| Charade II | Drakkar Entertainment 82876 64957-2 |
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Charade's second release comes on the back of vocalist Michael Bormann leaving his better known role as the backbone of Jaded Heart. This new Charade album is a very tidy package that all fans of Bormann will enjoy. It's a twin CD set, packaging the out of print and hard to find original Charade release (from the mid-90's) with the new album. If you don't already own the debut, this is a very good value release. Charade II was originally started back in 2000, after song ideas from the original album were uncovered by Angel, but it was not completed until Michael received the lost tracks in 2003. The duo then worked hard to complete the album, now on offer here. This is a typical very melodic slice of European hard rock, with all the class of Bormann's vocals and Angel Schleifer's powerful music. The guys have a different feel to that of Jaded Heart, even with the trademark vocals and layered harmonies in place. The production is at times a little thin; with a fairly hollow drum sound in play. A beefier rhythm section would make this an even more powerful release, but that does not spoil the fine songs or the quality of the performances. In The End is a fine opening track and my favourite of the whole album. A great anthemic chorus and a strong vocal is backed by a frantic beat. Like The Way It Is changes the pace, with a moody mid tempo Bon Jovi style rocker featuring some great harmony vocals. A couple of lighter moments with When It Was Just Me And You and Somebody's Waiting are surrounded by mainly uptempo rockers, the best of which are Dangerous Child, Call Of The Wild and not to mention the opening track.
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| Silver Addiction | MTM Music 0681-113 |
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Album number 4 for the band has come around pretty quickly all things considered. After their last album I didn't even think there would be a forth it was after all, pretty average. The new album Addiction sees the band on a new label and with a breath of fresh air within them. This is a definite improvement over the last release and a much tighter package all-round. The songs are more focused and stick to the one style, while the production is clean and sharp. I'm not sure it re-captures the energy of the debut, but it's probably the next best release the guys have put out after that album. That currently busy chap Gary Barden fronts the band, with a somewhat darker vibe to his vocals here, different than his contribution to his own solo album or the Statetrooper release. His performance fits the bill perfectly and at times he sounds like a gothic Ian Gillan. That leads me to the bit about warning people to take into account the style of this album before buying it. Assisting with extra input is Andi Broon from Sisters Of Mercy. On keyboards is the great Don Airey (who's input on this album is valuable), Barden is of course the vocalist and behind guitars and bass is Michael Voss (Bonfire, Casanova, Demon Drive). That brief over view should give you some idea of the mix of influences and styles that make up the band. This is a mix of European hard rock and moody gothic pop with a slightly alternative edge. It's all very well executed, even with some lengthy songs which risk losing listeners interest.
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| IronHorse Bring It On | Compendia 1576 |
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The name really sums it up this is southern rock/country, beefed up with a harder edge. Featuring Ron Keel (now Ronnie) of Keel fame, this outfit knows how to rock. In the fine tradition of Lynyrd Skynyrd and The Allman Brothers, but with their own style firmly in place, Iron Horse has recorded a gem of an album for fans of the southern genre. This 12 track release is rounded out by the inclusion of 3 videos, making this a nice little package. Iron Horse is a guitar driven rock outfit with a strong southern slant which includes the use of harmonica, banjo, mandolin and additional percussion. This is a mainly mid-to-uptempo collection of songs be it when they are rocking, or when it's stripped back to acoustic guitars. The production is tight and even thanks to the talents of Kevin Beamish. The band also slows it down for a few more introspective numbers, such as the very enjoyable The Other Kind. I can see southern rock radio eating this up given the chance. I Can't Stop You lets the band's true country roots shine through, which stylistically is long way from the 80's heyday of Keel, but musically just as good. Ronnie sounds in great voice and I must say he has adapted his style and his delivery to fit this alternative format perfectly. The album mellows as it plays through. The first three tracks are definitely the most uptempo, but that's not undermining the quality of the rest of the album. Past the half way point more acoustic guitars and more melody come into play, with some fine southern ballads on offer.
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| Rengade On The Edge | Renegade Productions |
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Renegade return for a second dose of unreleased tunes from a heyday never realized. This Canadian band released a popular CD last year, filled with tunes from the 80's that never saw the light of day. I said it then and I'll say it again now - the guys were very unlucky not to score a deal and break into a scene they seem perfectly matched to. But, for fans of mid-80's synth pop/rock, you can relive the glory years by investing in this enjoyable slice of nostalgia. An added bonus sees two new tracks added to the 7 other achieve tracks. Angel Of Love sounds like perfect high-tech AOR from the early-mid 80's, with a production feel that keeps it retro without sounding dated. On The Edge is a tougher, moodier track with a chorus I am really quite partial too. But sadly, in this case the sound is a little muddy and uneven and takes away from the impact of the music. I'd really like to hear the guys record a full new album with an updated sound and carry some of their moody melodic rock attitude up to the new guys around today. The guys score an extra bonus point for clearly stating when the material featured on the CD was recorded. Too many other archival releases hide or fail to mention the origins of the music. Generally speaking, I like the sound of these guys and their music. You don't much catchier than these songs. Their classic AOR keyboard friendly style will see them a favourite amongst those that wish 1989 never ended.
I will add however, this is a very short release as was the first CD. Let's get it over 40 minutes at least please guys.
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| Butch Walker Letters | Epic Records |
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I left my review of the new Butch Walker opus for some time to guarantee I had my head fully around it and viewed it in the best intention of its maker. Butch is a sensational songwriter, no question. He is also an accomplished musician and producer. I never had a lot of time for Southgang, but adore Marvelous 3 and Butch's first solo album not to mention the work he has done with other artists. I guess the whole point of a solo album is to do whatever one pleases and Butch made no secret of the fact this album was written and recorded as something he wanted - and needed to do. No surprise then to find the album is quite a departure from what fans would normally expect from Butch. This is a very personal, very insightful collection of intimate songs which are largely very relaxed and stripped right back. You can't fault the song quality here more twisted lyrics, personal insights and all the intelligent musical twists we have come to expect from Butch. However, the pace of the album and the laid back style which sees Butch virtually desert his traditional bombastic delivery will give some fans cause for concern. Yes, this album contains some fine songs, but it also contains a few fillers, which is new territory for Butch. Some track highlights include the brilliant pop of Maybe It's Just Me, which isn't far off Butch's usual style, albeit more laid back. Mixtape is another good pop song, with a cleaver lyric, while #1 Summer Jam is about as openly pop as it gets. So At Last is a very intimate track which features a haunting vocal, but its hypnotic nature does threaten to send some fans to sleep. Uncomfortably Numb is probably the album highlight for me a brash 80's style pop rocker in the same stripped back feel of the album as a whole. Next track Joan is incredibly slow and is where the album begins to lose me. Don't Move continues the slow pace, but is a decent ballad. Lights Out is an intriguing pop rocker, but still doesn't quite ignite my imagination. Best Thing You Never Had is another ballad which duplicates what has already been delivered with Don't Move. Race Cars And Goth Rock is another breezy pop track with a slightly odd sound. Interesting, but not a killer. Promise, like Joan, is incredibly slow and devoid of any major hook to guarantee repeat listens. Thank-You Note is a nearly 8 minutes in length and is fairly adventurous bit of music, but the slow start and the inclusion of other slow songs diminishes it's impact.
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| Trixie Trixie | Metal Mayhem Music MM00043 |
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Trixie's self-titled release is yet another release from the annuls of rock history. This collection of songs, or this album, was recorded between December 1989 and January 1990. The band sounds as if they were listening to a lot of Motley Crue in the time spent writing this material. Singer Ronnie Borchert certainly has a touch of Vince Neil about him, none more obvious than during What She Needs and the opening track She's So Tight. There are some good songs here the opening trio of tracks are all memorable and the moody I'll Take You and Last Chance are first rate melodic hard rock. I can live without another straight ahead version of I've Done Everything For You (Hagar/Springfield), but elsewhere things are pretty consistent. This is a solid release and overall a good collection of songs. The production is good considering it's time and the fact it's not a major label release. However, there is a little wow and flutter during the opening track and elsewhere the sound can get a little rough, which suggests the tapes this album were mastered from have seen better days. This is a definite negative against the album as a whole, but if you can get past that, you will enjoy what is on offer.
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| Ivory Tower Little Bits Of Dreams | Metal Mayhem Music MMM00047 |
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No complaints with this release which is an enjoyable and consistent collection of American melodic hard rock from the late 80s. This being another archival release from the lads of Ivory Tower, there was always a risk the best had already been heard. But not so there is more quality hard rock here for fans of the band and possibly even some newcomers. And what's even better for all, I found the quality of the songs never wanes. In fact, some of the tracks stacked towards the end of the album even out played some of the earlier tracks. Ivory Tower were a band that gained a cult following without ever breaking through. Their music shows a band that didn't really produce anything overly original, yet the song quality is undeniable. And so with this release the guys get to show off more of their talent for writing catchy and melodic hard rock songs that the likes Of Motley Crue, Poison, Shark Island and Warrant were also doing - yet all got rich off. The guys provide plenty of high octane guitar fuelled rock-n-roll moments that fans of the aforementioned bands will digest easily. They also know how to slow it down for a good ballad, as It Hurts To Say Goodbye shows. Don't look at the cover art and wonder what it's about this is good classic hard rock.
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| Statetrooper The Calling | Indie CICCD01 |
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I am very impressed by the new Statetrooper record. On the back of the re-issue of their only other album, the UK hard rock outfit reformed and have recorded a brand new studio album. The guys have seemingly ignored their time apart and simply taken off where the first album concluded. The Calling is a very solid collection of British style hard rock anthems, based around a no-frills, no nonsense approach that sees a simple guitar/drums/bass arrangement accompanied by the authorative vocals of Gary John Barden and some super tight production from Michael Voss. There's definitely a touch of the more melodic side of Iron Maiden here, along with a little Saxon but that's no surprise. At the time of the release of their debut, Statetrooper were right up there in representing the best of British hard rock and metal. The new album simply continues that style, albeit in an updated 2004 way. The Calling is a fitting launch to the new album, with a strong vocal and a great guitar riff and surprisingly melodic chorus. Casablanca has a tasty guitar riff and a great vocal hook in the chorus, while I'm Alive keeps the momentum flowing freely with another good hook and a strong punchy sound. Americanisms is yet another strong song that features one of the more AOR riffs of the album. A great mid-tempo chorus makes the song. Love Lies Bleeding is the big ballad for the album, but even it ends up rocking by the end of the track and DOA picks up the tempo, moving into a furious riff fest. Elsewhere on the album the high quality production and song writing continues. There isn't a single filler on this release, which will delight long time fans and new comers alike.
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| Bryan Adams Room Service | Universal Records |
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I've been a bit critical of Bryan over the past few years, so I am pleased to say that this album is a step in the right direction. Bryan has continued the mellow rock vein of his last album On A Day Like Today, but has turned out some better quality songs and has returned to a more guitar driven sound, even though it is a very laid back and stripped back sound. What really bugged me about Bryan was seeing piss-weak songs about nothing getting widespread airplay. Tracks like The Only Thing That Looks Good On Me Is You, Do To You and the utterly atrocious (I Wanna Be) Your Underwear didn't do justice to one of Canada's finest songwriters. Take a listen to the haunting brilliance of Native Son, Remembrance Day and Into The Fire, not to mention the songs that summed up a generation on the breakthrough Reckless release. That is the Bryan Adams I choose to remember. Room Service returns to a more personal motive, and thankfully the trashy party tracks are all but gone. The personal story telling East Side Story is a fabulous opener, setting up the mood and pace of the album, which is largely mid-tempo. The album continues to flow nicely, with the exception of the sappy ballad Flying. Just a little too close to Rod Stewart's Sailing I think! She's A Little To Good For Me is a great uptempo pop rocker, which leads into the single Open Road, which is another highlight and a song closest to the classic Adams style. Room Service is another good uptempo number, making the middle section of the album a particularly enjoyable affair. The album slows down again at this point, with the exception of Right Back Where I Started From, another potential single. Blessing In Disguise is a bonus track for some territories. While not essential, it's a good fun 50's style rock n roll number.
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| Straight Wired Color My World | Kivel Records |
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Straight Wired is a band resurrected from the annals of rock history and is back together after recording this album before disbanding in the 90's. I have been trying to write this review for two or three weeks now. It should be that hard, but for some reason, I just haven't warmed to this release. It's an ok album, no doubt, but when I really try and put a finger on a problem, the main issue I find is the diversity within the album and the fact it just doesn't seem to gel. I felt that at times listening to this album was more like listening to a various artists compilation. Straight Wired was one of only 4 unknowns picked to play at Woodstock 94, which shows the guys have talent and attitude. The band features Scott Novello - Bass player for Adriangale and Bill Pauly Drummer for Tour De Force. This album is a little different in style to those two bands, with a funk/blues edge that puts them closer to Richie Kotzen and Stevie Salas. The opening track Wasting Away is a loose, punky rocker that reminds me of an early Robby sung Goo Goo Dolls track. Gently is an acoustic driven track with a funky vibe, resembling Tesla, especially in the vocal department. High on You is a slow bluesy rocker with another big Tesla vocal, but lacks a killer hook. Walk Alone is a pleasant acoustic pop/rocker with a good strong chorus and hook combination. Elesewhere Those Days is a funky Richie Kotzen styled track, Johnny is a totally unplugged track in the vein of Extreme, while Do I Do resides in Steve Salas funk city and doesn't feature many vocals or a definite structure. Airplane is a sweet and breezy acoustic pop ballad that doesn't sound like the same band at all. Caratjam is back to the Telsa goes funk of the early half of the album. Turn You On is another left field track with little in common with the greater album. I'm really not a fan of these vocals whoever the singer is. A very bluesy Richie Kotzen styled pop track.
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| Work Force Wrecked, Welded & Wet | Metal mayhem Records MM00045 |
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The first Work Force album is a bit of a cult favourite now. Their 1989 debut is highly sought after and very hard to find. This obviously unreleased material from the band's heyday has now surfaced as album number two. This is very 80's (obviously) American melodic rock along the lines of Loverboy and early Survivor, although not quite in the same class of their better known companions. But for fans of the band there are 14 tracks to lap up, most of which stays true to what you would expect of the guys. The production is pretty solid, although the overall sound is a little thin by today's standards. I don't think owners of the debut album that pick this up will be complaining though. There are some fine songs included, such as the keyboard friendly Heart Of All Men and the Coney Hatch sounding Next To Heaven. Elsewhere the album flows very well, maintaining consistency, just as long as you are a fan of 80's AOR and in particular if you own the Work Force debut.
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| Millenium The Best Of...And More | Frontiers Records FRCD 213 |
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This is a great tribute to a hard rock act which has delivered some fine tunes over the years. With the exception of the current album Jericho, the band got better with each release and delivered a monster of an album in Hourglass, with Jorn Lande on vocals. This Best Of gathers 6 classics from that album, paired with almost the entire Angelfire album (8 tracks) plus 4 from the self titled debut. While the songs have stood the test of time and are a testament to the talents of the band, the track listing thus far is fairly unremarkable. But there is value added features for fans that already have the band's 3 albums. Included here are a number of unreleased tracks including 4 tracks from the infamous covers album that only got semi-completed. What was finished is featured as well as two extra unreleased tracks from the Hourglass sessions, again featuring the sensational Lande. Following that are 4 demos from the Jericho album sessions. That makes for 10 unmissable unreleased tracks, pushing this compilation into the essential category. Of the unreleased tracks: On And On is a straight ahead version of the MSG classic featuring some fine guitar work, I Surrender is Jorn doing his best JLT era Rainbow, and Jane is a pumped up version of the excellent Starship track. Love Is Like Oxygen is of course a cover of the legendary Sweet track a song I rate right down there with Sunshine Of Your Love as songs that should be outlawed from ever being recorded again. Legendary yes, but still horrid! Nevertheless, a finer version of this track you will not find anywhere else .the guys nail this as best as is possible, including some fine guitar soloing and additional piano parts courtesy of the great Don Airey. Rain and Anybody are two very fine off-cuts from Hourglass. Being that album was only some 40 minutes in length, the quality of these two moody hard rockers begs the question why they weren't included on the actual release in the first place. The last 4 tracks are demos from the Jericho sessions. Only 1 track went on to be featured on the album and that was in a heavier form. The Todd Plant sung tracks here are a natural progression from the Hourglass sound and quite a way from the heavier, updated style eventually used for the new album. I prefer these tracks easily and wish Jericho was more like these tracks, which in my opinion is the band at their natural best.
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| Goodnight Gracie Drive! | Metal Mayhem Music MM00046 |
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Goodnight Gracie is an American hard rock outfit with a bluesy rock sound. The band features a well suited vocalist that sounds very close to Shark Island's Richard Black. In fact he can be so close his Black's trademark rasp, it's scary in places! The band is mostly melodic rock in style, but stray into a slightly heavier mix on a few tracks. The performances are pretty enjoyable, especially the strong raspy vocals of Jimm Insolia, who also contributes on guitars and keyboards. I'm not really sold by the opening track, which I think is a little weak. But following that up is Daddy Doesn't Know What To Say, a track which is about as catchy as melodic rock gets, with a tasteful 80's keyboard hook adding extra texture. The songs Annalise and Don't Look Back continue the catchy soft rock, which suits the band much better than the heavier opening track. Dedicated is a fine ballad, as is Demon Whiskey, a sorry tale of life gone wrong. This is a good collection of 80's melodic hard rock songs which will appeal to those attuned to the classic 80's style.
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| Ring Of Fire Lapse Of Fire | Frontiers Records FRCD209 |
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I really don't have a hell of a lot to say about this release. That's not a bad thing though, it's just what occasionally happens when I write all the reviews myself and find a band releasing a new album every 10-12 months, which is pretty much the same as the last album and the album before that which have already been reviewed. I'm not trying to be a smart-ass with my comments, but it's just how it is! Now, as I said, this is not necessarily a bad thing, as Ring Of Fire is one of the most professional melodic metal outfits in business and the caliber of their line-up is unquestionable. So without any surprise, fans of the band and the melodic metal genre will find a lot to like about this album especially if you already own the last couple of releases. Lapse Of Reality continues the dramatic themes of the last 2 albums, with the slight change in line-up which sees keyboardist Vitalij Kuprij replaced by Steve Weingart, who also contributes on rhythm guitar. I think Vitalij's abilities are missed somewhat, as this album features a smaller keyboard impact. Former Yngwie Malmsteen vocalist Mark Boals is in his usual fine form and the lengthy songs continue to offer up as much musical wizardry as is humanly possible. The sound varies a little from track to track, with the opening classic Lapse Of Reality sounding suitably powerful, right through to Don't Know, which features a guitar/drum segway midway through the track, which sounds like it was recorded in the backyard shed. Highlights besides the opening track include the big ballad You Were There, which has a nice dramatic touch and a fine vocal and Perfect World, which has a fast and furious beat and good hook.
