certain uniqueness. The music is good, the sound is great, but there isn't anything unique to the band to help them grab the attention of prospective fans. The band's sound is just a little to close to others in the genre and a couple of extra catchy choruses could have helped big time. The opening track Running Away is one clear exception this track has it all moodiness, big chorus and big riffs - and is one of the better modern rock anthems of 2004. Elsewhere Hometown Hero has a good hook and Part Time Girlfriend rocks along at a pleasing pace. One More Time is possibly the best track of the album, with its heavy, moody presence and a passionate chorus hook. More like this track along with the opening song is what I would have liked to hear more of and what would have helped the album stand out in a crowd.
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Heaven & Earth Heaven & Earth Featuring Stuart Smith |
Black Star Records BSR-001 |
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I was one of the lucky few to preview this album right from the start. I believe my initial review was actually from an advance tape, rather than the now standard CDR. Released back in 1998 by Samsung Records in Korea, the album won huge acclaim and I personally rated it one of the best album's of its kind. A wider release with extra tracks came via Frontiers Records in 1999. So this is now the third version of this album I own. Some fans owning the other pressings might feel some frustration at another re-release being offered with yet more bonus tracks. But the truth is, the album has never been available domestically in Stuart Smith's own backyard, the USA. This release rounds up all the tracks recorded for the project featuring the bonus tracks from the Frontiers release, with the exception of the instrumental Telstar 2000, and adds two extra new tracks. However, those two extra tracks are in fact newly recorded! The original demos were never quite completed and the remained without vocals. Singers were brought in and the tracks completed to be included on this updated release. Those tracks are: Life On The Line a track featuring the great Bobby Kimball from Toto. This bluesy, organ drenched rocker fits into the scheme of the album perfectly and is a showcase for another side of Kimball. Still Got The Blues - featuring Joe Lynn Turner, already a contributor to the album on several other tracks. It's a cover of Gary Moore's blues classic. This version stays true to the original, but I still can't say enough about the classy guitar playing and awesome extended solo, not to mention JLT's fine vocal performance. A very worthy addition to the album, which incidentally now runs at 72 minutes without a single filler or dull moment.
My detailed original review can be read here. I'm adding another point for the extra tracks this is indeed close to perfection!
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Iommi with Glenn Hughes The 1996 DEP Sessions |
Sanctuary Records 06076847242 |
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This is pretty much an essential purchase for any fans of Tony Iommi, Glenn Hughes and the album they both previously worked on, Black Sabbath's Seventh Star release. That album was never intended to be a Sabbath release, but as a stand along release, it has a cult following. The team of Hughes and Iommi went to work to create a follow-up, some 10 years later, in 1996. Things didn't quite get finished before the wheels fell off and the sessions went into one of those ever too large record company vaults. Now almost another 10 years later we find those tapes have been found, restored and released and none too soon either! There has been bootleg's circulating of the songs for a few years now. The 8 tracks on offer aren't really enough to create a classic album, however, just 2 or 3 more tracks to round things out and it would be classic. The songwriting here is more experimental than The Seventh Star, with the pair using more updated textures within the songs, as well as the classic heavy metal vibe that cemented Sabbath as one of the all time great bands. This is a more dramatic and hard hitting affair than the more straight ahead hard rock of Seventh Star. Recorded in the post-grunge era, the guitar sounds are updated from those that ruled the 80s and in places, tuned down in line with what was almost an expectation for hard rock in the mid to late 90s. The music is also more experimental, with a definite retro vibe mixed with 90s heaviness and production tricks. Gone and Time Is The Healer is amongst the heaviest material I have heard Hughes sing. Don't Drag The River, layered with both electric and acoustic guitars, is probably the most familiar tune for fans of the original Hughes sound. My other pick for best tune is the frantic I'm Not The Same Man, which matches a powerful lead vocal with a swirling guitar riff and some insightful lyrics. It Falls Through Me is another classic Hughes vocal with a big Sabbath inspired guitar riff, softening to an acoustic guitar laced verse.
Now we will have to look back on it as an archive release, but its class is undeniable and the truth is that it sounds just as fresh today as it would have in 1996. Perhaps that has something to do with the mix, which was only just completed in order to get these tapes to release standard. These guys simply have to record together again. It must happen!
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| Bang Tango Ready To Go | Shrapnel Records SH11742 |
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This is a pretty good album, but is does somewhat struggle to find an identity and doesn't always compare musically to what the Bang Tango name represented. It's only definite link with that of the band who released their last studio album 10 years ago is the very talented singer Joe Leste. Bang Tango 2004 is a different beast than the band they were in the early 1990's. Only Leste remains from the Dancing On Coals line-up an album that saw the band teeter on the edge of mainstream success. Since then there was only 1994's Love After Death and the odd compilation released. Leste has more recently gathered acclaim for his role in the new band Beautiful Creatures an album that featured an updated and more straight ahead hard rock sound. This album is not purely Bang Tango, nor is it Beautiful Creatures. Rather it is a mix of both and perhaps something different again. The line-up for this album features vocalist Leste along with fellow Beautiful Creatures guitarist Anthony Focx who incidentally does a good job on the material provided. As stated at the start of the review, the album at times finds itself searching for an identity. I had heard that several tracks from the planned second BC album were used on this release and that makes perfect sense. Half of Ready To Go features Leste's Bon Scott inspired vocals driving home AC/DC riffs reminiscent of the Beautiful Creatures release. There's only a small taste of the funky blues & sleaze of the band's classic sound best represented here by I Came To See You and It Ain't Easy. The other half of the album is a mellower hybrid of Tango and Creatures. The ballad Rainy Day and the albums mellower closing sequence of The Most Important Thing, Tell Me and Carry On all have the hallmarks of LA sleaze, but remind me more of Faster Pussycat than early Bang Tango.