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| McQueen Street 2 | Indie mcqueenstreet.com |
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The second McQueen Street album sees the band continue on from where their cult debut left off. The band never managed to break through into mainstream success of the early 90's, but only missed due to bad luck and bad timing. Their second studio album was recorded but never released and has finally been made available via the band's website. A good thing too, as this album is a prime example of classic American aggressive hard rock that isn't available often enough these days. The likes of War Babies, Cinderella and Accept might be better known, but McQueen Street are right up there in the quality stakes. I love the opening track Scream/World Machine that has everything that fans of John Corabi era Motley Crue or War Babies or even the likes of Bangalore Choir would love. Somebody Love Me shows the band in an even darker, moodier light with some well tailored screams taking the listener right back to 1992. What About Jane is a strong rock ballad that again reminds me of War Babies. Strange Dreams is another great track, with a full sound and cool, easy flowing chorus. Bad Moon rocks hard and again brings back thoughts of John Corabi's vocals mixed with early Cinderella. The Last Breath sees the band slow it down a little, but Derek Welsh's vocals adapt perfectly for the rock ballad. Fear The Night Time is the album's other big ballad.
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| James Christian Meet The Man | Frontiers Records FRCD210 |
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James Christian returns with only his second solo album amazing considering that his writing and recording career is so vast. Most recently, James returned to action fronting the long awaited House Of Lords album The Power & The Myth the comeback that should have been huge, but sadly wasn't. This album has been touted as the album for disappointed House Of Lords fans, or more precisely; the album that is truer to the sound James Christian is famous for. Well, that it is but it's still a little way off his best work. The 11 tracks of Meet The Man are all from Christian's past a sample of the vast number of songs he has written over the years that were never released officially. However, this is most definitely not a collection of unreleased demos. The album was recorded in full this year, with Fabrizio V.Zee Grossi and his regular recording team behind the music. JC recorded the lead and backing vocals at his home studio in Florida. As a long time fan of James Christian, I welcome any release from him. This is a solid melodic rock release, with a great deal to offer fans of the genre and of Christian's in general. But as stated, there are a couple of small drawbacks with this release. My main problem with the House Of Lords release aside from the lack of better choruses was the lack of life in the lead vocals. Meet The Man is far stronger James sounds more powerful and more in control, but I still think he has gas left in the tank, as this performance still doesn't match that of Rude Awakening or the first three House Of Lords releases. Musically speaking, the team of Grossi, Biggs Brice, JM Scattolin and Roberto Vanni provides a solid base if not a little predictable. The actual album sound isn't far removed from the previous Vertigo or From The Inside projects, which is ok in itself, but it is at risk of becoming a little familiar. And with regards to James Christian, I'm not sure it's the best possible fit. JC's and the House Of Lords sound has always been the very definition of American stadium melodic rock and Fabrizio's sound is far more European. While not everyone was happy with the production on James' debut solo album Rude Awakening, it was closer to the anthemic House Of Lords sound. Meet The Man is a mix of that and Grossi's signature sound. Additionally, being the scene as it is, many of these tracks in their raw, demo quality form have been available for some time now. That means that for a few select die hard Christian fans there won't be too many unheard songs featured here. The material is pretty much what fans of JC could expect although coupled with the question over style, is the fact I think the songs already recorded and released by James are stronger than this overall collection of songs. Track By Track: After The Love Has Gone is a good classic JC style track for an opener, with a strong vocal and good chorus. Know You In The Dark is one track that has been floating around for years and is nicely done here. Features some nice lead guitar from Roberto Vanni. Surrender Your Love is a tasteful ballad, although it is just a little laid back. The power of the song doesn't kick in for a couple of minutes. Meet The Man has a snappy rhythm, but I am not overly found of it. I don't find the chorus overly appealing and I don't like the guitar sound on this track. End Of Time is a stronger track. This is more in keeping with high quality JC style melodic rock. It features a good chorus, strong vocals and a cleaner sound. Love Looked Into My Life is a uptempo anthem ballad that features a strong lead vocal and a classic style more familiar to fans of Rude Awakening. Leave Well Enough Alone is another track that should be very familiar to tape traders out there. This is a classic Christian track and is an album highlight a typically uptempo rock track with a big chorus. Strong Enough keeps the tempo rolling along nicely. The second half of the album is easily the best with this cool anthem a clear indication of why. The quality slides a little with You Should Be Blue (All I Could Feel Was Blue). It's an ok mid-tempo rock song, but doesn't feature as strong a chorus as the last few tracks and therefore kills the album tempo a little. Circle of Tears is a darker and moodier number, with a good chorus and some fine guitar work. Hold Back The Night is an almost-epic, starting slow and building over nearly six minutes to a big finale. It's something a little different for Christian, but not for the genre as a whole. Nevertheless, an interesting guitar fuelled close to the album.
I think that the album could have been even better than it is, but am happy enough with the results.
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| Shadows Fade Shadows Fade | Frontiers Records FRCD 214 |
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Shadows Fade is another 'project' release from Frontiers Records. This time sees popular Storm/Two Fires vocalist Kevin Chalfant up front, singing a collection of tracks selected with Kevin's voice in mind. Rather than using Fabrizio Grossi, who's been responsible for the majority of these projects, the man behind all the music featured here is Alex De Rosso, one-time Dokken guitarist and general session man. Shadows Fade will be of instant appeal to Chalfant fans and lovers of smooth, laid back AOR. Style wise it's very much in line with Kevin's recent Two Fires releases and will sit neatly alongside those two albums. Kevin's vocals are clean and clear and work this material beautifully. In describing the vocals though, I would have to say that they are fairly laid back and within Kevin's vast abilities. This is like the vocal style used on Two Fires, but doesn't match the raw power of the two Storm records. There are some powerful passages on Shadows Fade, such as the chorus lines of Sooner Or Later and Run To Me, with the remaining tracks being very smooth, flawless and pure AOR. The album itself is mostly mid-tempo pop rock (Twisted Again, My Ocean, Without You, Now That You're Gone), with a selection of emotional ballads (Run To Me, I Won't Look Back, Speak) and moody mid-tempo rockers (Sooner Or Later, First Love Song, Give It In). De Rosso occasionally sounds like a recent era Eddie Van Halen with his guitar riffs, and elsewhere has a touch of Def Leppard in his production techniques. But generally speaking, he lets Kevin do the work and merely accompanies the song's path. My main complaint is that I don't think the album is punchy enough. It's very smooth and Kevin's vocals are very enjoyable. However, the production is quite muddy in places and there sometimes isn't a clear guitar riff providing a driving force behind the music. De Rosso provides all instruments with the exception of a couple of guests and all drums are programmed, not played. And the overall tempo really doesn't get out of third gear it's quite laid back.
Kevin Chalfant has been responsible for some of AOR's best moments. While this doesn't match the power and emotion of The Storm, it does provide fans with another taste of his much loved vocals and is a very easy listening collection of AOR style tracks.
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| Europe Start From The Dark | Sony Music Sweden |
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The subject of much debate already, the new Europe album is bound to keep fans and pundits of the scene talking indefinitely. Could the much loved hard rock band reform after all these years and actually keep everyone happy? Probably not, but on the strength of this album, they seem to have a narrow margin voting in their favor. For the record this is a solid album for the most part. This is a good modern hard rock album. The question remains is this what fans wanted from Europe in 2004? While many will answer yes, many others will answer no. I feel I am in an ideal position to comment without bias. Europe as a band were never a personal favourite, yet I own a few of their discs. However, I am a very keen follower of the guys individually and remain a big fan of Joey Tempest's solo work (aside from the last album) and John Norum's also. And the remaining guys have all been a part of some very classy releases over the past few years. So a reformation was of great interest to me what would the band do? Like many, I was hoping for an album that showcases what the band did best in their past, yet with an updated feel. It seems for many, the updated sound goes to far, with the band relying heavily on current trends in down tuned guitars to stay fashionable. One you get used to the sound and get over the fact the album isn't a hairspray commercial, there are some fine songs to enjoy. It's a pretty heavy collection of songs, even if the guys do sound a little restrained at times. The whole album requires a lot of listening to get into it, but the effort is largely rewarded. However, the second half of the album is nowhere near as good as the first and the over feeling I have is the album is good, but not classic. Track By Track: Got To Have Faith is a personal favourite and a cool way to start the album. Not too heavy and a powerful rhythm section. The chorus is effective, but made even better by a mellow mid-song bridge, before kicking into a good solo. At least the guys didn't ditch the solos! Start From The Dark is a crunchy hard rocker with another good chorus and some strong down tuned riffs from Norum. Flames is a heavy modern rocker with a semi-industrial vibe. Completely out of character for the band, but it works thanks to some strong lead vocals and a chorus that grows on you each listen. Hero is possibly the closest track to a more familiar Europe sound. No surprise that this will be a single and the lead track for the US release of the album. A commercial, yet modern mid-tempo ballad that isn't too far off recent era Bon Jovi. Wake Up Call is another heavy and more aggressive number along the lines of Flames. Tough, hard edged and featuring a subtle bridge to chorus arrangement. Cool track Reason is another enjoyable track which sees the band offering a very modern, updated take on the mid-tempo moody rocker genre. Song #12 is sadly where things begin to slip a little and the songs begin to sound a bit same-ish. In fact, this track is bloody awful, with barely a discernable hook or melody evident. Roll With You is a dark and moody ballad which is one of the few tracks to feature piano or keyboards. A good chorus which could have been better had it had a little more energy. Sucker is much better. This is another album highlight and despite the guitar sound, is closer to the traditional Europe vibe. Spirit Of The Underdog is another dark and heavy modern rocker. The guitar sound is just a little too modern for these guys and the chorus doesn't save the song. America thankfully sees the tempo lifted and some solid riffing put into play. But the guitar sound employed throughout the album is getting a little tired and once again, the chorus doesn't save the overall song even though it's not a bad track. Settle For Love is an semi-acoustic ballad and really seems out of place on the album,. More fitting of one of Tempest's solo albums, this track features some fine guitar work, but not too much in the way of memorable hooks.
On the positive, the band shows they are able to deliver some classy rock songs no matter what year it is. For the most part they have updated their sound successfully, but forgot a couple of extra killer choruses which could have made the difference here. A little more emphasis should have been placed on reconnecting with their past and that would have delivered a more balanced record.
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Heartplay Where The Deadends Meet |
MTM Music 0681-111 |
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I like this album a lot one reason being that it features one of the great AOR voices of recent times in Urban Tale's Kimmo Blom, but also because it's a diverse, yet well structured collection of smooth AOR & Westcoast music. This album is an unusual beast it has two very distinct sides to it and requires a love of both to appreciate fully. The first half is classic style 80's AOR, with some fine choruses and lead vocals coupled with a smooth sound and clear production. The second half of the album is a lot mellower a mix of jazzy pop and Westcoast. I can see the first half appealing to most; I can't say the same about the second half. Nevertheless, I like it a lot and should you be a fan of Kimmo's flawless vocals and occasionally indulge in tunes along the lines of very early Toto or Steely Dan, then take a good look at this. Don't You Ever Fall and That Kind Of Girl are both strong uptempo AOR tunes, with the mid-tempo ballad Never Again reaching new heights thanks to a classic chorus vocal. Grateful is 80's Kansas meets early Toto, with a hint of Urban Tale and Tempted sees Kimmo officially submitting his job application to be the next singer of Kansas. If that band ever needed to replace Steve Walsh, Kimmo Blom would be the man for the job. This Time is the last true AOR track before the second half of the album. Silhouette signals the change to the Steely Dan styled Westcoast pop which carries the listener through to the end of the album, closing with the very moody Bridges Burning.
But the style change might not be as welcomed by those that were thoroughly enjoying the AOR portion and wished for more.
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| Safe Haven Safe haven | MTM Music 0681-112 |
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Safe Haven is a fresh new project from metal vocalist Michael Vescera. Mike is one hell of a vocalist and for Safe Haven, a little change of direction was envisaged. This is a collaboration with guitarist Eric T. Riordan, with Don Beatrice on bass and Phil Suarez on drums rounding out the main players involved. Safe Haven is actually a melodic rock project. Taking time away from the metal scene, Vescera wanted to record a more AOR friendly set of songs. That he has definitely done. This is a selection of traditional sounding guitar driven melodic rock and AOR tracks, with just a touch of keyboards thrown in. There are hints of the Journey sound, plus some XYZ both largely due to the pitch of Vescera's vocals. This is an ok album. It's nothing fabulous, nor overly original. But the music is solid, the songwriting is strong and the production is good (although not major label quality). The main problem is the voice behind the project. I'm sorry to say, but I don't think Vescera's vocals fit the music on offer here. It's nothing personal and like I said he is a hell of a metal vocalist. But something here doesn't quite work for me, and this is what I am putting it down to. Riordan does his best Neal Schon styled work and I must applaud him for some fine guitar moments throughout the album, which are the highlight of the whole package. There are some fine songs on offer here especially for fans of powerful AOR. The opening anthem Do You Remember Me and the big ballads Sorry Baby and Fly Me Away are the highlights. But just not enough to make it an essential purchase.
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| Lunatica Fables & Dreams | Frontiers Records FRCD 200 |
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This is Lunatica's second album. The female fronted band from Switzerland has created an interesting album that should see their name mentioned in wider circles than it has been until now. With a dramatic theatrical style, the band mix progressive elements with a more traditional symphonic metal style. The mere fact a female lead vocalist is in charge will draw comparisons to Nightwish and Evanescence. Fans of those two acts would do well to check Lunatica out, but the band also have their own touches of dramatic flair and have a sound that isn't quite as heavy as those two acts. The 10 track album features only two tracks longer than 6 minutes in length. The band seems to be able to get what they want to say into the traditional song duration. Which means each and every song offers plenty for the ears and mind to digest. The sound quality is very pleasing the album features a crisp and clear sound which allows all instrumentation to sound in place. Even with the addition of strings and orchestral passages, the vocals (both lead and the layered backing vocals) and the guitar all work with the rhythm section to deliver.
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Jeff Scott Soto Lost In The Translation |
Frontiers Records FRCD205 |
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Let's be straight everyone knows I am a huge Jeff Scott Soto fan and am also behind his Australian tour due to start next week. So I'm being upfront in my appreciation for Jeff's music, but I have never held back from an honest review in the past and that remains the case here. But you will see from the points awarded that there is really nothing but good news to report on here. And once fans hear the album in it's entirely, I believe that almost everyone will agree in principle with my positive review. I also doubt you will find a single negative review about this album anywhere. How good it rates with individual fans will vary, but I believe the consensus will be that this is Jeff's best solo album to date and possibly his best ever album to date. I stated within my review of the EP that Jeff has a hands on approach with his fans and listens to their comments. And Jeff just keeps getting better. The feeling was that fans wanted a more rocking album this time around and Jeff delivers big time. This is one of his hardest rocking releases, with some top of the line songwriting backing up the tougher band feel of the album. The band need a special mention, as Howie Simon and Gary Schutt have formed a strong musical bond with Jeff and months on the road together have strengthened their sound and their understanding of each other. That why this "solo" album sounds like such a great band record. The guys really work together well and the tracks have been perfectly mixed, giving all instruments and importantly, Jeff's voice, room to breathe. Drummer on Lost In The Translation is Beautiful Creatures' Glen Sobel. He's a class act in any situation. The tougher path taken here, with only a couple of ballads to add balance is something I hope we will hear more of. Track By Track: The album opens with Believe In Me previewed already as a single and familiar to most I'm sure. The track features Neal Schon on guitar, who co-wrote the track with Jeff. After being considered for Soul Sirkus, it was decided to use the track for Jeff's solo album. This is a great Journey styled melodic rocker with a huge chorus hook. However, being that the track features a different guitarist and was from another recording session, sonically it doesn't quite match the heavier sound of the rest of the album. This is a lighter melodic rock moment, which I think would have been better placed elsewhere within the album rather than the opening track. Soul Divine is where the album should have started from. This track gives a true induction of what Lost In The Translation is all about and rocks accordingly. Howie Simon's crunchy guitar chords are noticeably heavier than we've heard before and the overall sound is tougher and darker than on Prism. Drummer Glen Sobel's hard hitting style is the perfect base for the track. Like many of Jeff's songs, this and other tracks on the album take several listens to get to know, with melodies becoming ever more prevalent each and every listen. Drowning steps things up another notch. Howie's guitar playing is even more intense and direct and really drives this uptempo rocker. This is a trademark JSS track, with a snappy verse that bursts into a guitar fuelled chorus with harmony vocals adding melody and texture. Jeff's vocals are somewhat more aggressive than we might usually expect and sound perfect. Fans will love this one. If This Is The End is the first of a couple of ballads on the album. Once again this could be described as a typical JSS track. Acoustic driven and featuring a soaring and sentiment laced vocal, the track builds intensity to a rousing guitar driven climax. The monster chorus and some truly soulful vocals make it one of Jeff's best ever ballads. Lost In The Translation sees a return to the hard hitting guitar sound of Soul Divine and Drowning. Another track that doesn't immediately seem catchy, this track - with an certain attitude - does feature a strong chorus that gets better with each listen. Doin' Time is a slower and darker number, featuring an aggressive edge and using several different layers to fully paint a picture. Howie shines again with some fine guitar parts. High Time picks the tempo back up, with a free flowing melodic rock anthem which is a little lighter than some of the other more intense moments on the album. This is a great driving track that comes closest to the sound of Believe In Me and that of the previous album Prism. Gary Schutt handles guitar duties in this instance. Beginning 2 End is the album's second ballad. This features a very cool piano into and another strong, soulful vocal. The chorus sees the full band come in and complete another classy ballad. Time to rock again and On My Own features that dirty, aggressive, somewhat modern rock guitar tone of earlier tracks and a typical attitude filled vocal from Jeff. The chorus is short and snappy, with layers of harmony vocals adding depth to the sound. Both Jeff and Frontiers Records had their views on the track listing, but I'm still not sure how Find Our Way found its way back here. Possibly the best track on the album, I would have liked to have seen this featured in the first 3 or 4 tracks. However, its strength cannot be denied in any position and positioned at track 10 it does add power to the tail end of the album. Simply put, Find Our Way is a hard rocking monster! It starts with a burst of guitars, gets straight to business with a smoldering riff, then explodes come chorus time. This is a fabulous harmony driven rock n roll anthem that's best played at maximum volume. Sacred Eyes is a great way to close out the album. This is another slice of textbook JSS an acoustic based feel good pop song, with a monster vocal and self-supplied harmony vocals. But wait, there's a bonus track on offer and what a great addition to the album. Dulce Lady is a groovy hard rocker written by Jeff with Howie and featuring the same hard hitting sound as Drowning and Doin' Time. This is a mid-tempo hard rocker with another catchy chorus and some fine guitar work.
This is a tougher, more cohesive album than Prism, which also features an impressive line up of classic styled JSS songs. When listening back to this one gets the feeling that everything just came naturally and what results is a classic slice of melodic hard rock that will not only blow established fans away, but also draw in a new range of converts.
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| Van Halen The Best Of Both Worlds | Warner Music 8122765152 |
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This is how not to make a good compilation. Almost every rule in the book has been ignored which despite intentions, makes this look like a rushed cash-in, rather than a tribute to the greatest hard rock band ever. Let's get something straight first and foremost. I am a huge Van Halen fan. They are my favourite band and this is not a critique of the majority of music featured within this package. There is no question that the music has stood the test of time and remains some of the best classic party rock (the Dave years) and some of the best more seriously themed rock and ballads (the Sammy Years). This is a critique of the package itself, the way it has been assembled, the price tag attached and the very reason for its release. As I stated, I am a huge fan. And I purchased this CD with my hard earned money. And I don't feel satisfied, despite getting an album of 36 "classic tracks". Some of this review has to do with personal preferences, so I expect reader reviews to vary considerably. Here goes. I don't think a double disc was necessary. I would have much preferred a companion release to Best Of Volume 1. What's the point of releasing Volume 1, where Volume 2 will never follow? Many tracks have been duplicated here and the price of a 2CD set for something most of us already own elsewhere is a little rich. I also don't like the track running order. I would have preferred a Dave disc and a Sammy disc - which is what the label originally had intended. The listener can then pick the disc for the mood. And like him or loathe him, Gary Cherone did record an album as singer for Van Halen and it should be represented here even if it was for just one track. That of course would kill the Best Of Both Worlds theme, but for a 2CD package to be complete, it should be complete! I also think the liner notes are a kiss-ass waste of space. They are minimalist at best and are written by a representative of a magazine that rated Eddie Van Halen an astonishing #70 in their best 100 guitarist of all time. Holy shit, if not the #1 guitarist ever, he should have at least been top 3. But now here is the same magazine kissing ass, providing liner notes and also praising current concerts with positive reviews when they have all but ignored the band for the last decade. Seems a little odd to me. Anyone else? The packaging is also very minimalist. No colour pics, a simple foldout booklet and no Dave shots. How about a 24 page colour booklet with archive and previously unseen pics? Last points before moving to the new studio tracks featured. The sudden cut-off with Finish What You Started and the inclusion of Strung Out in the same track as Not Enough strike me as being mistakes, not intentional tinkering. And the inclusion of three live tracks from Right Here, Right Now is just plain cheap. How many hundred unreleased live recordings exist of the band from any of their amazing eras? Something a little special for the die hard fans picking this package up would have been a nice gesture. Ok, to the new tracks. I have been enjoying all three and am a big Sammy Hagar fan. I love his work in Van Halen and I absolutely adore Human's Being and felt the band were really heading in an interesting direction with that track. Sadly everything went awol about that time and we have had to wait 8 years for more new Hagar led Van Halen music. Was it worth the wait? I think so, but I'm not blown away like I was upon hearing Human's Being. I think these tracks take up where that track left off, but don't take things any further forward. They are good songs, enjoyable songs - but maybe not great songs. What I do like best is Eddie's guitar playing. There are some really interesting parts within the songs that show that given the chance and the focus, these guys are still very much capable of recording some classic hard rock. I just don't think enough time was put into these particular tracks. It's About Time is a feel good uptempo rocker with some lyrics that seem a little touchy-feely, without getting to the darker heart of what happened over the last 8 years. Cool riffing though and production wise, all three tracks sound sonically fantastic. Up For Breakfast features a welcomed 5150 style keyboard intro and a down and dirty Eddie guitar riff that turns into a classic DLR styled boogie. This reminds me of the same vibe Can't Get This Stuff No More was going for on Best Of Vol. 1. But I still have problems getting past Sammy's lyrics. This is not the same caliber of lyric from the man that delivered Right Now, Mine all Mine, Dreams and Don't Tell Me. Learning To See is probably the best new track. A little more experimental, nice and dark and angst ridden and featuring a killer riff, this track sees the band in a more challenging and emotional state of mind and that really works for me.
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Sammy Hagar The Essential Red Collection |
Hip-O Records B000276002 |
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Now this is how you make a good compilation. Everything to do with this release screams class. Sammy may not have had a say in the fact that Universal wanted to do a compilation, but credit to him, he jumped on board to ensure the release would be as good as possible. And true to the title, this is an essential collection of the Red Rocker's tunes. This release takes music from his earliest days in Montrose (Bad Motor Scooter) and runs through both Sammy's Capitol Years (Red, I've Done Everything For You) and his move to Geffen in the 80's (Two Sides Of Love, There's Only One Way To Rock, I Can't Drive 55, Eagles Fly to name a few ) before shifting to more recent times when Sammy struggled with labels (Little White Lie, Marching To Mars MCA Records, Mas Tequila - 33rd Street) before re-joining Van Halen. The compilation also gathers a few of the rarer tracks of Sammy's career, at last placing them in the one place for fans to enjoy. Thinking Of You and Call My Name were supplied from Sammy's own unreleased masters and are 1974 demo's that never made his solo debut. High Hopes from the Geffen compilation Unboxed is included as are Sammy's several soundtrack appearances Fast Times At Ridgemont High (from the movie of the same name), The Girl Gets Around (Footloose) and Winner Takes It All (from Over The Top).
Add to that some excellent and detailed liner notes from both Ted Nugent and veteran music writer Scott Schinder, which includes new comments from Hagar himself. Great songs, great sound, great packaging and class from head to toe. This is how it is and should be done.
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| Asia Silent Nation | Inside Out Music 08560842 |
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Asia's new album comes as a break in tradition the band dropping their regular choice of an album title with an 'A' in favor of a more poignant title Silent Nation. The music within however, is still very familiar, if not just that little bit different. The band, which have carried on successfully in recent years with the nucleus of keyboardist Geoff Downes and singer John Payne, have recorded one of their best efforts since their heyday. I wasn't sold on their last studio album Aura finding it just a little bit too predictable and laid back. Naturally I was set upon by a number of Asia fans, but there were others that agreed with me. The line up for Silent Nation is a tighter 4-piece arrangement, with no rotating player list present. It's simply Geoffrey Downes (Keyboards), John Payne (Vocals, Bass), Chris Slade (Drums) and Guthrie Govan (Guitar). Silent Nation is a great release and one that is destined to satisfy most Asia fans and I expect comments and reviews to be more unified than that last album. Asia are never going to be a hard rock outfit, but this album is definitely more uptempo and has a stronger rock feel. The guitar plays a more prominent role this time around with Geoff Downes' flawless keyboard and organ parts providing a essential foundation for the memorable songs. Track By Track: There are some really memorable pop/rock moments on Silent Nation. The lyrically deep and dark What About Love?, which opens the album is the perfect blend of keyboard and organ with guitar and a tougher vocal delivery from Payne. Then Asia deliver what could easily be one of their best ever songs in the form of the anthem Long Way From Home. This easy flowing, uptempo song promises faith, hope and promise, with a monster chorus and one of the best Payne vocals I've heard. Another catchy little uptempo pop track Midnight harks back to the band's 80's sound, with a catchy little keyboard riff heightening those feelings. Blue Moon Monday is a long, dark and dramatic piece, with a haunting organ accompanying Payne's raspy delivery. Silent Nation is another fairly long track, with more organ and a U2-ish lead guitar riff and a tough talking chorus. Ghost In The Mirror is a Peter Gabriel styled pop track which for me marks another memorable moment. This track features a wonderful chorus, with a certain feel good sing-a-long factor and more rich organ accompaniment. Gone Too Far is a sparse, orchestral style rock ballad, with a ton of passion and a very emotional delivery from John Payne. I Will Be There For You picks the tempo up again, in a song with a pop heart, but rock delivery thanks to a solid guitar presence. Another strong chorus outlines the band's successful attempts to create an album of memorable songs. Darkness Day is a musically interesting track, again highlighting a sparse and atmospheric feel. Slow to build, it is a rather dramatic track that requires several listens to be able to familiarize oneself with. The Prophet is another bare bones track that sees Payne leading the track with soft keyboard backing into a slow guitar solo passage and back to keyboards. A trademark "experimental" Asia track.
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| Jean Beauvoir Chameleon | Frontiers Records FRCD 207 |
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For all intents and purposes, Jean Beauvoir is Crown Of Thorns, but for the first time since the late 80's, Jean has stepped out from behind his band moniker to present an all new album of solo material. Jean started with the acclaimed album Drums Along The Mowhawk in 1986, a classic example of mid-80's high-tech pop rock. Jackknifed followed, before disappearing to work on material that would become the debut Crown Of Thorns album. Since then, COT have released several albums and more recently Jean released a collection of old and new tracks presented acoustically, titled Bare To The Bones. But Chameleon is a solo album proper and sees Jean moving back to his early roots and presenting a softer pop styled album. Proving to be the talent he is known for, Jean plays all instruments, wrote all the songs and produced the album himself. This isn't an album every fan of Jean or Crown Of Thorns will be comfortable with. This isn't an album for all melodic/hard rock fans. This is a very smooth collection of well written and performed pop songs. Chameleon is one for fans of the softer side of life and those that like to cool their heels every once and awhile. The production quality is excellent, as is the balanced mix. While much of the album is programmed, it thankfully avoids that horrid fake computerized feel. The album runs through a few styles, from the smooth uptempo pop of I Wanna Know, I Want To Lay Here and Dying End; to the ballads Even More and Angel; to the funk of I Don't Need You and Addicted To Us and not forgetting the feel good calypso pop of Where The River Runs Deep. A tougher, more familiar Beauvoir can be found on the more guitar driven Higher and the heavily programmed Something To Believe In.
Jean remains in fine voice and there is no denying the overall quality just be prepared for something different and don't put it on if you really feel like something along the lines of Megadeth.
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| Kingdom Come Perpetual | Frontiers Records FRCD206 |
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I am a fan of Lenny Wolf who has mixed feelings towards his releases. I really like his vocals, I respect his musical talents and I own several Kingdom Come albums. But when it comes to the pace of his songs in recent years, I remain frustrated at his inability to move out of first gear. I have given average ratings to the last two Kingdom Come albums, but I am happy to report that this is a stronger album overall and definitely one of his better all-round efforts. But that tempo problem It seems that everything Lenny's writes is of the one tempo. Every single song is a slow or plodding mid-tempo pace, regardless of whether it's a heavy rocker, a ballad or otherwise. And once again, every track on Perpetual is the same frustrating tempo. As a plus though, we have some very well written lyrics and a few memorable melodies to carry us through. I should highlight the very personal nature of this record. It's a somewhat haunting and emotional collection of songs, combined with some of his best and most expressive vocals to date. The album's production is also very good. Lenny plays everything on this album with the exception of guitar solos, which are credited to Eric Foerster. The mix is even, the sound is clear and the tone excellent. But an album of 11 songs over 60 minutes with the same pace throughout gives cause for the listeners mind to wander halfway through. Gotta Move Now and Hang 'em High kick off the album you guessed it as plodding, but heavy mid-tempo rockers. But both songs feature strong vocals and an emotive delivery. Crown of Moscow is a slightly softer track, with a more emotional and melodic chorus and a strong sentimental feel. The guitars remain impactful and give the song added power. Time to Realign is much the same vein as the opening two tracks. A hard hitting rocker with a dark vibe. Silhouette Paintings is another haunting and personal track, much like Crown of Moscow, with the song kicking into gear mid-track. With The Sun In Mind is another mid-tempo guitar fest. This is where my attention begins to slip. King of Nothing is a very slow track, and at 6 minutes in length sometimes feels like double that. But the musical foundation of the song and the added effects do provide for an unusual and interesting atmosphere. Borrowed Time is another mid-tempo rocker. Nothing here that grabs me. Same with Connecting Pain. For me the better tracks are stacked towards the start of the album and these tracks just repeat what has already been delivered. Inhaling the Silence is an acoustic track with an orchestral feel. Despite being an acoustic based track, the slow/mid-tempo feel remains. The track has some interesting musical layers, but the last half of the album is just far too slow.
But if Lenny is going to kick everyone's ass and re-introduce himself to a wider audience again, he is going to have to vary the delivery of his passionate material. A strong heavy rock album, albeit one with a set standard pace throughout.
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| Richie Kotzen Get Up | Frontiers Records FRCD208 |
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Richie Kotzen is one diverse musician and it goes without saying, a very talented one. It all comes pretty easily for Richie singing, songwriting and his main claim to fame the flawless execution of guitar. Be it blues or rock, Richie is equally at home and you normally hear him mixing the two together. That's his trademark and Get Up remains in tune with that. But Get Up is also a little more focused than some other previous outings. This is about as straight forward as any Kotzen release will ever be. The songs remain within a certain boundary and those looking for more rock, less blues get their wish. There are less experimental moments or musical interludes where Richie wanders off into another style. Mind you, there is always a strong hint of blues in that rich guitar tone and this is more diverse than the straight up sounds of Poison and Mr. Big. But it is Richie at his rocking best. Highlights include Losing My Mind, which has a great swagger and memorable chorus hook, while the song Fantasy rocks even harder and faster. Remember and Special are both blues drenched ballads which add texture to the album, but outside those it's all rock n roll. Just check out Get Up for some furious riffing. Other favourites include the bluesy Shame and the pop rock of Made For Tonight.
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| Bonrud Bonrud | Frontiers Records FRCD204 |
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Paul Bonrud has spent the best part of a couple of years of his life writing and recording this his debut album under the Bonrud moniker. In making the album he had guidance from legendary producer Keith Olsen, who mixed the album.
Paul plays a good deal of the instruments himself, contributing with guitars, bass, keyboards, backing vocals and percussion. Also featured as part of Bonrud are lead vocalist Dave Hendricks and drummer Paul Higgins. Bonrud plays a very pure blend of melodic rock and AOR, with a mix of guitars and keyboards supporting some fine 80's melodic rock songs. The band could compare to the sound of Lou Gramm and Foreigner and Journey with the album cover another nod to the influence of AOR's #1 band. I can also hear a comparison to early Richard Marx, especially from singer Hendricks, but also including the band's overall smooth and polished sound. Backing vocals are well used throughout and give already strong choruses an extra push. The album has quite a varied range of tracks. The opening track Leap Of Faith is a breezy feel good rocker with a good tempo, whereas The Phoenix the follows is a darker, heavier and slower track. Desperate Heart provides the third change in a row, in being a first rate AOR ballad with a wonderfully soulful vocal and some fine slow guitar playing. I've Changed is another light uptempo rocker with a great chorus and Give Me A Chance is perfect early Richard Marx pop/rock. Take Me Home is another ballad, but more soft pop in nature. Another strong chorus helps the track stand out. Date With Destiny and Look Me In The Eyes are both enjoyable guitar fuelled rockers. Once In A Lifetime is another good uptempo melodic rocker with good harmonies and a memorable chorus. Live Your Dreams is a lighter, acoustic driven number that has a certain classic REO Speedwagon/Boston feel to it. Hollywood Movie Star closes the album with one of the album's best tracks. A passionate vocal fits perfectly into this big Journey styled storyline track that is perfect to end the album with.
Any band would be proud to release such a strong album and this sets Bonrud up to be one to watch over the next few years. One for the classic AOR fans out there.
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| Kick Axe IV | MTM Music 0681-108 |
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Canada's Kick Axe produced two legendary albums from the 80s Vices And Welcome To The Club. Their third album Rock The World isn't as highly regarded, but nevertheless, the band's legacy remains in the minds of plenty of fans. Some 18 years later Kick Axe IV is finally released. A couple of years in the making, the album sees the band return without best known singer George Criston, instead with their very original singer (before the band were signed) Gary Langen taking up behind the mike. Along time coming and with a lot to live up to and I can't say I'm overly impressed with the new album. I prefer the vocals of Criston, but that's not the main problem here. Simply put, the songs just aren't strong enough. And when you have 14 tracks on offer, you really can't have too many fillers before the great tracks appear too few and far between. The guys don't seem as energized as they used to be and the varied delivery of the songs doesn't make for a very cohesive record. Right Now and Rockin Daze get things off to a great start, with a couple of kick ass rock tunes containing all the fire power and melodic hooks desired. But track three Consolation pretty much kills the momentum with a plodding pace and a less desired production quality. Following that a couple of tracks stand out such as the darker and heavier Time, but it's not until Who Says, that things really get rocking again. There are several tracks that pay homage to Led Zeppelin, the slow starting Turn To Stone one of the best. But elsewhere there are a few too many slow to mid-tempo tracks that don't have the desired impact.