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| MTM Compilation Volume 10 | MTM Music 0681-115 |
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MTM's 10th compilation sees the label reach a well deserved milestone. This volume covers the upcoming releases for early 2005. At 17 tracks, the CD is priced fairly and is a good snapshot of what the label has to offer in the months to come. To cover just a few of the tracks included: Relapse's All In All is a preview of the return of Guild Of Ages frontman Danny Martinez fronting a line-up not far from the band that got it all started for him - Caught In The Act. The track shows promise, but is clearly only a rough demo. His voice and style has been missed and I look forward to hearing more. Martie Peters' The Beast Inside is a track also featured on my own compilation. A sensational track if I dare say so which captures Martie at his moody and melodic best. Shylock preview their next album with the anthemic rocker Farewell, which features a solid chorus paying tribute to German soccer star and part MTM owner Thomas Hassler. Fate show they have updated their sound with the moody rocker Everything About You. The vocals have changed a long way since their heyday and I'll have to hold judgment on this one. I'll hope for better. Brunorock's Pray For The Rain is a keyboard friendly slice of European AOR which fails to ignite big expectations for the forthcoming album. SIN sounds very promising with their new track, Shy's ballad friendly track needs a little work as does Seven Wishes. I'll wait for the final albums to appear before judging further. Zeno's Cross My Heart is exactly what we hoped for and is the star of the compilation. Typical Zeno flair drives the track which features another over the top vocal from long time partner Michael Flexig, who really does the job here. Novak's Save Me is a feel good pop rocker this album might be interesting. Jani Lane's Lay Your Hands On Me is not great. Jon BJ he is not. The forthcoming Bon Jovi Tribute featuring this track might be disappointing. Misty May is another artist I'll have to hear more of, but am not blown away the track here. Closing the album is two live rough mixes from Dare and Fate from the 2004 Deep Impact Festival. Dare sounds killer although a little raw (quite like that approach here), but Fate sounds pretty ordinary at best.
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Frontiers Records Rock The Bones Volume 2 |
Frontiers Records |
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Rock The Bones Volume 2 is the latest sampler from Frontiers Records. Without wanting to repeat myself, everything I said about MTM's sampler in regards to value and purpose is valid again here. What is different (obviously) is the tracks on offer! While the MTM sampler was largely dedicated to previewing upcoming releases, the Frontiers one covers current titles on the market tracks from new releases by Pride Of Lions, Jeff Scott Soto, James Christian, Shadows Fade, Brazen Abbot, TMG, From The Inside, Kingdom Come and more. The December 6 release of Platens and Delp & Goudreau are previewed with tracks, but the two most interesting tracks featured are for upcoming releases. Tommy Funderburk previews his upcoming solo release with a new song Remember Our Love. This is a very pleasant slice of AOR from one of the great voices of the genre. I could listen to the The King Of Hearts singer and songwriter for hours on end he has one of those classic voices perfect for the genre. Musically speaking it's a safe and enjoyable song and the sound is pretty obvious - Fabrizio V.Zee Grossi is in charge. The other preview is my pick for one to watch for 2005 Lande / Allen is indeed Masterplan singer Jorn Lande teamed up with Russell Allen of Symphony X for a full album together. This demo sees only Lande on vocals (Allen's vocal track is yet to be added), but it still signifies a majorly cool track. The album's material and music is being provided by Last Tribe's Magnus Karlsson. I really like that band and Magnus' reputation is only getting bigger and better. Last Tribe's album's are perfectly recorded and produced and this sounds like a major winner for all involved.
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| Paul Gilbert Acoustic Samurai | Mascot Records M71052 |
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There is no doubting Paul Gilbert is a bit of a legend, both as a guitar player and as a person with a wicked sense of humor and a knack for cleaver songwriting.
Here we have a 16 track recording of Paul live at the Hard Rock Cafι in Tokyo, July 2003. Appearing alongside Paul is Linus Of Hollywood. A more fitting way or presenting this, rather than having it available as a stand alone CD, would be to include it as a bonus disc alongside another release. As it is, this is perhaps not the most exciting release this month. I say that, as this is very much a fan only release. This is for those already enchanted by Paul's talent and his personal spin on modern pop/rock. 16 tracks performed acoustically without the backing of a full band is a bold move few could hold an audience's attention over that time. I believe being present at the gig would have been highly enjoyable - there are some tracks here with great energy. But when listing back to the audio alone on the CD, things tend to move along just a little slowly over the course of an hour and 16 songs. However, without doubt, one thing that never fails to blow me away is Paul's guitar playing talents. You won't here better acoustic guitar playing anywhere than on here.