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| Pulse Worlds Apart | MTM Music 0681-109 |
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For a band unheard of outside this melodic rock scene, Pulse's career has certainly been entertaining. There was the excellent traditional styled melodic rock debut, followed by the departure of the singer, the introduction of the new boy, the departure of the new boy, the return of original singer Simon Abbotts and an endless stream of press releases from both camps in-between. Somewhere along the road, the guys managed to record a new album. I compared the debut to mid-80's Honeymoon Suite mixed with Heartland and Virginia Wolf. The new album Worlds Apart is very much along the same lines. The general sound mixes a strong keyboard presence with some (at times) furious guitar playing from Vince O'Regan. Perhaps it is Vince's time with Magnum vocalist Bob Catley that sees a stronger Magnum influence shine through, or perhaps it is his time on the road and additional recording experience that helps the band also toughen up their sound. I really like the wall of keyboards that lie under the lead guitar, with the authorative and powerful vocals of Abbotts over the top. Musically the album has the same tone moody and hard hitting melodic rock, with a strong British rock feel. Nothin I Can Do About It is a great rocking opening track and Worlds Apart is a perfect moody rocker to follow. You're Not Alone is another melodic rocker with all the required ingredients for a great song. Do It All Again is one of my picks for best tracks on the album. This is a true sentimental rocker with a great chorus. One small complaint is that the songs are quite lengthy and at times the album does drag a little. Just about every track clock in over 5 minutes when the message could have been delivered in 4. For all the good things I have just said, there remains a very big problem with this album. This album is, at times, very hard to listen to. Someone has to work out where things went wrong. The sonic quality of this album is not up to standard. The production itself is fine, but present throughout much of the album is a high pitch ringing in the background that pierces the eardrum like a bad opera singer. The tone of the whole album is slightly tinny and seems to be missing the bottom end, which on itself can be ignored, but once you start to up the volume to enjoy the disc, this ringing becomes extremely annoying.
But that sound problem is something I have a big problem getting past.
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| Million 2004 EP | Majestic Rock Records MAJCD003S |
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The three brand new studio tracks featured here show extreme promise and raise expectations of the band's upcoming full length album. Tracks 1 and 3 are from that new album and track 2 is exclusive to this EP, as are the two extra unplugged in the studio tracks, the original versions of which are from earlier releases. On And On is a double kick drum fired rocker, with a frantic pace and some great hooks. A strong guitar sound supported by organ/keyboards and a dominating lead vocal deliver one of the best European hard rock styled songs of the year. Think Pink Cream 69. What I Want continues that vibe, albeit at a slightly reduced pace. Layers of vocals and strong harmonies are welcomed and help make the hard rocking songs more melodic. The melodic friendly mid to up-tempo rocker Fight You Forever features another strong hook, while retaining its tough sound. The three new songs are very well produced and perfectly mixed and easily outshine the sound quality of previous albums. Sign Of Victory and In Your Dreams are stripped back versions featuring acoustic guitars, as well as some drum and piano parts. Strong harmonies are the main draw card.
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Glenn Hughes Soulfully Live In The City Of Angels |
Frontiers Records FRCD203 |
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Since his comeback in the mid-90's a new Glenn Hughes release used to be a real event. Now it's a pretty regular thing, with a little less excitement attached, but nevertheless still worthy of getting excited about. I am a great fan of Hughes and his unique abilities, but wasn't sure what this release would offer. One listen and it was pretty clear. Several more listens and there is no doubt. This is one for the long time fans those that have been with Hughes since the early days and those that appreciate his vast musical legacy. Those more casual fans or those just into his more melodic songs/releases will not have as much to gain from this album. Soulfully Live In The City Of Angels is Glenn and band, with guests, packed into a LA studio for a live performance in front of a handful of invited friends and fans. It's Glenn at his raw, fly by the seat of your pants, best. The band for this show features Glenn, with Red Hot Chilli Peppers drummer Chad Smith, guitarist JJ Marsh, keys man Ed Roth and second guitarist George Nastos. The band are hot, but the star of this show besides Glenn and his thumping bass playing is drummer Chad, who really puts in a stellar performance. Glenn's vocals are something else the man is not called the Voice Of Rock for no reason. He shines throughout this and his tone will blow you away. I said this is one for the die-hards for a reason. Glenn takes the songs and in this intimate live setting, really gives them a workout. There are only 11 tracks in the live set, yet the gig couldn't fit onto a single CD. Each track is extended and ad-libbed to, with several tracks reaching and even passing 10 minutes in length. If you don't like jamming and extended solos, move on! Glenn covers his career, but only touches on most areas. The reality that 11 tracks could cover 30+ years in the business was never going to fly. Included are tracks from recent solo works (Can't Stop The Flood & Higher Places and Written All Over Your Face), plus songs from his first band Trapeze (Seafull and Medusa), plus Hughes/Thrall (First Step Of Love) and Deep Purple (Mistreated, Getting Tighter and You Keep On Movin'). The Healer is a bonus studio track which is a laid back acoustic driven track. It's a nice soft Hughes track which sees him in a relaxed mode. As for the accompanying DVD release the sound is available in both stereo and a 5.1 surround mix. I'm happy to report that both sound fabulous and the performance is as I have said, bang on. Bu the picture quality of this release is dreadful. The are 3 or 4 cameras in action, so the footage and angles are varied, but none of the footage is clear and viewable on a regular basis. The footage is so dark in places that it's hard to make out who the camera is even focusing on and elsewhere the picture is blurred and muddy. The setting and location is not a problem, I'd watch Hughes from the moon if need be, but in this instance, the quality is really not up to standard.
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| Lana Lane Return To Japan | Frontiers Records FRCD202 |
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Lana Lane is an American female rock singer with a huge musical legacy that stretches back to her debut album in 1995. She is teamed with keyboard virtuoso Erik Norlander or produces and mixes the material and co-writes it all with Lana. There have been a steady stream of releases since then, most of which have found their biggest success in Japan. That's where this career spanning hits set was recorded. Recorded from several gigs and tours, this collection is a fine introduction to Lane, whose music is a vast canvas. There are virtuoso moments Yngwie would be proud of, there are orchestral movements and there are examples of long, complicated progressive movements Dream Theater would be pleased to call their own. Lana's music is not simple, nor is it digestible in one sitting. But there is a lot to like and the songs are all built around good melodies and strong performances. This is a great value set, as Disc 2 contains an additional 12 tracks, which are from various special events and acoustic performances.
There is an accompanying live DVD release, but haven't not sighted that I cannot comment on its content. But, should you be purchasing the CD, I dare say you should add the DVD to your purchase!
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From The Inside From The Inside |
Frontiers Records FRCD 199 |
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From The Inside is another project release that features a prominent melodic rock voice, coupled with a selection of familiar-ish tunes, plied together by the deft musical hand of one Fabrizio V.Zee Grossi. Previous projects have seen the featuring of Kelly Hansen, Mickey Thomas and Joseph Williams. The voice in question here is none other than superstar Danny Vaughn. Danny is most loved for his role in Tyketto and has been winding his way back to classic melodic rock via Vaughn, but this project is definitely the closest he has come to the much loved commercial melodic rock sound of Tyketto. As expected this is a classy collection of tunes, which is a little different than the Mickey Thomas project Over The Edge, as it also includes a few new tracks by Vaughn. Fabrizio is a great musician and arranger and brings out the best in the artists he works with. But there is no substitute for original material and that is why this album's best moments are the new tunes. Some of the covers are great, but a couple don't work as well as they have on past projects. Track By Track: The uptempo feel good melodic rocker Nothing At All is almost classic Tyketto and would certainly fit either of the Vaughn releases. The self-penned track is classic Danny Vaughn, with the vocalist in top form, complete with soaring chorus and memorable vocal hooks. Suddenly is a rocking version of the pop anthem Desmond Child and Andreas Carlsson wrote for Leanne Rimes. It's one of the best songs of the album. A song born for the full rocking AOR treatment - this is a great little anthem. Fight For Love is more in the Vaughn vein a moody, musically layered mid-tempo rock track with that brooding quality Danny sings so perfectly. Losing Game is one of two tracks written by the popular Swede Martin Stenmarck. This track is a dark and dramatic, slow to mid-tempo rock track, which follows in perfectly from the previous track. Very well interpreted by Danny who makes it his own. Damn is another track that fits the Vaughn mold and features a very soulful performance and some well placed harmony vocals. A slower track that is cool, but maybe doesn't quite fit the quality level of some other tracks. Stop is the second Stenmarck track included (originally from his album One). This is a uptempo, feel good pop rocker, which comes at a good time in the album, breaking up the mood a little. Once again Danny makes it his own. Relentless is another mid-tempo rocker in the same vibe as the rest of the album, but it doesn't stand out as a truly memorable track. The original track can be found on LRB's Playing To Win album. Blessing In Disguise does, however, really does the trick. This is when Danny Vaughn is at his very best belting out his own tracks. I'd love to hear more story-telling tracks like this, especially ones with such great hooks. A wonderful track that takes me back to the Strength In Numbers album. Is Anybody Watching Me is more pure brilliance. Looks like the second half of the album is blowing away the first! Quite possibly one of Danny's best ever tracks there is more soul and passion on this track than one can take in on just one listen. Another sign that Danny's new material could be some of his best songwriting yet. More please. Always is an uptempo rock ballad of sorts it's another great soulful pop rock track that highlights Danny at his very best. Danny's interpretation Amanda Marshall's pop ballad Beautiful Goodbye is haunting. The song was written by David Tyson and Christopher Ward Tyson being a popular name in melodic songwriting circles. This is one of the best tracks included almost as if it was made for Danny to sing. The sparse arrangement allows his voice to shine and carry the listener away. More classic music and definite proof that the second half of the album is utterly essential. The CD adds the bonus Nothing At All video and a Danny Vaughn Video Interview, both of which you will have to judge for yourself, as these things aren't included on promos.
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| Millenium Jericho | Metal Heaven |
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No matter how hard I try, I just haven't been able to find a lot of time for this album. I absolutely loved the band's last release with vocalist Jorn Lande up front, but this is a different beast entirely. This is a heavier and rawer set of songs, without the grandiose arrangements and multiple layers featured on Hourglass. It's not the direction of the album that has me perplexed though. Jorn has left and original vocalist Todd Plant has returned. He is a good metal vocalist, but in this instance I can't warm to his performance on this album. Perhaps we were overly spoilt with the all-round brilliance of Hourgalss. Todd Plant's vocals are also a lot gruffer than those of the smoother Lande and take some getting used to. It could also be the songs featured here I don't find them half as memorable as the last couple of albums either. Don't get me wrong, it's a solid album and a number of people are going to enjoy the record, but it's nowhere near as strong as Hourglass and in my mind, is also behind Angelfire. And I believe the majority of fans will agree with that. I think the main problem is that fans have waited so long for this record and it follows what was easily the band's strongest material. Tracks like the opening number My Saving Grace just don't have any kind of memorable moments to grab hold of. Morning Star is one of the better tracks it's a darker and moodier track and is closer to the sound of the last album and one could imagine Jorn Lande singing this. Wheel Of Fortune is another solid song with some good hard hitting vocals from Todd and some big riffing from Santolla. Let There Be Light is another ok track a solid uptempo straight ahead rocker.
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| 38 Special Drivetrain | CMC/Sanctuary Records |
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38 Special have thrown down the challenge to fans and have come out rocking on their first studio album since 1997's Resolution. I'm not getting into this album as much as I thought I would, but it's still a solid rocking affair. I don't find myself being naturally drawn back to it, despite a heavy rotation in order to write this review. It's more an album to be put on when the mood takes you. Overall, I don't think the songs have the passion and all the memorable 38 Special traits required to grab the listener. That's even more surprising to me, as the great Jim Peterik is involved in co-writing 7 of the album's tracks. Much like Rick Springfield's Shock Denial Anger Acceptance album, this rocks big time with a slightly updated feel and like Rick, the guys have recorded what is probably the heaviest album of their career. But also like Rick's last album, some of the heart and soul has been left behind. Now, that all said, Drivetrain is a raw, stripped to the bone rocker. Keep that in mind, forget about what the band should sound like, concentrate on what they do sound like and you will be far more satisfied with this album that really does rock. Track By Track: The opener Something I Need and the single Hurts Like Love set up the record really well and prove the band can rock along with the best of them. Two great tracks that if emulated throughout the rest of the record, would have made this a classic. The gruff rocker Harley's Got A Harley doesn't do as much for me, I feel it is missing a great hook and a little passion. Jam On is slightly better, this track has a chorus hook to hang on to. Make Some Sense Of It sees the guys starting back towards their more natural sound and is another gem and one of the best tracks of the album. Quick Fix is another tough and gruff track, and again misses a better hook. The Squeeze is much the same although, I do rather like the swagger and attitude the track exuberates. The Play is a track that has a nice melodic lead in and a soulful lead vocal, however I still don't think the chorus does the song justice. Bad Looks Good On You is another track I can't warm to, although it's an ok slice of rock with a southern swagger. Trooper With An Attitude is probably the most southern styled song and rocks along more like ZZ Top than classic 38 Special. A solid guitar riff and one fans will enjoy I think. Hiding From Yourself is probably my pick of the album this is more along the lines of classic Don Barnes AOR and certainly closer to the 80's 38 Special than any other track here. Sheriff's County Line is a slow moving track to start, but picks up pace as the song goes on, but without ever reaching a true peak.
While I am glad to see the guys rocking and enjoyed it for what it is, in the long run I just don't find this album as appealing as their past work. I am one that always looks forward to and presses for bands to release new albums, but in this case I have found myself wishing to indulge in a past classic.
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| Magnum Brand New Morning | SPV |
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Magnum are back and heading back towards their best work with an album that erases the disappointment of Breath Of Life. This is a tighter record and sounds like a proper band record and overall gives the impression of a far more cohesive body of work than its seemingly over-programmed predecessor. This is Magnum's second album post-reunion, albeit with a slightly different line up. This album sees the guys getting back into the groove and getting more comfortable with the new line-up, which now features Thunder drummer Harry James. It also sees songwriter Tony Clarkin more focused on what the traditional sound of Magnum really is and he delivers some great new songs. This is a far more guitar driven album and ranks alongside Goodnight LA and Rock Art for its aggression. The downside is that the production is quite rough. I'm not overly into the whole guitar sound employed. There is a certain muddy tone to the whole album. It's certainly not as crisp and clear as such gems as Sleepwalking or Wings Of Heaven. Comparisons could be made to a similar tone on Goodnight LA. Additionally, the pace of the album is a little one dimensional. The tracks are all generally mid-paced, with only a couple of songs really breaking out into a sweat. The band could also have used a couple of extra impact choruses. Those points made, Brand New Morning is still a fine album and one that I think will please just about all new and long time Magnum fans. Bob Catley is in his usual immaculate vocal form, Tony Clarkin rocks, and the rhythm section of Al Barrow and new drummer Harry James really set up the band. Needless to say, Mark Stanway also provides an essential ingredient, with his piano and organ really filling the band's sound. Track By Track: Brand New Morning features a typically grand intro, with the guitar tone of the album quickly set. The band set out to rock and the very first track does than in fine style, with a good chorus to sing along to. It's Time To Come Together is one of the best tracks. This sees one of the few tracks that Mark Stanways' piano is given feature spot. It's an uptempo, feel good rocker with some fine piano and a crunchy guitar fuelled chorus. Bob Catley sounds great and the added layers around his voice is trademark Magnum. Will be a good track to hear live. We All Run is a dark and heavy track, with a real moody presence. The verse lightens up, which gives the memorable chorus further impact. The Blue And The Grey is another melancholy track and gives further personality to the mood of the whole album. The chorus picks up the pace a little of this dark and haunting rock ballad. I'd Breathe For You lifts the tempo again, but not past the mid-tempo fare of the album in general. A slow enjoyable verse that features a strong Catley vocal leads into a moody chorus, with Stanway's piano again playing a prominent role. The track gets more intense and almost orchestral towards the end. From the outset, The Last Goodbye smolders along until bursting to life during the chorus, which really lifts the spirit and the tempo of the album. A feel good anthem, shrouded in mood and mystique. Only Magnum could do it! Immigrant Son is a dark and rocking mid-tempo track that doesn't feature a very prominent chorus, but is enjoyable nevertheless. The sound of Hard Road remains in keeping with the rest of the album, but it differs in that it rocks a little more come chorus time and features a more stripped back verse. One of the more traditional sounding Magnum tracks of the album. The Scarecrow is the obligatory epic to close the album and just like On Christmas Day on Rock Art and Don't Wake The Lion from Wings Of Heaven is about 10 minutes in length and builds in intensity as it rocks along. But as always with Mangum, the guys never seem to duplicate themselves and this remains another original epic.
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Praying Mantis The Very Best Of |
Frontiers Records FRCD 193 |
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Any 'best of' from a band that were part of the classic NWOBHM sound is always destined to gather some impressive tracks. Funnily enough, the band achieved more success long after the demise of that metal movement and most of it from Asia. Many line-up changes insured that the band never reached the heights others achieved. One of the band's most impressive albums was their acclaimed Nowhere To Hide album from 2000, which really came out of the blue and impressed a lot of new and old fans alike. Sadly I don't have any background information to accompany this release. There is a live version of the track Cheated (recorded I don't know when), a re-recorded version of the Japanese bonus track from Nowhere To Hide called Naked (re-recorded I don't know when) and an additional bonus track A Moment In Life (the origin of which I also cannot seem to find out). The band's long, extensive history is not fully covered by this release but when most tracks clock over 7 minutes in length, it's hard to fit anymore on a single CD!
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| Julliet Psycho Boyfriend | Metal Mayhem MM00048 |
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Julliet's debut was not one of the finest releases from the glory days of hair metal. It came out in 1990 and was produced by Survivor's Frankie Sullivan. It was an enjoyable slice of crunchy, raspy hard rock, but lacked a killer punch. Vocalist Kenny McGee has been making his own records for some time now. There was even an unreleased Julliet album Passion, released finally in 2002. 3 of the 4 original guys are back again here, but Psycho Boyfriend doesn't resemble anything Julliet previously stood for. Kenny has long dabbled in more aggressive and modern sounds, and that's exactly where this album takes us. Why I am not sure. The path of hard rock bands going modern is well travelled and littered with failures. Add this to the list. Melody, harmonies and memorable choruses are not a priority with this album. This is a modern rock/grunge styled record with tuned down guitars, understated vocals and few tracks that come close to the quality of anything released previously. And surprisingly, the worst offender here is Kenny himself. His vocals are just awful. They lack any melody or passion and are so rough and varied and just plain hard to listen to. Only Hush offers any real sense of melodic harmony. Black Sky is just noise as is Quarter Past Four, which sounds like a poor man's Love/Hate. And what is up with Kenny's voice on Love Lights The Day? That really does the man's talent no justice.
That should point out how bad this CD really is. This is in no way, shape or form, anything to do with classic era Julliet and should not have been released under this moniker.
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Grand Illusion Ordinary Just Won't Do |
Escape Music ESM103 |
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Grand Illusion are back for album number 5, their 3rd under the Grand Illusion moniker. The guys have built a strong following amongst melodic rock fans, especially those partial to the old school of pompous songwriting along the lines of Styx and classic era Magnum. The boys always seem able to find an extra layer or two to add to any situation, not to mention the over the top vocals and layered harmonies. Blissful stuff! Their last album View From The Top was about as fine an example of modern pomp that you will find and I remain highly fond of it. Ordinary Just Won't Do signals a slight change. This is a heavier record - a more deliberate attempt to toughen up their image and in line with that sentiment, has a somewhat different sound. This is a far more guitar driven album and the vocals are also more direct and, at times, raw. The band's over the top songwriting style shines through naturally, as does their trademark layered harmony vocals, which are always a joy to listen to. However I think the band don't sound as natural on some of these songs. They are trying to be heavier than they have to be. View From The Top was a far more natural album and the mix of lush keyboards and guitars was better balanced. This album is still fabulous the songs are still great and I remain a major fan. But I don't feel as big a connection to this as I did the last one. It's better produced and more consistent than The Book Of How To Make It, but as stated, not quite the progression needed from View From The Top. Track By Track: Devil's Advocate is a fitting opener which sets the tone for the album as a whole. It's taken a few listens to fully appreciate like much othe album but the track is an gem for pomp / hard rock lovers. Strong backing vocals and a great chorus are matched by a moody verse. The screaming vocals of Peter Sundell took some getting used to on this track he's really singing at an amazing volume. The Best Is Yet To Come is a little more relaxed, but comes with even more harmony vocals and even more layers of lush AOR. Gone For Good sees the pace slowed down for the initial verse. From there the rest of the band kicks in and the pace picks up. I like this track; it's a little different which basically describes Grand Illusion as a whole! The intensity builds and as we approach the last chorus vocalist Sundell appears to be close to losing his lung he is really pumping out those vocals! Heaven Or Hell is the album's first ballad. It's a glorious song with layers of vocals and melodies which like the last track intensifies as the track progresses. New Beginning follows the ballad nicely it's a pop/rock track with an easy going feel, which works in nicely with the ballad. 1982 features some tasty 80's synth as an intro before a very poppy beat kicks in and gets faster and faster. The chorus is frantic, filled with more harmonies, but never is the track overly heavy. Love Lies Buried kicks off with an acoustic guitar solo before rocking out like crazy. This is the stuff Metallica are made of! Ok, not quite, but this is the heaviest track in GI's career to date. It rocks along nicely with a healthy drenching of organ as additional musical accompaniment. Not the best chorus of the album, but the styling guitar work and the sheer energy of the track make it a winner even if it might be a bit too heavy in comparison to the band's traditional style. Back To Yesterday is one of my favourites of the album. A dark and moody track, with a thicker sound and very simple, but memorable chorus. This is what the band do best! Pull You Down continues the trend of the last track and is another highlight. This to me is the band being their natural self pompous, over the top vocals, layers of harmonies, hooks everywhere and a real classic pomp rock vibe. And This Is Why continues the high quality second half of the album. This is a dark and moody ballad with touches of Neal Schon guitar work over a Styx-like orchestral style pomp ballad. When You Were Mine is another great tune. This mid-tempo pop/rocker has a big 80's vibe thanks to the keyboard sound and another very good chorus not to mention some more over the top vocals. On Time is a great finish to the album a simple, very melodic feel good AOR track, with a great chorus and some fine guitar work.
The guys should not second guess themselves and their talents and should just let things flow more naturally. One of the great pomp rock band of this genre and the best parts of this album further proves that.
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| Hodson This Strange World | Frontiers Records FRCD195 |
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Hodson's main man is of course Paul Hodson, the keyboardist for Hard Rain and Ten and was the man behind the music for the acclaimed Bob Catley album When Empire's Burn. Paul's new Hodson project features Pulse guitarist Vince O'Regan, himself part of the Catley team and a fine axeman. This album continues the tone set by the Bob Catley material, but takes it a little further again. The even more intense and dramatic music of This Strange World could best be compared to the classic hard rock of Dio and Rainbow. This is however, a little rougher around the edges than the immaculately produced Catley album. The material presented is very complex there is a lot to absorb and a lot of different elements happening at the same time. I really like the songs I think they are well crafted melodic hard rock songs. But I still find something not quite fitting in the execution - maybe the songs are a little too busy - maybe it's the overload of swirling keyboards or maybe it's just the mix, where the vocals aren't placed high enough to outshine the many layers of musical accompaniment. The variety in songwriting displayed on Bob Catley's album isn't as prevalent here. I found the majority of the album to be pretty similar which is flat out classic hard rock/melodic metal. Track By Track: This Foolish World is a great opening track full of the essential ingredients needed a building intro, a powerful riff and a memorable verse/chorus hook. The track rocks, but saves the heavier stuff for midway through the album. Jelunda is probably my favourite chorus this is a powerful and hard hitting rock epic, with a great hook and a passionate vocal, although I would have liked extra space for the great vocals to breathe a little more. The Calling is another epic over 8 minutes in length this time and once again is filled to the brim with layers of keyboards and guitars. This one takes a little longer to get going, but reminds me of an epic Ten number from either of their last few albums. Big and complex in its sound, the melody however isn't as memorable as some other tracks. My Saviour is another solid track with a good hook and powerful chorus. Again I am reminded of classic hard rock/metal along the lines of Iron Maiden and Rainbow. It's a very busy song and takes several listens to digest. English Rose is a flat out rocker, which ups the already flat out tempo. It's a shorter track in comparison to others on the album, but still contains a lot of music to absorb. This is a real show off track for guitarist Vince O'Regan he displays some fantastic skills with his heavy riffing and soloing to match. Shamen Eyes continues the increased tempo of the last song or two. Another full track with a lot of energy inline with the rest of the album's tracks. Soulman is another very intense track, with a solid chorus, but the tempo and the style is nothing different from the tracks already passed. Light in the Black is a true to form cover of the Dio classic from the album Rising. This is a pedal to the metal rocker with a darker tone. A cool addition to the album. The Swan is the only track that isn't a flat out rocker. This is reminiscent of the Catley and Ten albums and features a more laid back epic rock ballad vibe. Paul gives an impressive vocal performance on this and the slower tempo is most welcomed and gives guitarist Vince another chance to shine.
But This Strange World has a lot to offer and fans of classic British hard rock will really enjoy what's on offer.
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| Zillion Zillion | Frontiers Records FRCD196 |
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Zillion are an interesting bunch. The German hard rock band, feature a tight and powerful sound, mirroring the traditional melodic metal vibe of such acts as Iron Maiden, Helloween and fellow new-comers Altaria. Guitarist and singer Sandro is best known as guitar player for the band Supared, which featured former Helloween lead singer Michael Kiske. With Zillion he has taken some of Kiske's influence and mixed it with Bruce Dickinson's unmistakable vocal character. The self-produced album sounds fantastic and will make an immediate mark among fans of the heavier side of hard rock or melodic metal. The best thing about the whole album besides the powerful sound is the band's knack of weaving a memorable chorus into each song. It makes the listening so much more pleasurable and opens up the album to a whole range of extra potential fans. You And Me is a fine opening number, starting things on a mid-tempo footing. A powerful lead vocal and some great guitar work drive the song, with a great chorus then kicking in. This Day Is Gone is one of the album's more melodic tracks, chunky on the guitars, but a memorable chorus hook. Dirty Little Secret is an intense mid-tempo rocker, with a dark guitar tone and a cool hook. It reminds me again of early Bruce Dickinson tough, and powerful, but memorable. Never Down is an uptempo stomper, with another good chorus hook and a double kick drum rhythm coupled with some (at times) furious riffing. Kryptonite is one of the more commercial numbers of the album and features a great chorus that wouldn't sound out of place on rock radio. It's also the most modern sounding track of this fairly classic metal styled album. The Smile is somewhat lighter, but very in your face and features a rather commercial hook. Wonder Why is another good uptempo rocker with some impressive guitar work and a real classic European hard rock feel. Take It Away is mellower, but features a tough guitar riff and more classic Bruce Dickinson vocals. Day Or Night is the album's big ballad, but remains a rocker at heart. Slow and powerful, a top vocal performance is featured. The Hose cranks things back up to the maximum, with that great chunky guitar sound all over the track. This is another track with a leaning towards modern rock which again could easily be featured on radio. Say Goodbye is a mid-tempo rocker with lots of melody and a tough classic metal delivery.
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Mind Key Journey Of A Rough Diamond |
Frontiers Records FRCD197 |
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This is one for the prog-heads out there. Italy's Mind Key are attracting some attention on the progressive scene and I imagine that will only increase once this is released officially. The band know their instruments and there is no question that this is a very well written and pieced together recording. The album runs over 8 tracks, varying from 3.28 in length to over 11 minutes. The tempo runs the whole gamut, which is expected of such a release. There are soft, reflective passages, parts which touch on melodic metal and others that are straight from the prog-metal Dream Theater handbook. There are also some almost orchestral moments, such as the ballad Without Ann, with soft sentimental vocals providing a great change of pace from the otherwise fairly intense record. Vocalist Mark Basile has a powerful voice that sits in the higher range for most of the time, but like Dream Theater's James LaBrie, can turn raspy to deliver a more powerful message. The band happily mixes things up on just about every track, which will really please progressive fans, but never do they lose sight of the song purpose. Mixing in with the snappy rhythm section and guitar layers are plenty of prog style keyboards, several piano passages and additional synth textures. Not every track is there to highlight the band's progressive talent. Love Remains The Same sees the band hold it back a little and show a more melodic side. And Memory Calling features some great piano work alongside a soulful vocal. The epics Lord Of The Flies and World Of Illusion however are the band at their progressive best, as is the 11 minute closing track Waiting For An Answer, which runs through several different moods.
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Hanoi Rocks Twelve Shots On The Rocks |
Liquor & Poker Music LP6002-2 |
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I'm a bit late with this one as it was released in Europe at the end of last year. But just recently (ok, a few months back) the album was picked up for US release by the new Liquor & Poker label with additional tracks added and some re-mixing of other tracks. Naturally this isn't the original Hanoi line-up, but with vocalist Michael Monroe up front and guitarist Andy McCoy in place, the true sentiment of what the band were all about is retained. Whatever the line-up, whoever the band, this is a great rock n roll album. Michael Monroe is probably the star of this show, with a typically great vocal performance. He may not be the best singer in the world, but he has one of the greatest 'in your face' attitudes. Anyone who has his classic Not Fakin' It album should own this as an accompanying release. This is guitar driven, high energy sleaze rock n roll with little padding and/or BS in between. The band slows it down for a couple of sentimental tracks, but the overall tempo remains pretty much guitar driven dirty rock n roll. Monroe and Hanoi have always had one foot in the punk scene, and those elements are present again here, but melodic hard rock with a sleazy attitude is the driving force behind the album. One note to the record label though folks, if you really have to do a digi-pack release and you include a booklet, how about a pocket to put that booklet in??!! Every time I play this album, the bloody booklet falls out. Most annoying!
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Skew Siskin Album Of The Year |
Ulftone Music UTCD078 |
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This is another title that has been out quite some time, but I have previously neglected to review. Skew Siskin were on the verge of breaking through at the start of their career, but it just didn't work out in their favor. But they survived and continued to work and over the course of the last couple of years have again been receiving the acclaim they deserve especially in Europe. This is not your average melodic faire and will not appeal to traditionalists and those that prefer things pink and fluffy. This is a loud, in your face, modern metal album. But it's very good and the powerhouse vocals of Nina C. Alice are the driving force behind the album. 14 tracks gives the listener fair value for money and there's only a couple of tracks I feel are a little too alternative. The opening track We Hate is a good indication of what's on offer it's a storming angst ridden modern metal track with a ton of drum programming thundering through the speakers. Shake Me is a duet of sorts and that unique voice can belong to only 1 person, yep, Motorhead's Lemmy guests and does a pretty good job of falling in synch with Nina's raspy growl. All Fired Up is one of the more 'old school' straight ahead rockers. Seemingly in retaliation for that last track, Hate Lies is about as alternative as a track could be. It adds texture to the album, but isn't something most will warm to. 2 Much 4 You is another great in your face rocker, while The Goddess is almost classic era AC/DC. The guys (and gal) can slow it down too War And Peace Song remains very heavy, and is a powerful ballad.
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| Jizzy Pearl Just A Boy | Indie jizzypearl.com |
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This is a pretty simple review of a pretty simple album. This is 33 minutes of punk fuelled rock n roll. This is loose, raw, unpolished and pretty rough around the edges generally. But it's also a bit of good fun and I can see a lot of Love/Hate fans enjoying this for what it is. Jizzy Pearl is one of the more energetic frontmen out of the whole LA hard rock scene and has kept himself busy over the years. The album features 10 original numbers, played out by the power trip of Jizzy, Mark Dutton and Dave Moreno. Steve Stevens guests on 3 tracks and Tracii Guns also guests on one track. The acoustic driven Better Days and I'm On Fire are the only moments when the album isn't flying along at a frantic pace, these tracks provide a good change of pace. Elsewhere it's punky hard rock with Jizzy's unmistakable voice providing the needed melodic touches.
Definitely for those that have followed Jizzy's every move. All in all, a pretty consistent record and importantly, one that finds him in good voice.
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| Stephen Pearcy Fueler | Top Fuel Records |
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This record pretty much sums up why there aren't any plans on the table for a Ratt re-union. I don't believe former lead vocalist Stephen Pearcy has any desire to write or record anything remotely close to the music that Ratt was most loved for. 80's LA rock this is not this is heavy, semi-industrial / alternative hard rock / nu-metal, delivered with some true to form sleazy lyrics and that are about the only remote thread that he hangs onto his past with. This is not for general Ratt fans. This is for modern/alternative music fans and even then it's pretty diverse and not an easy listen. Melody is something left by the wayside. The album is primarily comprised of songs running 2 to 3 minutes in length, featuring as many different special effects and style changes as possible. Covered are punk, industrial, nu-metal, effects smothered hard rock and alternative. There is a hint of an old school vibe on a couple of tracks - Dream Machine for example, - but even then Pearcy's voice is buried beneath a ton of effects and distortions. Tracks like Back For More are more programmed than performed and I really can't imagine what audience is going to be tuning in to this kind of album. Then there is Lay It Down, almost hip-hop in its bass heavy programming. A cover of the Ratt track Round And Round updated inline with the rest of the album is the only track to be structured in a traditional way.
I hope that this finds the audience it was intended for, but Ratt fans it won't be. Speaking as someone who has appreciated Pearcy's previous output and his time in Ratt, this to me is just 32 minutes of noise.
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| Kevin DuBrow In For The Kill | Shrapnel (USA) / Mascot (Europe) |
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As previously stated, covers albums can be hit or miss, but generally fall in between somehow passable, even enjoyable as long as you enjoy the artist to start with. There have been a lot of these types of collections around recently; with Quiet Riot frontman Kevin DuBrow the latest to give some classic hard rockers from the 70's a re-working. The band featured behind Kevin, who is in great vocal form, is Kevin Curry, Gunter Nezhoda, Jeff Martin and Michael Lardie. This is a powerful band captured in a fairly loose and relaxed studio setting. This is a good fun release nothing too serious and one can tell the band is having fun, captured in a live-in-the-studio type setting. DuBrow's rough and raspy voice won't appeal to all, but those that are fans will have no problem enjoying this. The songs themselves are performed with respect to the originals, with little deviation apart from that loose, raw, rock n roll vibe. Album highlights include a spirited version of Deep Purple's Speed King, a raw Stay With Me from Rod Stewart's songbook, and Mott The Hoople's Drivin' Sister.
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| Rembrandts Choice Cuts | Rembrandts.com |
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Any Danny Wilde related release is a welcomed release for me. Good also to see his partnership with long time friend Phil Solem continue through The Rembrandts, even without a major label behind them. So this is a greatest hits record as such with the difference being the songs are re-recorded 2004 versions released independently. Why do this? Simple by re-recording the tunes the band gets around having to deal with their previous label and being forced to pay out money to use their own songs. By recording new versions, the guys get to freshen it up a little, plus avoid the expense they possibly could not afford. I'm even more convinced that that is the exact thinking behind this release as the versions included here are very faithful to the originals. There isn't much deviation, so that fact could be a factor before deciding to buy. The songs themselves are all gems. I am particularly pleased by the selection of tracks included picked by the band's fans via their website. They have chosen wisely, with several of my personal favourites included here. Despite not deviating from the original path, I do enjoy listening to this and think the fresh sound has done a few tracks even better justice than the originals. The duo remain in fine voice and have harmonies few can match.
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| Steve Lukather & Friends SantaMental | Ulftone Records UTCD0810 |
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Christmas in July
.why? Why the hell not! Just why though, am I reviewing a Christmas record now? Because I just didn't have time to get to it back in December and it kind of slipped from my attention. But now is as good a time as any, as the quality of the record is unquestioned and it should be highlighted now, so you good folks have time to buy it in time for the next silly season, only 4 months or so away! Steve Lukather is no stranger to solo albums, but he normally adds his unique vocals to the mix. On this occasion it's a mainly instrumental affair, filled with feel good Christmas tunes. Guests come thick and fast on Santamental, with Eddie Van Halen, Gregg Bissonnette, John Pierce, Steve Vai, Lenny Castro, Simon Philips, Mike Landau and Edger Winter all involved! Included are two originals, which feature Luke on vocals. These two tracks are laid back bluesy rockers, keeping in tone with the rest of the album. There's a definite hint of Toto in the mix as well as several tastes from his previous solo albums. But primarily this is a step into Steve's other love a poppy mix of fusion and jazzy, with some classy percussion and sax to accompany the rich guitar textures.