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| Hall And Oates Our Kind Of Soul | U-Watch |
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I am a long time Hall & Oates fan who just about universally loves everything the guys have released. Daryl Hall is one of the greatest singers in pop history and the duo is renowned for putting a touch of soul into their records. So, the idea of a soul covers release should not raise any alarm bells and I thought it would fit perfectly into their catalogue of music. All the vital ingredients of Hall & Oates are present here smooth vocals, the layered harmonies and soft soulful backing by the well accomplished band not to mention the lush arrangements and seemingly flawless production. But despite all that there is something missing and it's at the very heart of what a release such as this is all about - the soul itself. I had tried as hard as I can to grow into this release, but there seems a distinct lack of passion and soul about the whole record. The songs themselves may be soul classics, but in this form I found them largely uninspiring and certainly lacking any urgency. It's a major shame when the kings of high-tech pop sound a little too programmed. I think the album is also a little long. It really has to be an inspired recording to keep listeners interested for some 70 minutes. 12 tracks might have been easier to get through. There are a few good tunes here Let Love Take Control has a nice arrangement and I Can Dream About You is as smooth as Hall & Oates get. Apparently Dan Hartman originally wrote the song with the guys in mind.
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| Dio Master Of The Moon | Frontiers Records FRCD200 |
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Dio's new album fell off my priority list for titles due to be reviewed, which in itself probably isn't a good sign. By now most folks have cast their verdict, so I'll include this abbreviated review as my opinion for the record. I think my thoughts pretty much fall in line with the majority in expressing some disappointment in the album as a whole. Mind you, if it continued on as it opened, with One More For The Road, I'd be in heaven I love Dio when he signs it straight and hard. But following that, the album falls into my most hated pattern the old slow to mid-tempo plod. It's not until track 7, Living The Lie, that things get pumping again and even here, the chorus is a little weak. So aside from 2 tracks, the rest falls into the same tempo, more or less the same groove and the same guitar riff throughout.
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| Megadeth The System Has Failed | Sanctuary Records |
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Another album that is overdue for a review
. After disappearing a couple of years back, there was a question mark over whether Megadeth would ever return especially after frontman Dave Mustain's slightly bizarre withdrawal from recording life. The speed of his return surprised me for one. Whatever he did while he was away has certainly improved his creativity. I'm not a Megadeth fan per se, but I do think this is a very solid album which fans of the band and Dave should appreciate. The line-up is somewhat new, but original guitarist Chris Poland does return for some tracks. As one would expect, this is an uncompromising, hard hitting and powerful metal album that may not break new ground, but the material still manages to appear fresh and revitalized. I'm really into the track Die Dead Enough, which is surprisingly melodic in its approach. Kick The Chair is another top track, with plenty of aggressive vocals and riffs, yet a good hook remains clearly audible. In fact, running through the album one can hear more melodies than I recall in past Megadeth albums.
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| Brazen Abbot A Decade Of Brazen Abbot | Frontiers Records FRCD212 |
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Brazen Abbot has managed to create a credible legacy over the course of their history. The band has been around for nearly 10 years, for an output of 4 studio albums plus the epic double Nostradamus set. Playing his own brand of Deep Purple inspired bluesy hard rock, guitarist and chief Nikolo Kotzev has drawn in the likes of Joe Lynn Turner, Jorn Lande, Glenn Hughes and Goran Edmon to sing on his albums. This live album was recorded in Nikolo's home of Bulgaria in mid-2003. The line up of songs covers the band's 4 albums and features Joe Lynn Turner handling the vocal duties. For fans of Nikolo, this release is a no-brainer of course it must be purchased. For others there might be some hesitation. There is no doubt the line-up of songs is first rate, but the recording and mix of the album is just ok. This is very much a live as you hear it release. I am generally not a fan of polished live recordings that add studio overdubs, but the mix here could have been a little clearer. Take the backing vocals for example they don't feature very well in the mix at all and on the opening track Mr. Earthman, there is almost silence during the harmony parts. This is still a release that fans of Brazen Abbot will enjoy and Joe Lynn Turner fans too. Joe puts in his usual professional performance, which for die-hards includes a cover of Rainbow's I Surrender. The added bonus track is an acoustic version of Love Is On Our Side a sweet ballad that also features JLT. The DVD of this release is also for fans only. The footage is recorded quite well and a variety of angles and close-ups are provided. There is also a detailed documentary about the band, featuring interviews with all those that have had a place in the band's history, including Glenn Hughes. However, it is somewhat annoying to watch the DVD, as the doco segments are placed in-between the songs from the live show. It's a case of one song, one interview and back again, which really harms the flow of both the gig and the documentary. With DVD options as they are, there should be a choice to view one or the other as stand along pieces.