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| Jeff Scott Soto Believe In Me | Frontiers Records FRCD198 |
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The fact this is extremely good and great value for money should be of no surprise to fans of Jeff or scene watchers in general. Jeff knows his audience perfectly and plays to them. He knows what his fans want, as he listens to them through direct contact via message boards and at concerts. So as I said, it's no surprise to hear the first single from the upcoming album is a perfect hit. Believe In Me is a track co-written with Neal Schon that could have wound up on the upcoming Soul Sirkus album. Found to be a little different style wise than the rest of the material, Jeff snapped it up for his solo album with Neal Schon's guitar work along for the ride. The track itself is a groovy uptempo melodic rocker in the finest tradition of Journey and Jeff's last album Prism. AOR fans should enjoy the track, as it's one of just a few commercial tracks from Lost In The Translation. The bulk of the album is heavier and just flat out rocks! As a special bonus to fans, Jeff reached into his vaults for some unreleased bonus tracks. The 4 additional tracks here are all of a similar theme mellower, lush AOR. As I Do For You and This Ain't The Love are both from a songwriter sessions titled the Three Kings demos, featuring Jeff with Talisman band mate, drummer Jamie Borger and Swedish guitar player Goran Elmquist. These are two supremely good AOR ballads. Lonely Shade of Blue is taken from the infamous Slam demos and is another Journey styled power ballad, while Still Be Loving You was written by Jeff and former Bad English and Babys bass player Ricky Phillips (now with Styx) for the Ku-De-Ta project and is more stripped back and acoustic driven a vibe reminiscent of Jeff's acclaimed Alive In Kissing EP from the early 90's.
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| Frontline The Seventh Sign | AOR Heaven |
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Frontline have pretty much kept on formula with this new release with the notable exception of really cranking the delivery of their new songs. Style wise nothing has changed, which will please long time fans, but the boys really do rock hard now. Previous the guys have been best known for being Germany's best AOR band. Their Journey friendly melodies have gradually increased in intensity and funnily enough, I wrote this about their last album: "Frontline are back with their toughest sounding record to date. Their first couple of albums held strong comparisons to Journey and sure enough, vocalist Stephan Kaemmerer retains that style to his voice. But Against The World is tougher than the AOR sounds of recent Journey. This time around the guys have a more distinct European hard rock feel - natural for a German band! - with songs more guitar driven than before. Keyboards still play a strong role - leading the intro for a few tracks, but generally act as a support to strong guitar parts." I have cut and paste that whole paragraph into this review, as I am having a strong case of deja-vu. Just as Against The World upped the anti from Right Attitude, so to does The Seventh Sign from Against The World even more dramatically. This is heavier and tougher again and the band are now well and truly a part of the hard rock fraternity. The choruses, the melodies and the vocals (with required layered harmonies) remain chosen from the AOR handbook, but they are now delivered in a guitar fuelled, in your face, high octane, hard rock style. You Can't Tame Me immediately informs the listener something different is happening here. A more aggressive lead vocal drives the style change this is a heavy in your face hard rocker, but with the band's trademark vocal sound and harmony style in place. This Lie continues to rock, but with the foot off the accelerator a little. The big chorus and the song's multiple layers are typical of the band's style and will appeal to long time fans. Like You Do is slower again, but this time heavier and darker. There is a certain intensity about this track and it suits the band. An album highlight. Getaway is closer to the bands more AOR roots, but still features a tough guitar sound. Another big chorus helps the melodic cause. Take Me Higher rocks big time this is an uptempo track with soaring vocals and another strong chorus. Part Of My Life returns to the darker mood of Like You Do. Where's The Love rocks, but like Getaway touches on the band's earlier sound especially with the very melodic layered chorus. Melt My Ice and This Is My Life are both a moody mid-tempo rockers that work well providing another tempo to the album. Closing the album is You Never Cried, a dark and moody mid-tempo rock track that could have been a ballad on any other album, but in keeping with the theme of this record, is played out as a rocker.
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| Heart Jupiter's Darling | Soverign Artists SOV 1953 |
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This is one of those releases that will divide fans into two opposing camps just as Heart's history has also been divided in two. There's the classic rock / Zeppelin influenced Heart of the 70's, then there was the stadium rock Heart that found the band on top of the charts for several years. The Wilson sisters had a definite blueprint for this release and credit to them; as they have executed that plan with precision. This plan however, was for a return to the band's early sound of the 70's back to their roots - mirroring the sound of their earliest albums such as Dog & Butterfly, Little Queen and Dreamboat Annie. All the information leading to the run up of the release of this album suggested this would be a return to that style and Heart deliver on that promise. That however leaves fans of the other Heart era out in the cold. The more acclaimed Heart stems from the 70's, however; the most recognized Heart comes from their stadium rock era of the mid-late 80's and early 90's. Chart topping albums such as Heart, Bad Animals and Brigade saw them selling far more units than ever before and reaching a far bigger audience thanks to mega-hits like the These Dreams, What About Love, Never, Alone and also the utterly horrid All I Wanna Do Is Make Love To You. I fall into the category of stadium rock fan. I still rate 1985's Heart as an all time classic and still enjoy Brigade and Bad Animals. From there the album quality certainly become less consistent, but each release from Brigade and the side-project Lovemongers onwards saw the gals moving in a circular path back to their Zeppelin styled beginnings fighting to throw off the super-ballad tag attached to them after the success of a couple of those overtly syrupy ballads. And that's where we stand with Jupiter's Darling the perfect album for fans of the earliest days of Heart and those with a heartfelt passion for the 70's and classic rock in general. This album is perfectly recorded, performed and executed. You really can't fault the delivery, or the purpose. But as a fan of their fired up anthemic AOR days, I can't help but feel this album isn't for me. I found it a little dull overall and found my mind continuously wavering after reaching the midway point of the album. At 16 tracks I believe the album is too long, but after several years waiting, die-hard fans won't be as distracted. Musically the album moves between guitar driven 70's rockers and stripped back acoustic numbers. Both with varying pace. There are a few uptempo stompers, but several more mid-tempo numbers and the acoustic tracks are largely very laid back. For example the last 4 tracks of the album are all acoustic. There are at least 5 others on the album leaving about 5 or 6 Zeppelinesque rockers to be placed between them. There are several fine songs No Other Love, Things, Make Me and Enough are all sweet tracks. Funnily enough, in this instance, it's the rockers that fail to capture my attention.
A little too laid back in places, with not enough spark in the harder rockers, but without a doubt, the band remains tight musically.
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| Human Temple Insomnia | MTM Music 0681-104 |
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Human Temple are a hard bunch to pigeon hole, which might just work in their favor, as originality in rock n roll isn't a hard thing to come up with. The Finish rock band play a mixture of European melodic hard rock with softer more AOR moments all wrapped up in a somewhat dark and moody package. The vocals of Janne Hurme have a definite accent to them, but the power behind the delivery should compensate. It's a very well produced album considering it's a debut album and the band are somewhat unknown. The opening track I'm Sorry is about as powerful an opening as you could wish for the pounding rhythm is complemented nicely by some strong vocals and a hook to hang your hat on. They then follow that up with Goin' All The Way - a more uptempo rocker with another great hook. I found Dream Child to be a little plodding, but Out Of Love is a great melodic rocker with an AOR heart. I'm also impressed by the piano ballad Desert Rain. Passionate and powerful and just a little bit different. There are a couple of fillers, or at least the quality of the aforementioned tracks isn't carried throughout, but overall the consistency is very good.
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| Token Punch | MTM Music 0681-103 |
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Token's first album Tomorrowland was a mix of European styled hard rock and light metal. I said of the debut: Vocalist HB Anderson should already be known, as he sang with Scuderio on their first album, Walking Through Mirrors. This album isn't as heavy or as progressive as Scudiero. It's more straight ahead, commercial Scandinavian hard rock. That remains true, but the music of Punch is far more varied. In fact, so varied it's of detriment to the album as a whole. Not to mention Mattias Ahlen has replaced Anderson on vocals. He is a similar style vocalist, so that isn't the cause of any problems. I just think this album lacks songwriting quality and direction. The bulk is heavy rock, but this album sees the guys stretch out in a heavier, more aggressive direction while also updating their sound to a more modern metal feel. But it is the fact the band changes their direction throughout the album that causes some problems. There is moody hard rock, modern metal and even some lighter modern rock moments. The diversity can be described by highlighting a few tracks: Tear Down The Walls is a solid hard rocker with a modern riff, Free I'm Gonna Roll is double kick drum fuelled metal, Sometimes is moody pop/rock, then on Wake Up it's a more aggressive modern commercial metal feel a la Evanescence. Falling heads back to a more straight ahead hard rock style like then opening track and is one of the album's better songs because of it.
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War & Peace The Walls Have Eyes |
Z Records |
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I'm glad I gave this album some time to grow on me I'm a fan of Pilson, but don't necessarily love everything he does. He has a good ear for more updated, modern tones which is something I'm not always into. The new War & Peace album is the same. Much like Pilson's last project Lynch/Pilson, The Walls Have Eyes is a modern rock themed album, with darker, heavier rock than the lighter stadium rock of Dokken. But where this differs from Lynch/Pilson, I think the songs are better and just that little bit more memorable. Let's be blunt this album rocks big time and any fan of Pilson's work in general will already own this record and appreciate it. For others it might need sampling first. There's a certain 70's flavoured Zeppelin vibe to a few tracks, but generally the music centers on a tuned down, dark and heavy modern rock feel. But Pilson's song writing and vocals tend to have a melodic effect on the otherwise heavy material, making it more appealing. I wasn't into this release at all to start with, but it's one of those albums that just gets better each listen and in the end I rather like it and rate it just a little better than the Lynch Pilson release. That said, you will still have to be a fan of darker, modern tones to fully appreciate this.
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Various Artists A Tribute To Kiss |
KOCH Records |
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Kiss related releases come thick and fast whether it is from a live release, other compilations, solo projects or the dreaded tribute album! Tribute albums are a dime a dozen, but by far, the best ones have been those with Bob Kulick behind the desk. Just take a listen to the Aerosmith and Van Halen tributes Bob produced. This time it's Kiss and 11 familiar tracks are given a work out. Flawlessly produced and well performed, the only criteria to enjoying this is a love of Kiss and the individual guests covering the tracks. And just who is involved? Well Dee Snider, Doug Aldrich, Marco Mendoza, Steve Lukather, Tommy Shaw, Jip Winger, Mike Porcaro, Robin McAuley, Mark Slaughter, CC Deville, Tony Franklin, Bruce Kulick, Fred Courey, Phil Soussan, Jay Schellen, Phil Lewis and more. Best tracks include the Dee Snider sung Detroit Rock City, the Tommy Shaw sung Love Gun, Kip Winger's version of I Want You and Robin McAuley's I Stole Your Love. The only track I won't ever play again is Shout It Out Loud, featuring the woeful Lemmy. Please tell me why he continues to be invited to perform lead vocal duties on all these tribute albums? Motorhead are legendary and Lemmy is a metal legend, but outside that band his vocals are truly out of place. An added bonus to this pretty classy release is a bonus 34 minute DVD featuring in the studio interview footage with just about every person involved in the making of the record. Definitely an example of how such ideas should be executed and far superior to the all to brief and fairly pointless DVD included on the Influences & Connections Mr. Big release.
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| Bill Leverty's Wanderlust Wanderlust | Indie leverty.com |
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I guess the real point to a solo album is to expand one's repertoire and record something outside the confines of what is expected of your main gig. If so, then Firehouse guitarist Bill Leverty has done a good job. This record is far removed from the crisp stadium melodic rock of Firehouse. This is a guitar driven blues-fest in the best southern rock tradition of ZZ Top, early 38 Special and Lynyrd Skynyrd. Full points to Bill for writing in an alternate style than normal, and still managing to create some very likable songs with solid choruses and memorable hooks. This album flows nicely from start to finish, displaying some fine guitar work which varied in delivery from track to track. Bill's vocals are a long way from those of CJ Snare, but his dark, raspy blues drenched voice suits this material in the same fashion as the band's mentioned above. So this is a solid and very enjoyable album but I don't recommend it for every Firehouse fan. Not at all in fact, appreciation of this album will solely depend on your personal tastes. It's a very well recorded and written album, which is half the battle, but you must be partial to southern rock, blues and a darker, earthier style of music to get the very best out of this record.
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| Dead Heart Beating New Blood | Song Haus Music 65582-55032-2 |
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Dead Heart Beating is the new modern rock project from former Airborne guitarist David Zychek. Airborne was best known for launching the career of famed producer Beau Hill, but Zychek also went on to good things, working with Night Ranger, Ken Hensley and most recently, the new upcoming Diving For Pearls album. But Dead Heart Beating is David's main focus. As stated, this is a more contemporary, modern rock project, with a strong bluesy edge. While it certainly breaks new ground for David, I fear that some melodic fans won't want to come along for the ride. This has nothing in common with Airborne, nor any other project previously completed by the guitarist. This has an aggressive edge, is experimental in places and features a mix of today's modern rock. Vocals are handled by David himself, which is my main problem with the album. I don't like the vocals at all they are gruff to say the least, although there are glimpses of a far more melodic style, which is a style I will guess he could have sung in had he chosen to go down that path. The songs don't really follow an expected formula and the choruses are somewhat tones down. I would suggest only the bravest melodic fans look further, or those with an open mind to alternative styled rock music.
On a more positive note, despite my lack of enthusiasm for the album, it is true to David's vision of an album that showcases him doing what he loves the most - combining high energy rock music with just the right amount of Texas blues influence. In David's own words - "Think early ZZ Top, Led Zeppelin with a little Aerosmith thrown in for good measure "
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| Dokken Hell To Pay | Sanctuary Records |
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Much like the Scorpions with their excellent Unbreakable album, Dokken have given careful thought as to what fans want and expect. Don Dokken and his cohorts have seemingly taken the advice given that fans want a more traditional Dokken album - and added their own stamp of individuality to it, in an album that mixes classic Dokken with the more toned town stylings of recent efforts. What we are left with is an album that remains dark and mainly mid-tempo, but returns to the sound the hard edged guitar playing that George Lynch so eloquently delivered. New lad Jon Levin who has long been part of Don Dokken's inner circle - is no stranger to Dokken or Lynch's style. His part in this album is not to be undervalued in any way he rules this record. Don Dokken's vocals are perfectly suited to the material on offer. In fact, I would suggest the material was written around Don's vocals and his current choice to sing at a lower octave than he did in his heyday. He no longer appears as powerful a singer, but still commands respect in the way he works within his abilities. He sings somewhat within himself, but as I said, the writing style of the album allows this to still be appealing. His delivery hasn't changed much from the band's last album Long Way Home, which caused much debate among some fans who found it too laid back. So if Don hasn't changed why is this album so much better and why will fans be very happy with the result? The answer is Jon Levin. While the material remains in the same vein of Long Way Home, the tone of the album and the guitar playing does not. While it isn't Tooth And Nail or Under Lock And Key, this is a much heavier guitar driven record, filled with plenty of riffs and memorable solos. Track By Track: The Last Goodbye sets the album's tone. Mid-tempo, dark and as heavy as anything off Long Way Home. It's not the best track on the album, which is refreshing, but it's a solid start. Don't Bring Me Down sees the band jump into double time for the first time in a while. This is a classic style Dokken rocker, with a great Lynch style guitar riff and classy soloing throughout. Escape starts out slowly, but kicks into gear with a solid guitar riff. A melodic vocal flows over a slow slightly modern rock base, with a good chorus helping the song stand out. Haunted brings the tempo back up a little and features some more fine guitar work. This is a good mid-tempo rocker, one that features a big fat rhythm section. Prozac Nation is another album highlight. This is a crunchy hard rocker that reminds me of Sunless Days from the last album. I'm particularly impressed with the guitar riff and the mid-song solo. Care for You is a great ballad which sees some varied use of electric/acoustic guitars in tandem with a piano and a very romantic orchestral feel. Better Off Before gets things rocking again. Once again it's only mid-tempo, but Levin's guitar work is authorative and this slightly modern sounding rock track works well thanks to some catchy hooks. Still I'm Sad is a slow to mid-tempo track neither a ballad, nor a rocker. It's a dark, moody track that fits the tone of the record, but lifts thanks to a good chorus hook. I Surrender is another dark and moody track and offers something different again. Another good chorus helps the track stand out and its overall dark vibe makes it a favourite with me. Letter To Home sees Don dabble with his fascination for Beatlesque melodies. The verse is very Brit-pop, while the chorus is heavier. The song features a nice guitar solo. Can You See closes the album in a more traditional Dokken vein, albeit, in the same laid back manner as the rest of the album. A solid mid-tempo rocker. The bonus track on offer is a more stripped back version of Care for You, which essentially is the same track as earlier in the album, just with the lead guitar and rhythm sections removed. The strings and piano play the dominant role in this version.
Possibly the best album the band could have made under all current circumstances. Best played at loud volume to best appreciate the guitar work and the solid production value.
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| The Creek The Creek/Storm The Gate | Escape Music ESM101 |
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Escape Music have now released a few multiple CD re-issues packaged in this classy digi-pack format. We've already had packages from FM, Orphan, and Sugarcreek. Now for The Creek - the group that was the sequel to Sugarcreek. Back in the day, the band had decided their material had changed substantially enough to warrant a slight name change. The name The Creek was adopted and the band continued on without skipping a beat. This package reflects the material the band recorded under the name The Creek and is an essential companion to the Sugarcreek digi-pack. The self titled The Creek release is a little gem a classic slice of early 80's pop/rock AOR, this album is filled with great songs and great hooks. At times the band sounds like a more AOR version of Henry Lee Summer, employing the same simple, catchy pop formula that won him a number of dedicated fans. The sometimes raspy, honest voice of Tim Clark could not sound better. The band has a quirky songwriting style that sees their melodies and structures move in ways not necessarily expected, or by the book. It makes for an interesting and memorable set of songs. The album features a simple production, which at times utilizes other non-traditional instruments such as brass and horns. Well worth investigation even you haven't heard the album before just make sure you are a fan of early 80's pop/rock. Storm The Gate was a little harder edged again, with the band taking on the look of the times big hair and stage wear with attitude they had that whole early "Bon Jovi" glow. The album made it to CD for a short while, but has been long out of print. There are several memorable tracks on offer, but my personal preference is for the better songwriting of the debut. This album doesn't have the legs or the uniqueness that first album has. Included as 4 bonus tracks is a recording the band made with a new lead singer sometime after the Storm The Gate album. The cassette only release features music in the same vein as the last album, but the new singer Jay Willard doesn't have the warmth of original vocalist Tim Clark. The tracks are a worthy addition and make a great package complete by their inclusion.
The excellent package, complete with newly commissioned artwork for the front cover and the crisp remastered sound are only bonus points on what is already a release filled with great songs.
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| Gene Simmons Asshole | Sanctuary Records |
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Gene Simmons is an interesting personality. Is he more business than music? He is more content on conjuring up new merchandise opportunities instead of writing new material? One would like to give him the benefit of the doubt, but after living with this album for several days, one could only conclude that his devotion to his music lies second behind making a quick buck. I went into this album with an open mind. I'm a fan of Kiss without being devoted to them. I think Paul Stanley is a great talent. From this album I expected a diverse range of songs as suggested by the rather over the top press release issued recently, but I was still very much taken by surprise. Surprised at how bloody awful this is. This is just horrid. Simply put this album has no direction, no balance, no quality control and no songs. There just isn't any sense that this album was written and recorded for art's sake. I'm still shocked that Gene would approve of and release such an album which will stand within his discography for the rest of time. I'm not a fan of directionless albums. I like cohesive bodies of work that features songs written and recorded at the same time for the same purpose. I don't like disjointed albums and as far as chopping and changing of styles that don't mix or match, this record is certainly one of the worst offenders I have heard. Track By Track: Sweet & Dirty Love is the lead track being promoted from this set of songs. That's of no surprise, as it's easily the best track on offer. This is a groovy, Kiss inspired 70's rocker with a nice fat bass sound and a traditional Simmons vocal. But from here it's all down hill. Firestarter is an exact repeat of the Prodigy industrial-dance hit, with Gene's ordinary vocal simply laid over it. Weapons Of Mass Destruction is a horrible grunge inspired hard rocker, which leads into a soft programmed synth ballad - Waiting For The Morning Light. This track features Bob Dylan. It's an interesting and a well crafted acoustic based track, but is this what Gene Simmons fans want? And what a change in tempo's and style. The last three songs are not strong, but laying them end to end just emphasizes how dire they really are. Four massive style changes within four songs - there is just no consistency to the sound or style. Beautiful makes it five styles from 5 tracks. This is a psychedelic acoustic pop ballad with a bland vocal and a dull chorus. Asshole features yet another style an uptempo modern melodic rocker, but thankfully it's quite a lot of fun, features a great lyric and a catchy chorus at last. Funnily enough, Gene didn't write the song. Now That You're Gone is a Beatle-esque 70's pop ballad similar to Beautiful, but the inclusion of this track is seriously beginning to make this a very laid back album. Whatever Turns You On is another good lyric, but fails to lift the tempo past slow to middle of the road. Dog is just utter crap. More semi-alternative pop with a heavy modern rock guitar riff buried underneath and a (barely) spoken vocal. Black Tongue is a groovy retro rocker featuring the Zappa family. Somewhat Kiss related, but no great vocal effort again from Gene. Carnival Of Souls is another Kiss off-cut the band might have been better of for it too. A plain, heavy alternative rocker with little soul. If I Had A Gun is another acoustic based pop song with another banal vocal. I Dreamed A Thousand Dreams finally brings this disaster to an end. Yet another soft-pop track with little melody and yet another bland vocal.
I imagine that some true die hard Kiss/Gene fans will vocally pronounce their admiration of this album, but I strongly recommend that no one look sideways at this release without sampling it heavily first. In the end, I don't believe anyone will stand up for this album and proclaim it to be a great piece of work. In my humble opinion it's utterly horrendous - even more dire considering Gene is such high profile name in the business.
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| Jettison Eddy Trippin' On Time | Nuerra Records 33102 |
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Let's lay the cards on the table this is not a new release it's several years old, but has been dusted off and given a new lease on life thanks to new artwork and promotion from the label that originally released it. And it's a good thing for the band, as this is a pretty impressive record that was unlucky not to get wider exposure first time around. Jettison Eddy are one of those straight up modern rock acts from the late-90's that are all over the radio then and still. The guys play a blend of lighter commercial friendly modern pop/rock (a la Matchbox Twenty and 3 Doors Down) through to a slightly heavier sound as the album goes on that could compare to Everclear or a lightweight Pearl Jam. One requires an ear for modern rock to appreciate what's on offer here, but in that style of music, tracks like the extremely radio friendly and catchy Long Break and the rather familiar sounding A Little Piece should be most welcome. The title track digs up some tasteful Hammond organ and some good harmonies, while Walk With Me sounds like Glass Tiger meets Matchbox Twenty. Tonight We Run remains the pick of the album for the ballad side of the band - a first rate mellow rocker that would be welcomed on radio.
If 90's American rock is a particular like, or you are digging what's on FM radio now anywhere in the world, then Jettison Eddy will appeal and should be investigated.
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| Daniele Liverani Daily Trauma | Frontiers Records FRCD190 |
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It seems that I have the daily trauma of reviewing a new Daniele Liverani release! The Italian guitarist has been very busy it seems, but the truth of the matter is that this album was actually recorded in the late 90's. The album is being released alongside the major Genius release as a mid-price title. And for those looking to complete or supplement their Liverani collections, or gain further musical insight into the creator of Genius, what better way than through this album? The music itself is of no surprise its intense European favored hard rock/melodic metal with neo-classical overtures and flashy arrangements. But nothing is as flashy as the guitar playing this is one for fans of solo shredders and the musical likes of Ring Of Fire, Yngwie Malmsteen, Tony McAlpine and of course, the Genius records themselves.
A tasteful album from a fine guitarist/songwriter and a nice accompaniment to his other projects.
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| Adriangale Crunch | Kivel Records |
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The biggest surprise of 2004 is not the fact that Adriangale have been resurrected and recorded an album in secret, but the fact that this totally blows both previous albums right out of the water and then some. In fact, this is not only the band's best ever release, but the best ever release from Kivel Records as a whole and is a definite contender for album of the year. Previously content to walk in the shadow of Harem Scarem, Adriangale's main man Vic Rivera has really pulled one out of the bag. This release is light years ahead of Feel The Fire and Re:Programed for maturity of songwriting, quality of production and the performances delivered. This is a better record in every single department. And credit must also go to powerful new guitarist Scott Millar, replacing Eddie Campbell, who abandoned the band for a solo career on another label and hasn't been heard from since. For perhaps the first time, Adriangale have their own style. In no way have the guys abandoned their trademark sound, but they have built on that and have added a new twist that will define them as a band. Crunch is a more technical record it's a more intricate record and it's definitely a more complete record. This isn't as straight forward as previous efforts and features a darker and moodier vibe, not to mention a tougher, in your face guitar sound. Add to that a powerhouse production and added layers of everything else and you get an album that really will see the band hailed alongside the likes of better know artists. The attitude and sound are now closer to Danger Danger (4 The Hard Way) and Van Hagar than Harem Scarem and it suits the guys 100%. I've always felt Adriangale were a great band, but something was missing especially production wise. The songs were not supported by the sound quality they needed. That too has been corrected here big time. Even better songs are now fully supported with a full beefy sound that rivals major releases for quality. Track By Track: Breaking Stride is a short, but rocking instrumental intro that fades before Crunch! kicks in. Jamie Rowe is in full force, singing with more passion and a more aggressive edge than ever before. This rocking track that isn't a world away from the track Feel The Fire is supported by a hard edged AC/DC style riff. The chorus takes a while to appear, but when it does it's a cracker! The additional layers of vocal harmonies and production quality are noted! Faith is one of those uptempo melodic rock tracks that fans love a big crunchy chorus and a verse that is totally driven by a great vocal hook. The song is supported by some fine guitar work, but its Jamie's vocal work that adds extra melody to this straight up rocker. Without A Moment's Notice is a first rate, emotional rock ballad. The track oozes class and features a big Def Leppard style sound, along with some highly emotional vocals. Harmony vocals are expertly placed again and come time for the killer chorus, the track is blasted into the stratosphere. Tougher Than It Looks and When In Rome both take us back to the basics straight ahead rockers with striking guitar riffs and a tough lead vocal in both cases. "Tougher" features a strong chorus with some tasteful guitar soloing, while "Rome" features a swaggering groove and a more laid back vibe. At this point I wanted to hear something different and the band delivers big time. This remains one of my favourite tracks from the album and showcases the band's new found maturity in songwriting and delivery. Long Gone is a dark and moody track, with an intense feel more in line with the last offerings from Van Halen. But the chorus strikes out against the rest of the song, transforming the angst ridden song into an anthemic sing along. The Thin Line continues the darker and tougher vibe of the last track, with an even heavier guitar and rhythm line. Jamie sings within himself initially before breaking out and providing additional melody to the song, just with his vocals. The chorus is simple, but effective in the context of the track itself. Question continues the dark and heavy vibe set by the last few tracks. The band remain true to themselves though, this is classic Adriangale - just a little more intense. The verse builds throughout, it's almost like you can hear something coming. And like the title track we get two versus before chorus time, so when it does arrive it has even more impact. And man, does this song rock. I love this chorus it remains mid-tempo, but Jamie reaches out there and is supported by layers of harmony vocals and some great guitar riffs. Killer stuff by any definition of the term. And this again reminds me of later day Van Halen and recent Danger Danger. Freedom is a 3 minute instrumental interlude in the best tradition of what Pete Lesperance does for Harem Scarem. Very melodic, very pleasant and in the scheme of the album, is well placed. It ends in the same tone as This Time starts. Softly does it, before guitars and the band kick in. This breezy feel good pop rocker is the perfect reply to several darker tracks and is another example of why this album works so well it's fabulously put together and really does have a smooth-ass running order. A great chorus and some more well placed harmonies make the track another winner. Finishing the album in fine style is the uptempo rock ballad Last Call. This is a rich, mid-tempo'd multi-layered track that again oozes class and features a moody and passionate vocal from Jamie and several layers of guitars.
This is a classic melodic hard rock record in the best and most melodic tradition of the genre we all love. This is the type of record bands strive to record and labels search to release. I can't imagine anyone not being impressed with the record and I know that anyone that has previously bought anything Adriangale or Jamie Rowe is just going to be blown away. A major release by any standards and one that helps prove there is life in this genre and this style of music.
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Genius Episode 2 - In Search Of The Little Prince |
Frontiers Records FRCD189 |
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It has to be said that one must definitely be in the right mood to take in and enjoy such epic releases as Genius.
One must also have a taste for the grand scale and over the top sentiments of big projects like rock opera's or concept albums. The mastermind behind Genius is Italian guitarist Daniele Liverani. He proved himself with Episode 1 and returns now with Episode 2 with still one more installment due to come in the evolving story of Genius - a clever boy, who becomes accidentally captured in a parallel dimension where he discovers the secrets of the creation of human dreams. During the three chapters of the story the listener shall be able to experience the thrilling adventures of Genius as he has also creates a lot of problems and paradoxes which put the whole existence and the safety of that parallel dimension in serious danger. As you can see, the concept is not for the faint hearted! Nor is the music it's an album of nearly 80 minutes, filled with hard rock, metal and progressive elements all the necessary ingredients for an epic rock opera. I find my comments matching that of the debut almost word for word after all, this is a three part release and the sound is not going to very much. Read my review of Episode 1 for additional background information. It's extremely well produced and evenly mixed, with enough breathing room given for all elements to be heard cleanly. The album takes a lot to get into as almost every track is epic in length, many clocking in over 8 minutes. But give it the time and rewards will come. The main difference between the releases is the vocalists employed. As new characters in the story emerge, new vocalists are used. In this volume there seems to be a bigger emphasis on tough, powerful European metal vocals, with Daniel Gildenlow (Pain of Salvation), Russel Allen (Symphony X), Edu Falaschi (Angra), Jeff Martin (Racer X), Rob Tyrant (Labyrinth), Eric Martin (ex-Mr. Big), Johnny Gioeli (Hardline; Axel Rudi Pell) and Liv Kristine (ex-Theatre Of Tragedy) all used as lead vocalists. All put in great performances, with Gioeli giving his best Axel Rudi Pell on What He Has To Say and Allen and Gildenlow both doing their best power metal vocals. Eric Martin performs one of the Episode's softer and more thoughtful tracks My Dear Son, which placed at track 6 makes for a nice circuit breaker amongst the metal tension of the tracks surrounding it. Interesting to hear Eric behind an 8 minute epic rather than his usual 3 minute pop rockers. Liv Kristine performs another highlight of the set, the passionate and powerful ballad To Be Free. Elsewhere it's pedal to the metal in most cases, with Liverani and his cast of vocalists the stars of the show. I could however, do without narrator Philip Bynoe. Not him personally, voice-over's between tracks are not my personal preference and it would have been better to track the album with the spoken word storyline's as seperate tracks.
I find myself preferring the rock opera's Nostradamus and Once And Future King over this for one reason alone shorter songs with more pronounced choruses. Genius is a more intense and less commercial release, but still a very good listen.
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Liberty N' Justice Welcome To The Revolution |
3 Chord Records |
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This is Christian rockers Liberty & Justice's 5th album I believe. In a change of tact, the band's founder Justin Murr who seems to have endured most of rock n roll's challenges during his career decided to invite a whole range of vocalists to sing one track each. Most came from the Christian music circle, but as things developed, the circle widened to include several big names from the rock scene. The result is Welcome To The Revolution, a rather varied and diverse rock record. The biggest issue in using different vocalists throughout a record is creating some sort of consistency in the delivery and ensuring that the record is still cohesive from track to track and as a whole. I'm not sure that has been achieved due to the extreme variation between styles, sound quality and singers. The tracks on Welcome To The Revolution are wildly varied as is the style this features everything from modern hard rock to acoustic pop. This record works well in places, but in others is challenging to listen to and last the distance. Some of the vocalists just don't cut it and the record might have befitted from being a few tracks shorter. The production is also extremely varied. Some tracks sound sonically perfect, while several others are solid, but a few are guilty of being a barely acceptable demo standard. There is also the question of style with two or three rap-rock vocals employed. I'm not sure how these will be recieved, as most rock music fans are pretty unforgiving to artists that experiment outside their comfort zone. Track By Track: Noise featuring Jamie Rowe is a fist pumping aggressive modern rocker with a solid hook and proves what a talent Jamie is able to sing nu-breed, metal and classic melodic rock with ease. The best track on the album. Anything featuring Michael Sweet is going to be good and the hard rock of Blind Man's Bluff is no exception. The production isn't neatly as strong as the opening track, but the vocal is very enjoyable. A solid chorus, from which the title of the album is drawn. Shed My Skin is a moody modern melodic rock track, with a solid sound and some nice piano and organ parts. However I have a hard time hearing vocalist Lou Gramm in this. I have no idea what has happened to his voice, but he barely recognizable from the classic Foreigner days here. Certainly not what I was expecting or hoping for from Lou, but still a solid track. Rebel Son is a cover of the classic Survivor track and features Paul Q Pek of One Bad Pig on vocals. This is a classic AOR anthem and I know Survivor fans are always interested to hear interpretations of the original. But guys steer clear of this. The production is average at best and the vocal is just awful. There is no way this track should have made the final cut. Only Heaven Knows is typical Shine era Mitch Malloy perfectly produced, easy going, happy go lucky pop rock with a great vocal and catchy chorus. Much better and another highlight. One Word features the always great Ken Tamplin. Again, this is typical Ken, with power, poise and that great vocal. The song itself is a modern-ish mid-tempo melodic rocker. Do You Know is a well crafted acoustic pop track featuring Bob Carlisle. The track though is out of character with most of the album's material and will be a take it or leave it for most listeners. Change Comes Around is a cover of the Harem Scarem classic and is performed about as faithfully as one could here and features a duet Harry Hess of Harem Scarem and Mike Roe of The 77's. What can I say, Harry sounds great, Mike doesn't and the track features a production quality that doesn't do the song justice. Rise is another left of center track totally out of character with the rest of the album. This track, featuring Scott Wenzel of White Cross is a rap/rock track with another average production sound. The Lord's Prayer features Robert Fleischman on lead and is another highlight of the album and sees the guys back on track. This is an enjoyable, moody, modern melodic rock version of the hymn. It's About Love is another tune that should have been cut. The production is barely demo standard and the mix is horridly muddy. Petra's John Schlitt sounds in fine voice, but it's not a clear and audible sound. Bargain Bin, featuring Greg X. Volz of Petra is better a solid, mid-tempo rock song. Forever, I Love You featuring Doug Phelps of Kentucky Headhunters is a laid back acoustic driven ballad of reasonable quality. Holy Roller featuring Mitch McVicker is another track that just doesn't match the quality/style of some earlier tracks. Shouldn't have made the cut. Cain 2 Abel featuring Dale Thompson of Bride is a in your face melodic metal track that is pretty enjoyable. FHL featuring Rick Florian of White Heart is yet another track featuring rap-rock vocals. Pass. Foolish Child features Jeff Fenholt of TBN/Black Sabbath. This is an acoustic pop rocker that has an almost folk vibe to it and is yet another example of the wildly varied styles included on this record. Dr. Love is a track that I am still regretting hearing. This is a rap/rock version of the Hardline classic featuring Michele Lynn on vocals. While she sounds ok, the style doesn't and the production is also way below acceptable. And why rap on this? Why rap on any of these songs? This release is being targeted at rock fans and I don't know of too many of those that are happy to accept rapping vocals.
The band should also have decided what audience they were targeting before embarking on recording and press and promotion. Of 18 songs included, only 12 should have made the cut and of those 12, only perhaps half will appeal to melodic rock fans. Welcome To The Revolution includes a few gems, but you have to dig around to find them.
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| 707 Mega Force | MTM Music 0681-99 |
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MTM Classix roll out their very first true classic with the long awaited debut on CD of the much loved 707 album Mega Force. Formed by guitarist Kevin Russell and Jim McClarty and featuring a varied line-up throughout their career, 707 were another band that were building to success before being cut down on the verge of greatness. Mega Force found the band fronted by AOR legend Kevin Chalfant. Kevin stamps his authorative vocals all over this record, which is a true 80's gem for fans of pure early era AOR. Time has been pretty kind to this album and despite sounding a little dated, the 1982 release still sounds fresh and bubbly. Best of all, it contains some cracking keyboard driven AOR tunes that will have owners of the LP running for the stores. Anyone not familiar with this particular classic might get a good idea of it's sound and style by playing that other classic Chalfant fronted album The View (or VU as it was re-released). The bonus tracks include a couple of different versions of the title track and some unreleased demos that don't quite match the quality of the album, but make for a tasty bonus. One notable absence is any mention in the liner notes, or additional comments from Kevin Chalfant. Clearly a sign of the tension between him and the band that remains even today.
Fans of early 80's rock, Kevin Chalfant and American AOR should all be lining up to grab this lost classic. A very worthy re-issue.