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| Harlan Cage The Best Of | Gypsy Rock Records GRR323 |
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It is a tribute to any band that they can release a 16 track Best of release and have it filled with great songs and no fillers. Harlan Cage have recorded some very fine melodic rock and AOR over the years, all beginning with their debut album on MTM Music in 1996. The band has never drastically altered their format or their approach, which means fans know what to expect and have never been disappointed. The band's self-released Best Of proves just how good they are, with some super pomp-AOR on offer such as favourites My Mama Said, No Sunday Bride, Blow Wind Blow and Can't Tame The Raven all from the band's best two albums Forbidden Colours and Double Medication Tuesday. And I'm pleased to see the utterly classic Two Ships In The Night moved up from it's previous place from closing the Forbidden Colours album to second spot here. For fans with all the releases to date (4 studio albums), there is something here for you. Stacy is a re-recording of the track from the classic self-titled Fortune album the band that Harlan Cage formed out of. Although no great diversion from the original, it still makes for a great ballad. There is one all new track Hell Is Such A Lonely Place. This is an enjoyable, moody, laid back pop rocker, with a retro style keyboard sound. The additional extra is a bonus track titled No Turning Back, which progresses from a soft intro into a dark, rocking mid-section before mellowing out again. This is a musically adventurous track which is somewhat of a departure from the band's usual formula. Fortune - 2oth Anniversary Re-Issue: For the collectors out there and those that strive to own everything by their favourite artists, there is the band's own indie re-issue of the Fortune album the place where it all began. You can clearly hear where the Harlan Cage's sound comes from, and adding fuel is the fact a few original tracks were later covered again on more recent releases. Fortune's sound is entrenched in the 80's and although Harlan Cage remain true to that style, their sound has been updated. This record was released in 1985 and clearly sounds like it. The keyboards are thinner and more prominent in the mix and the sound has dated somewhat. But a fresh mastering job has smartened up the tracks and fans will love having this on CD finally. And there are bonus tracks on offer here too As well as the complete 10 track original album, added is Home Free a track written in 1985, but only recorded in 2004 for this re-issue! A classic old Fortune track which fits it perfectly. Also added is Breaking Down The Door and Heart Of Stone - two live tracks, taken from a September 1985 gig with Fleetwood Mac. The tracks offer an enjoyable glimpse of the band live, in their truly early days.
For those that have skirted around Harlan Cage in the past, I would recommend buying the compilation and taking in the very best the guys have to offer all in one place.
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| Fluid Sol Fluid Sol | Artenzia Records |
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Fluid Sol is the new Mitch Malloy project. I say project, as I am not sure if there will be a repeat performance. Perhaps this is just a one-off, but time will tell if that is the case. In any regards, Mitch has always been one to vary his style and is yet to make the same album twice. This is no different. While Mitch started off his career as a classic style melodic rock artist, he has since tried his hand at commercial pop, country and a more modern flavored melodic pop rock as on his last album Shine. Fluid Sol is not released under Mitch's name, as it is the most marked departure from what fans might expect from him. The band consists of Victor Broden on bass and Joakim Eckberg on drums while Mitch handles all guitars and vocals, not to mention writing all the material and producing the album. This album is a mix of styles - short, sharp modern pop and a few tougher rockers and a couple of tracks that are 100% modern rock. To be blunt, some fans are really going to dig this and some others especially those that have a sworn allegiance to the debut, will hate it. I think this is a solid album, but falls short of making the point it set out to achieve. Yes, it's different and very much set in a modern rock frame, but it's not the style that is a let down, but rather a lack of quality hooks and an over-varied approach within the album's 12 tracks. Jumping from the dark and aggressive opening track Just Human to the pure FM pop of I'm On Your Radio, to the more familiar strains of No Fear and back again while keeping the flow of the album going is no mean feat. The sound is also a little varied - certainly a lot rougher than his very polished debut, and just shy of matching it with his more recent releases. I really admire Mitch's abilities and his songwriting prowess, and during the best parts, this style really works for him. But when the material gets too heavy and modern such as it does in the latter half of the album, it doesn't match. Track By Track: Just Human is an aggressive, hard rocking guitar driven track with a modern edge and a snarling vocal. One of the heavier tracks of Mitch's career. Pretty cool. I'm On Your Radio is pure pop fluff and might just be a little too fluffy for some fans. The vocal especially is very light. But lyrically the song earns big points and the chorus is certainly catchy in an early Cheap Trick kinda way. No Fear has a modern melodic rock exterior, but at its heart is a solid, uptempo melodic rock track that could easily have fit on Mitch's last album Shine. A great chorus hook and big vocal will please fans. Shelter starts acoustically, but gets heavier and darker as it goes. This is one of those more modern tracks that fans of Mitch's earlier work will want to avoid. But as far as the song goes, it's still a good example of modern rock. King Of Nothing is another uptempo modern rocker with a distinct nu-breed vibe and misses a knockout blow come chorus time. Be With You is another slight change in style. This is a dark, moody rock track with a memorable, but restrained chorus that could almost be transformed into a ballad. Down is a true ballad and follows on from the vibe of the last track perfectly. This track features an amazing vocal. The track itself again has a modern feel, but the emotional and powerful vocal is something else. Empty picks the tempo back up again and follows the feel good vibe set by No Fear and King Of Nothing. This is another personal favourite, as it does come close to what Micth has done in his past, albeit in a heavier style. Can't Stop is an example of where I think the album goes wrong. The last few tracks flowed beautifully and the tempo was heading in the right direction before this slow, moody modern rocker cam along. Style aside, the lack of a chorus and any major hook makes it a track most will skip over. The aggressive I Want You is another dark and heavy track which again could use a more discernable chorus and will definitely send old fans running for cover. There Was A Mountain sees the dark veil of the last couple of tracks lifted somewhat. But the mid-tempo modern rocker still doesn't break through into one's consciousness enough. Fly sees Mitch return to form. This is a mid-tempo rock ballad with a nice soaring vocal during the chorus, and is a fine way to close the album.
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| Higher Ground A Thousand Pieces | AOR Heaven 00011 |
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Higher Ground are a great Swedish band who work hard for their craft, but haven't been paid their dues as yet. Perhaps this album will see them reach a winder audience and win some of the acclaim so richly deserved. But in a fickle melodic rock market, that really can't be guaranteed, despite producing a high quality album. The band doesn't conform to any norms and that's probably their biggest hurdle to overcome in a genre that demands bands and albums that can be compared favorably with others from the past. The guys play their own brand of current melodic rock that has modern influences most noticeably from the Swedish school of pop that such gems as Martin Stenmarck and Jamie Meyer come from. Their debut album Perfect Chaos is now 4 years old. Momentum gained from the excellent reviews back then will have to be kick-started. But I suspect the band will again attract some very positive feedback from this album, so one can only now hope fans of the genre looking for something original will take note and check them out. In my review of their debut, I made mention that vocalist Peter Lindberg has an unusual voice and uses it to good effect. I must state that again now, and once again, the closest comparison I can draw to him is Troy Reid of Stranded. Pete has a very pop voice, but it's delivered with a darker rasp edge that suits the material and gives him great depth. The songs are built around both electric and acoustic guitars, with vocal that is at times softly spoken and at others darker and more intense. It's a fairly moody record, and not one that is immediately memorable. I said the very same thing about the debut it took several listens to get to know and this is no different. Time spent is time rewarded and I feel that this album is every bit as good as the debut. The opening two tracks are great, but I think my favourite is the uptempo and more aggressive Goodbye - definite venom in those vocals! Coincidently followed by a rather passionate track in She's Gone. Great flow...
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| Second Heat Second Heat | Aor Heaven 00010 |
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Second Heat is Alyson Avenue, without the "Alyson" vocalist Anette Blyckett. It's the rest of the band though, this time featuring vocalist Thomas Bursell and heading in a slightly different direct to that of the 80's friendly European AOR of AA. This is a tougher, more guitar driven affair, with a strong influence on big riff's and big vocals. For fans of the Alyson Avenue debut that also enjoy good European hard rock in the vein of Fair Warning, Jaded Heart and Domain, this comes highly recommended. The album is well produced and the mix is even balancing keyboards with guitars perfectly. As far as the songs on offer, you seriously can't start any album better than a track like the high energy anthem Anything But Love. The band harnesses a lot of energy and channels it out through the speakers with this keyboard friendly hard rocker with a monster chorus that really feels like it came from an era long lost. This will be up there with best tracks of 2004. Naked Flame is a little more restrained, but just as enjoyable. A catchy chorus and subtle keyboard fill play back up to a good guitar riff. Never Surrender is a little tougher and has a very Charade/Jaded Heart fill, but with a harder edge guitar riff. Elsewhere on the album, Breath Of Gold is a little more laid back, but features a good chorus that gets better after repeat listens; Deep Blue Sky features a nice mix of keyboards and hard riffing lead guitar and Eyes Of Fire and the closer What Am I Gonna Do feature stand out choruses along with some catchy riffs.
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| The Sign The Second Coming | Frontiers Records FRCD219 |
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The key to enjoying The Second Coming to its fullest potential is to sit back and take the album in from start to finish in one hit concentrating on the music as much as possible. This album picks up where the debut left off, but is different in several important ways. The main drive behind the album is the continuing story line involving Aryon, introduced on the first album. But this time the story is musically far more complex and requires a degree of concentration to absorb. The story behind the album even getting finished is as complex as the music contained within. The line-up has changed a little, with Billy Greer and Bobby Rondinelli gone and Mark Mangold installed as drummer, adding to his already large work load as composer and keyboard player. Although part of the band in every way, I felt the input and musical influence guitarist Randy Jackson, less apparent. A second guitarist Jon Bivona is also credited. Vocalist Terry Brock is certainly featured in all his glory, and he too gets a credit for guitar parts. The biggest influence on the record is the Mark Mangold/Terry Brock partnership. This is not an album to go picking hit singles from. Nor is it an easy album to get into. Much of the music is woven together and flows in the context of the album, with several instrumental interludes acting as bridges between chapters of the album. Listening to the album track by track I'd say there aren't many tracks that could be singled out as standalone classics. As stated, it is far more complex than the debut, certainly more ambitious and musically challenging, but at the same time it does lack the killer punch the debut provided with tracks like Crossed The Line, The Wait, Forever Again and Nothing But A Heartache. That aisse, there remains some brilliant musical moments and I would go as far to say that this is one of the best ever performances by Mark Mangold his keyboard playing is something to behold here and truly weaves the album together. There were some complaints about the production quality of the debut and The Second Coming suffers a similar ailment. At times the sound is a little thin and certainly doesn't do justice to the bombastic arrangements, but sound is always a subjective argument. Track By Track: Aryon Overture is an intro following on from the influences of the debut. Stained (Gone) is pretty close to the sound of the debut, with Brock in good form. The track features a fairly progressive drum beat and a good chorus. The Morning After (Time To Run) is a moody track which rolls along smoothly backed by organ accompaniment. At the three minute mark the track gets turned on it's head, with the song picking up pace and urgency. At this point Mark Mangold goes to town on his keyboard, turning out a highly enjoyable solo before the track returns to the way it started. Motorcycle Messiah is a darker and heavier track that mirrors the pace of the mid-section of the track prior. Due largely to a flat chorus, I can't say I'm a fan of this song. Nor am I blown away by Shine, which has a more stripped back feel, but lacks a killer hook. Bliss is a haunting 2 minute instrumental interlude which runs directly into one of the album's best tracks If For One Moment. This track should prove popular with all, given that it features an emotional vocal. Once again the structure of the song is abandoned mid way through as it turns back to the haunting vibe of Bliss, this time as a slow guitar solo guides the listener through it. Then it's straight into Flame Of The Oracle, which is another highlight. Dare I say that this mid-album passage of tracks is the best part of the album. Flame Of The Oracle is an more uptempo track that features a strong vocal and an interesting musical arrangement. The Ooze is a 2 minute track featuring a tough and urgent vocal and a tempo to match. As you can see, listening to the tracks out of context just won't work. This leads directly into the softening instrumental Inner Child (Exorcise), which is a companion piece to Bliss. Black Mountain is a stand alone track which has that Led Zep vibe the debut had in places, and like the debut, features a Randy Jackson lead vocal. Solid song, but perhaps lacks a powerful rhythm section. Keep On Breathin' is a little gem a big, powerful ballad in the style of the debut and a raritiy on this album in that it could be played on it's own, outside the album. Shine (Finale) is a return to the earlier track (which sadly I didn't really take to), with added musical parts from elsewhere within the album. Interesting track. Rapture (Ode To Aryon) is an instrumental outtro that is a reprise of Bliss yet again. Maniac is a bonus track that works outside the mold of the album. This is an enjoyable stand alone uptempo pop/rocker with a good chorus.
Mark Mangold plays his heart out and when listening to the album from start to finish without pause, it gives the listening a wild ride that few other albums are capable of. But it does lack the knockout punch of a couple more killer tracks and a somewhat soft production quality in places. It just isn't as tight and as emotional as the Signs Of Life was.
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| M.ill.ion Kingsize | Majestic Rock Records MAJCD049 |
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European hard rockers Million have taken their time between albums and seem to have spent the most time and effort getting this new album just right.
And it shows in every way there is no doubt in my mind that Kingsize lives up to its name and is 'large' in song quality, it's massive sound and overall production quality. This is a high-class release in every sense of the word and it just could find the band breaking through to bigger and better things no mean feat seeing that they have been going for a decade and this is album number 5. For anyone that holds a candle to Pink Cream 69, this album begs to be bought! The band has their own sound, but it does sit comfortable alongside the likes of PC69, Jorn Lande and even the heavier side of Jaded Heart. As good as the super tight rhythm section is and as powerful as the perfectly mixed lead guitar is, one of the big stars of this record is the Hammond organ. It's prominent throughout and adds a real depth to the band's sound as well as getting time to shine alone with some well place solos. And some flawless lead vocals provide the direction the songs deserve. I truly believe this album will put the band on the hard rock map permanently. I trust they will be able to build on the momentum this album is bound to create. Track By Track: Eyes Of A King is a pounding double kick-drum fired opener, with the added firepower of some big vocals and a nice smooth guitar riff. The chorus is simple, but effective and the Hammond organ solo is just icing on the cake. Backdoor Queen has a touch of Jaded Heart about it that big European commercial hard rock sound, but the added attraction of a big fat organ sound behind it. Room No.3 is a darker and heavier number, with a real intensity to it. The tempo is slower and more methodical and it makes for a good tempo change after the opening two stormers. Rock N' Roll Nation continues the darker tone, but picks up the tempo. This track features a great hard hitting guitar riff and a great vocal. The chorus sends it over the top lifting another notch, backed by some big harmonies. An album highlight and one of the band's best ever tracks. On And On is a fired up double time rocker with a higher pitched vocal and continues the inspiration of the last track. Another catchy chorus puts this album on a roll. And the big ballad Forbidden Fruit continues the brilliance. This is a ballad with a difference, taking on the need for a slower tracks with a few original twists such as a violin during the chorus and using the power of just a piano and vocal to covey the emotion of the song. The tone of Zombies reflects the title big, loud and in your face, and features another style of chorus again. There is certainly no repeating the format happening here. Fight You Forever is a big tip of the hat to Deep Purple before continuing on the vibe set earlier in the album. Killing The Messenger is a super cool track. It features a haunting lead vocal intro before winding through a more 'metal' sounding track. No big chorus here, but rather a track that winds through its path and requires multiple listens to get to know. Prison Of Power is a groovier tune with a good rhythm and catchy chorus. Those Eyes is a kick-ass way to finish the album. Uptempo and rocking along, this track features a big harmony layered chorus and really closes out the album in perfect fashion.
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Jon Stevens Ain't No Life For The Faint Hearted |
Circle Music |
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This is ridiculously bad. For a man of this amount of talent and a voice renowned as one of the great rock voices this country has ever heard, I cannot begin to describe my disappointment in listening to this album. And once I finish the review, there will be no repeat of that! The great voice of Noiseworks, who sent 5 years buggerizing around in Inxs before bailing out, as spent the best part of 2004 turning his attention to Urban influences such as R&B and soul. Now, he might get lucky and pick up 10 new fans that are amazed by his white boy take on this genre, but he'll drop 5000 others who were looking forward to a new rock album. I can get past I See You Round, as it has a certain uptempo vibe and it is well produced. Let Me In isn't so bad either if you like this sort of thing. I'm not. But Light My Fire is an insult to the ears of anyone who is not deaf. This is a slow, sultry acoustic driven R&B cover of the Doors track (which I never liked from the start). Awful. Other "gems" include the hip hop title track, which sounds like Jon is trying to be Nelly; Rock With Me, which has nothing to do with the style of music; and My Girl, in which Stevens sounds like a whiney teenager. The only ballad is Stand Alone, which could have been transformed into a modern rock with chart potential. Notice I said "could have" Jon Stevens has never matched the power of Noiseworks with his solo releases, but this album is so far from anywhere, I can't see him recovering.
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| Tak Matsumoto Group TMG 1 | Frontiers Records FRCD217 |
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Tak Matsumoto is a very popular and well respected guitarist from Japan. His band B'z are stadium fillers at home and even abroad when the Japanese population file out to see the guys. This is a very high profile side-project for Tak and the musicians involved were hand picked to bring the best out of him and in turn everyone involved. Vocalist and songwriter Eric Martin, bass player, songwriter and backing vocalist Jack Blades and drummers Brian Tichy and Cindy Blackman are the backbone of the band behind guitarist Tak. What can I say The mix of these characters coming together has been well chosen. The guys have nailed their objective. I love this album every single thing about it. This is a great if not the best example of classic hard rock, updated to a modern and contemporary feel. In a year where both Eric Martin and Jack Blades have released their own albums that have featured updated styles and productions, it has taken this paring to bring out their very best and nail that updated sound so strived for. The production is so tight it's perfectly mixed and evenly balanced. The songs were written by Tak, Eric and Jack, with Tak responsible for all music and Jack and Eric brining in their own lyrics and melodies. They are just brilliant songs. The album has the vibrancy of the character of each performer's personality and songwriting style, yet combined reach new heights. There's Eric's classic trademark vocal harmonies and knack of turning a simple lyric into a vocal hook; there's Tak's hard edged and inspired guitar riffing, combined with a killer rhythm section, with Jack Blades adding further texture with some great backing vocals and his own quirky songwriting. Track By Track: Oh Japan ~Our Time Is Now sets the tone a slightly tuned down, dark and certainly heavy guitar tone from Tak rides over the song, which is more or less a straight forward melodic hard rocker with an interesting structure that flows from verse to bridge to chorus and back. Drum loops and a piano passage add extra texture to an already cool song. But the star is Eric Martin, this sees him really in his element howling like he hasn't since the first Mr. Big album. The second track Everything Passes Away proves this is going to be an interesting album. Featuring more production effects as an intro, this song explodes into a heavy rock monster with Eric singing his lung out and Jack Blades adding several lines intermittently. The vocal lines come thick and fast and the guitar is so sonically heavy it is guaranteed to rock your world. A killer chorus with both Jack and Eric singing sends the track right over the top. You have to wonder if this isn't what Eric was born to sing. Kings For A Day features yet another cool intro which again bursts into a sonic blast of classy hard rock. There's a free flowing verse which runs into an effects filled bridge which leads to a simple but hard rocking chorus. I Know You By Heart is a complex guitar driven tune with a mellow, moody verse with Eric sounding perfect. Jack adds harmony vocals in a bridge that leads into a choppy and very catchy chorus. Tak plays some fine soloing over the already powerful rhythm guitar riffs. Another highly original and entertaining track. I Wish You Were Here is a monster pure and simple! This is glorious uptempo hard rock with a slightly tongue in cheek twist, some cheeky lyrics and one of the best choruses of the album. This is set to be the second single from the album and I can see why. This is classic Mr. Big in style, just heavier and groovier and is one of the most commercial straight ahead rockers of the album. There's no time to rest here though, the tempo is only increased with The Greatest Show On Earth kicking right in. Another absolute monster. This is another all time classic stomping hard rocker, with a killer hook and some fine harmonies easily one of the best of Eric's career and one of the best of the year. Signs Of Life doesn't let up on the tempo, this is another great hard rocker with a cool chorus and a certain swagger that Aerosmith would be proud display. Red, White And Bullet Blues changes the pace a little. This is a darker, slower and heavier number, with a massive guitar sound. The chorus is just as intense and is one of the heaviest numbers I have heard either Jack or Eric involved with. Trapped was the B-Side to the initial single Oh Japan and is a more straight forward rocker with a strong chorus. My Alibi is a little different than the rest of the album. This features a funky guitar riff over an uptempo rhythm section. The chorus is very mainstream rather commercial considering the rest of the material and almost wouldn't suit the song if it wasn't done to perfection (as it is). Wonderland gets things rocking in a big way again. This is a more classic hard rock sounding song, with a terrific guitar riff and a very melodic vocal harmony. The chorus slows the tempo a little and features some more great lyrics courtesy of Eric and long time partner Andre Pessis. Like My Alibi, Train, Train is the band's chance to diversify again. This is a slow, bluesy rocker with a 70's swagger. Very laid back, but it still rocks and the chorus picks up the tempo a little. Two Of A Kind is the album's only ballad of any description! This is a mid-tempo rock ballad with a bluesy edge. It features a big chorus, with plenty of harmony vocals and some heavier guitar work. A very commercial song, in a hard rock skin. Never Good-Bye features a very curious intro, but then rocks out just as the majority of the album. After the last couple of tracks, a rocker was needed to close out the album and this does the job in fine style. It takes a few listens to get into, but the track is as strong as the rest of the album and the chorus is another memorable moment.
I was looking forward to this, but had no idea it would be this good and am really surprised how quickly and how well the band gelled and how good the quality of songs are. There is just enough experimentation and production tricks to keep things really interesting, while never getting too cleaver or out of line with where the guys roots lay. This is a perfect slice of contemporary hard rock, with a super heavy and in your face production that updates the sound, melodies and style to 2004, while keeping the best elements of the classic debut's from Mr. Big and Damn Yankees.
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| Pride Of Lions The Destiny Stone | Frontiers Records FRCD216 |
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Music is all about emotions. And the best releases are the ones stacked with it. That is probably why Jim Peterik is one of my all time favourite songwriters and why he has never disappointed with each release he is part of. In recent years it has been the World Stage project, followed by songwriting and production duties with Mecca and then on to the first Pride Of Lions album, which is still a personal favourite from the year or so. Now it's time to prove that Jim can deliver the highest quality melodic rock consistently. I was in now way surprised to learn that The Destiny Stone does just that! This is an important release for all involved in Pride Of Lions. It will continue the momentum set by the debut and further help establish the name as a lasting vehicle for Jim Peterik and vocalist Toby Hitchcock. The debut became my favourite release of 2003 and narrowly missed a perfect score. I was tempted to bestow a perfect rating upon this release as it is better than the debut in just about every department. The songwriting however is where the biggest gains have been made. It's hard to build on a near perfect set of songs, such as the debut album, but the songs of The Destiny Stone really have an emotional, passionate quality that few releases can match. Not only is there more passion, but the songs are in places more complex and really stretch the boundaries set by the understanding of what traditional AOR must conform to. The songs are quite lengthy and within them are passages that divert from the melody and structure of the song, adding extra texture and true character. The production is also extremely good once again courtesy of Larry Millas with Jim's assistance. Multiple listens are required to get to know all facets of this album and new parts reveal themselves constantly. And Toby's vocals have, as expected, matured further. I said in my review of the debut album that once Toby lived in his own skin for a while and once he got out on stage and grew with the experience only performing can bring, that his voice would mature and warm further. That it has. Within this album are some moments any singer would be proud of. In many ways the band has taken the blueprint of the first album and worked on improving each aspect. And I think they have succeeded nicely. Track By Track: In the traditional sense, a band such as this is obligated to get the album off to a flying start and The Courage To Love Somebody doesn't disappoint. In the same vein of It's Criminal, but with a little more urgency, this is an uptempo AOR rocker, with a great chorus featuring some soaring vocals. One small thing that detracted from the debut was the general pacing. It was the continual transition from rocker to ballad and back again which slowed momentum. That has also been addressed here, with a few different tempo's used and an extra uptempo track or two included. Parallel Lines is one of those. Following on from the cracking pace of the opening song, this slows up just slightly, but still flows nicely. It's also a track straight from the 80's handbook, with a driving keyboard riff during the somewhat dramatic chorus setting the tone. The first ballad of the album is the very fine Back to Camelot. This is a truly epic ballad with a rich theatrical feel. Add strings and orchestra tappings, plus some fabulous lyrics touching on life in medieval times and an album highlight is made. Born To Believe In You kicks in with another strong dose of retro keyboards, but quickly fires up into a big rocker. The track builds its tension and pace by having Jim sing the first half of the verse and Toby the second half, moving into a raspy, aggressive chorus. What Kind of Fool slows things down again, at least for the intro and verse. The chorus is a big bombastic, pomp-fest that fans of the debut will love. Once again, the track builds throughout and features some fine guitar playing and powerful vocals. The ending is also a little different, which certainly adds to the texture of the album. Man Behind The Mask is a dramatic, retro styled pomp/rocker that hints of Dennis DeYoung era Styx. A good tempo changer for the middle of the album. Light From A Distant Shore is another brilliant ballad and one that is quite different from the first ballad Back To Camelot. This features some soaring vocals, but in a totally different sense to the earlier track. This is a very laid back, breezy ballad with some great slow guitar playing and some massive harmony vocals as the song rolls on. About time for a rocker and sure enough, Letter To The Future delivers. Starting slowly, the track doubles in speed and becomes a perfect melodic rocker with the arrival of a catchy chorus. The Destiny Stone is a mid-tempo rock track, with that sense of dramatics Pride Of Lions are becoming rather good at. The lyrics tell a great story and the track has a really positive vibe. Running at over 6 minutes, there is a lot to absorb, including some fine acoustic guitar riffing towards the end of the track. Second Hand Life really snaps things into high gear. I love this track. A great poignant lyric that should be listened to is the base of this memorable rocker with a great chorus. The track builds (a staple of this album) and features some great harmonies and a well placed tempo change later in the track. Falling Back To Then is a darker, moodier rocker that features some fine harmonies and a great chorus that gets better each listen. Well placed for a strong finish to the album. Closing the album in no better way is The Gift of Song? Holy smokes! How does one describe this track? If I was reviewing the score to Phantom Of The Opera it might be easier! This is a monster to close the album and I challenge anyone not to get totally caught up in the track and utterly blown away by the last minute! Toby Hitchcock you rock my friend! This is an epic theatrical track that Styx and Dennis DeYoung would have been proud to deliver. I'll leave it to the listeners to enjoy it for what it is, but it's a tremendous credit to Jim and Toby for being able to pull it off successfully.
Essential for just about all lovers of melodic rock music and all fans of Survivor/Mecca/Peterik.
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