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| Alyson Avenue Omega | AOR Heaven |
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Sweden's Alyson Avenue are back with album number two and continue to deliver what they are clearly very good at pleasant, keyboard driven, middle of the road melodic rock/AOR. Vocalist Anette Blyckert has a great voice for the material and continues to remind me of a Swedish Fiona or Robin Brock (remember the UK singer's acclaimed debut?). There are also healthy comparisons to Now & Then's Dante Fox another British AOR group that have gone very quiet. The guys know their craft and their place within the scene and stick to the formula very well. This is finely crafted, very melodic and perfectly mixed AOR, with a ton of keyboard swirls and good rocking guitar licks. But most importantly, there are some great hooks and each song features an easily recognizable chorus and memorable vocal. It's hard to pick the track highlights which in this case is actually a compliment, as they are all of equal standard and consistency. No fillers on board here. My personal favourites though are the more anthemic numbers When Dreams Fall Apart, Do You Ever Miss My Passion and I Still Believe all top quality female fronted melodic rock.
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| Wicked Sensation Exceptional | MTM Music 0681-98 |
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I like the title the guys have clearly made some progress from their debut Reflected, but the title does overstate things a little! What Exception is, is a very good slice of uptempo, guitar driven European (read: German) hard rock. This isn't anything amazing or overly original, but consistent throughout and an enjoyable listen. Mixed by Pink Cream 69's Dennis Ward, and featuring Fernando Garcia on vocals (ex-Victory), the guys are beginning to carve out their own identity, moving away from the David Coverdale/Whitesnake sound of their debut a little. This is a harder edged sound and a slightly tougher approach more into a European metal vibe, but with hard rock heaviness. The guys know how to rock and deliver an album of hard rock varied in pace between mid and uptempo, with only 1 track that comes anything close to a slow ballad. The mix is excellent as expected, but the production quality may not be quite as good as the debut this is a little muddy in places especially with the keyboard sound.
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| Earl Slick Zig Zag | Sanctuary Records WENCD216 |
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I have great respect for Earl Slick's talents as a guitarist and as a composer. I remain a fan of his from the Little Caesar and Dirty White Boy days. Sadly Earl seems to be suffering a dose of Michael-Bolton-itus and has neglected to mention these bands on his website discography or biography. That may not be a bad thing, as this release has little to do with those releases anyway. That was earl the rocker this release (his 6th solo album) is Earl the artist and quite frankly, it really doesn't interest me. Before you send it hate mail, let me just say that the guitar work on this album remains high class and the production is also very clean. But for melodic rockers this album is dull. The opening track is a classy instrumental, but elsewhere it's experimental pop which is ok in itself, but again I make the point this is not a record for melodic rockers in general. The David Bowie sung track Isn't It Everything is the album's highlight laid back still, but a class above given the use of Bowie's talents. That major disappointment is the Joe Elliot sung track. I'm not sure what Def Leppard fans will make of the track a psychedelic acoustic driven number that really doesn't go anywhere and doesn't utlise Elliot's distinct vocals in any way.
The vocal tracks are the best with The Cure's Robert Smith, Martha Davis of the Motels, Joe Elliot and David Bowie all guesting. But it's not enough to save a largely laid back and dull collection of songs.
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| White Skull The 13th Skull | Frontiers Records FRCD188 |
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With the great depth of European metal releases on the market, it's going to be hard for White Skull to pass this one off successfully. It really doesn't add anything new to flag potential buyer's interests and is below the rather high standards set by other top releases in the Metal genre currently on the market. I have a seriously hard time getting past the very ordinary vocals of Gustavo Gabarro, who shouts his way through most of the album. The music on offer is ok standard European heavy metal with a more aggressive attitude than most. Fans of old school Iron Maiden or Motorhead might find some enjoyment in this. This is the band's forth album and I dare say you will enjoy it if you own the other three. But I don't think what's on offer here will attract too many new fans.
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Over The Edge OTE Featuring Mickey Thomas |
Frontiers Records FRCD184 |
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Starship's Mickey Thomas returns under a new banner, but with a distinctly familiar feel. Over The Edge sees Mickey team up with producer Fabrizio V.Zee Grossi and a new band of musicians, but it's still classic melodic rock and high class AOR all the way. Over The Edge is essentially the very same blue-print used by Joseph Williams and Kelly Hansen on their recent releases. It's an album of songs written by other people, produced and played on by the Fabrizio Grossi all-star team, with added special guests. What's a little different about this album is that the songs themselves aren't entirely comprised of tracks we might have heard elsewhere. Instead there are several exclusive tracks featured that were purpose written for the project, or at least are unreleased tracks donated by their writers. The listener is the real winner here, with exclusive tracks from Jack Blades, Neal Schon and Jonathan Cain included. The major risk with projects such as these is creating a consistent record that doesn't sound like it was pieced together. Grossi has a definite knack of avoiding this. He knows how to construct a record and being that the music was mostly recorded in house in the one set style/approach also helps the feel and flow of the record. I think Grossi gets better each record thus far that has proved true, with Vertigo (Joseph Williams) outshining Perfect World (Kelly Hansen) and Over The Edge is as good as, if not even a little better than Vertigo. Those comments out of the way, it has to be time to heap praise on the vocal talents of Mickey Thomas. Three things really make this album work in a major way - the construction of it, the songs themselves and the vocals of Mr. Thomas. I'm a big fan of Mickey and his perfectly styled melodic rock voice. But I have had some issues with the quality of his music over the years. I always found the Starship albums a little patchy a selection of monster AOR anthems surrounded by some weaker pop numbers. With the songwriting not a concern for him, all his efforts have been on making sure the vocals are spot on and wow, I don't recall Mickey sounding better. This is perfect guitar driven melodic rock short sharp songs with subtle verses and warm vocals, glued together with memorable sing-a-long choruses. This couldn't possibly be any better for fans of Thomas and his past work. A tight production and some new twists help make the project sound original and contemporary, yet instantly likeable. Neal Schon, Steve Lukather and Richie Kotzen all guest on guitars, so you really get treated to some fine guitar playing throughout. Track By Track: Over The Edge is a custom written tune from Jack Blades and Grossi. It starts perfectly a sharp hard edged guitar riff and an inviting vocal. It has that Jack Blades feel, but it also sounds like classic Starship. A nice verse and short bridge lead into a chorus that is somewhat understated, but gains power with each additional listen. The result is a very catchy and memorable mid-tempo rock track. The tempo slows for One World another classic AOR track from the pen of Jack Blades and Neal Schon. This was another track considered for Journey's Arrival album finally and thankfully aired here. This is an easy going laid back mid-tempo rock ballad. I love the track and believe others will also, but I wouldn't have positioned it here, rather a little further on in the album - it breaks the flow of the album a little here especially after the strong opening track. Thief is a perfect AOR anthem. I believe it's even better than the original, as written by Swede Martin Stenmarck and featured on his excellent album One. The song was originally titled I'm Falling it's listed on all promo's as Thief, so note that it's possible that might be changed. If you have heard the song, this version is harder edged, more powerful and features beefed up, more mainstream melodic rock sound. It's a classic Mickey just runs riot over this great anthem track. Surrender is another Blades/Schon composition and boy does this sound like classic Journey. The chorus is pure 80's and Neal Schon plays all over the track. The song itself is an uptempo pop/rocker with a somewhat breezier, stripped back feel than the opening three tracks. Eyes Wide Open is another monster from the Journey vaults. This is a slow, haunting ballad written by Jonathan Cain and featuring some fine slow guitar work from Neal Schon. A strong lead vocal drives the song, which Mickey makes his own. I have no idea why this song hasn't surfaced before now, but it won't be forgotten in a hurry. A classy ballad. Picking up the tempo and adding a twist to the album is a cover of a track from Aussie nu-breed rockers TaxiRide. Forest For The Trees was featured on their last album and is re-done faithfully here. What's been a traditional, but updated melodic rock album to date takes on a heavier and darker tone with this aggressive modern rocker. If not done properly, this could sound right out of place, but thankfully it fits the album brilliantly. From there the album flows into The Man In Between, which it well placed, as it's also a darker, moody mid-tempo rock track. Written by Grossi with Freddy Curci, this track is perfect Starship a moody verse and a contrasting feel good chorus. And that has to be Neal Schon on guitar again. I'm not familiar with the track Cover Me, but it's another track that breaks the mold of the album, yet fits in comfortably. It's more a straight ahead pop track, but is given the same darker and moody feel that the last few tracks have adopted. Turn Away is another classic uptempo pop/rocker with a big melodic rock chorus that suits Mickey perfectly. A simple track, but one of the best on the album thanks to some good harmony vocals. Glory Day is a track that isn't as immediate as some of the other album tracks, but on repeated listens reveals itself more. That's the sing of a great track, so it should be no surprise that Jack Blades is again responsible, writing this again with Grossi. It has that modern feel of Jack's own solo album, yet fits this collection of songs better than you imagine any other track would. Thomas adds a powerful lead vocal and makes it his own.
Quite possibly the most consistent and rewarding album of Mickey's career.
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| Hugo Fire In The Night | Indie hugomusic.net |
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Hugo took some time out after the release of his last solo album Time On Earth and then took his own time writing and recording this album, making sure it was everything he wanted it to be. It was released just a week or so ago independently. Hugo has a lot of fans within the scene those that love his Steve Perry style vocals and his pure AOR delivery that many other artists have abandoned. His past lies with Valentine and Open Skyz, but it's his solo albums that have earnt him the most respect. His self-titled debut is an all time AOR classic not just with me, but with countless others. The follow-up, Time On Earth was another great example of pure AOR, yet didn't quite have the impact or the power of the debut. Now Fire In The Night is upon us and I really believe most Hugo fans will be delighted with the result. It's another strong album of pure AOR bliss. Guitarist Eddie Jelley supplies the Neal Schon factor and Gus Karras supplies the rhythm that binds it together. I believe this album falls between the two previous albums. This is more guitar driven than Time On Earth and the songs are definitely stronger and the album feels as if it has a more defined purpose. However, the classic debut remains untouched as far a power and production value. This album was recorded entirely off Hugo's own dime and with that considered, it really does sound good. But there are a few occasions on Fire In The Night when the drum sound or the overall mix doesn't quite work as well as it could. That said, this album works better than Time On Earth on several levels. Hugo's vocals are as usual, high class and flawless. What I really like about this album is the harmony and backing vocals, which there are several layers of throughout the entire record. I also think the songs are some of his best. The quality of the vocals and the mix of the harmonies is excellent and a step forward from Time On Earth. Track By Track: It's an uptempo rocker that kicks off the album. Hand In Hand features a more aggressive guitar riff than we would normally credit Hugo with. We're not talking hard rock here, but it's a good uptempo number to get the album going and the chorus is as expected smooth and typically AOR. It's The Love winds back the tempo a little, but is a great follow-up track. This is pure AOR and pure Hugo. Ultra smooth and reminiscent of tracks from the debut, this one features a big harmony filled feel good chorus. A very strong AOR track. In several places the songs flow directly on from each other without gaps. I'm not sure I like that tactic used throughout the album. It's ok on a couple of tracks, but it might affect the enjoyment of the album for a few. A brief prelude leads into the title track Fire In The Night. I like the uptempo nature of the song and think the chorus is another winner, but I'm not as warm to the drum sound on this track. It's a little dominating, with room taken up that should have been taken by the guitar. I'll Learn To Live Without You is the first slower track of the album and is a traditional Hugo style ballad, with a catchy chorus and some fine harmony vocals. Very smooth, very Perry-esque and a winner for fans. Dawn is another uptempo rocker. This has a great feel and a more even mix. The guitar takes a more dominant role in the track and makes the track work even more so because of it. The chorus is another ultra-smooth example of fine AOR with more layered harmony vocals. It's ballad time again, but Just So You Know is a little different, being that it's largely acoustic based. And it works very well again, is well placed within the running order and showcases another side of Hugo's vocals. It's rock time again and Don't Wanna Say Goodbye won't disappoint fans of uptempo AOR. The chorus is a little more laid back than the verse, but remains instantly catchy. Everytime You Walk Away is another mid-tempo pure Journey style track with a big chorus and a strong feel good factor. Just To Be With You Tonight is a mid-tempo, semi-stripped back soul influenced pop track. Not a favourite from the album, but it fits the groove and features some solid guitar work. Here I Am is the slowest and the most haunting track of the album. It's a slow, moody and passionate vocal laid over an atmospheric and almost new age base. A nice laid back track. It runs directly into Hold Me, which closes the album. The song starts slow with a moody build up to a mid-tempo pace that features a solid chorus. I think the album could have used another uptempo track amongst the last 3 tracks. To close the album with a rockier track might be my only recommendation there.
The overall package is very nice, with solid artwork, lyrics and track comments from Hugo, which are always appreciated. A very pleasant and enjoyable album featuring some fine performances by all.
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| Lionsheart Abyss | Frontiers Records FRCD187 |
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Lionsheart are back after a gap of several years, although while listening to Abyss you would never have though they had been away at all. The guys pick up right where they left off with their own brand of NWOBHM inspired hard rock. Steve Grimmett sounds as good as always it's good to see the energetic singer back in business. The band's line-up has changed from their original crew - this line-up has been together for the last three years - Ian Nash on guitars, Eddie Marsh on bass and Steve Hales on drums and keyboards. The album was produced and recorded in Oxford, UK during 2003 and features a fairly simple premise vocals, guitars and the rhythm section all mixed equally and simply with little added fanfare or padding. It's a pretty raw and stripped back sound, but it's certainly not average, nor does it cut any corners. It's just plain and simple hard rock n roll. The album rocks for the most part mid to uptempo hard rock, with nothing at break-neck speed, but nothing too slow either. There are two ballads - I Need Love and If You Cut Me both of which still feature powerful delivery. All in all it's everything you would expect of a Lionsheart album and shouldn't leave anyone disappointed. It's not a masterpiece, but nor is it a disappointment.
For those unfamiliar with the band, this may not appear as an attractive release, but it does offer good value for those that are partial to good old fashioned British hard rock/melodic metal.
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| Altaria Divinity | Metal Heaven |
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I'm impressed as hell with this album. These guys have really lifted a notch or two from their debut, which itself was a very good release. But on Divinity Finland's Altaria have improved on all levels, with better performances, stronger songs and a kick-ass in your face production that really lifts this album from very good to essential. The guys are being promoted as a metal act, but there's nothing here that would offend fans of hard rock or melodic rock. In fact, if you own any of the last few Ten albums, there is nothing here that won't already be familiar. It's just delivered with a 'metal' vibe a big rhythm section and powerhouse vocals all in that unmistakable European heavy music style. While I see comparisons to Ten at their heaviest, at other times it reminds me of John Norum's debut album, but again, a heavier version of it. Maybe it's new vocalist Taage Laiho, or maybe it's just that the band nailed what they set out to do. The production is first rate, with a big, powerful sound prevalent throughout and the songs all feature good choruses. Credit to all involved! The tempo remains pacey throughout only the moody Haven slows from the mid-to-uptempo theme. This is a huge leap from their debut and should see the band join better known names as ones to watch for. There really aren't any weak tracks on the whole album.
Those looking for something a little heavier, but still featuring melodic songs and strong authoritive vocals could also mark this as a title well worthy of checking out. There have already been some great heavy releases this year and along with Last Tribe, Jorn and Pink Cream 69, this is one of the best.
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| Impellitteri Pedal To The Metal | Victor Japan VICP-62631 |
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Impellitteri have rotated vocalists over their last three releases from Rob Rock to the return of original vocalist Graham Bonnet to new kid Curtis Skelton, formerly of US nu-metal act Speak No Evil. Impellitteri's talk of styles while recording this and the addition of Skelton could have led one to believe that this was going to be a radical departure from the formula of old. One feared a John Sykes Nuclear Cowboy type experiment. But fear not, this is Impellitteri all the way, even if it does include a few new tricks most of which work. I have been critical of the last few releases especially System X, which with Bonnet back on board should have rocked my world. For some reason it didn't and I still haven't warmed any further to that album, despite several fans suggesting I should! But I really dig this release. In fact, having lived with it for a few weeks now, I rate it my second favourite release behind the unbeatable Answer To The Master album. I really have enjoyed the songs on Pedal To The Metal. They are not much different from what's been delivered before, so one must look at singer Chris Skelton to see what he offers. And that is a fresh and energetic voice he sings his heart out in traditional metal style, with only the odd deviations into nu-metal territory. On Crushing Daze he breaks into that "noise" of fully distorted vocals employed by heavier bands, but reality isn't far away especially when the frantic speed metal of Destruction isn't far behind. There are plenty of melodies in amongst the flailing guitars and double speed rhythm section. Chris Impellitteri and the rhythm section of James Pulli and Glen Sobel play their hearts out, but vocalist Skelton really delivers. In fact, listen hard and you could at times swear Eric Martin had gone metal. That's what makes this record for me powerhouse melodic vocals. The songs themselves are also very good and all contain enough breathing space to allow hooks and melodies to flourish. There are some traditional moments that are so straight forward you expect them to be almost too 'simple' for Chris Impellitteri! Just check out the highly enjoyable traditional metal of Hurricane. But then there are also the moments of pure shred-bliss such as on The Writings On The Wall and The Iceman Cometh. Special mention to the track Punk, which is just fantastic. It's a total piss-take on rap and while it turned my head to start with, the satirical tone of the track and its use of an Eminem melody has me hooked. I'm also totally sold on Propaganda Mind this is a great moody metal track with a powerful vocal, using some updated production effects to create the vibe, but then delivering a great chorus. And Stay Tonight is almost melodic rock it's great to hear the guys slow things down and strip them back once and awhile.
Add some strong songwriting and a fresh and inspired vocal performance and you end up with an album that might surprise some metal fans. It certainly caught my attention and restored my enthusiasm for an artist I had previously grown a little tired of.
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| Aerosmith Honkin' On Bobo | Columbia Records |
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On this, their new studio album, Aerosmith has well and truly captured the spirit of the music which inspired them to pick up their instruments in the first place. They have returned to where it all began, for them and for the very culture of rock n roll as a whole. Blues was where it started and Honkin' On Bobo is a collection of classic blues covers, interspersed with a couple of Aerosmith originals also in that classic blues rock style. This is the most laid back and relaxed Aerosmith I have heard for a long time - if not ever. The guys teamed up with producer Jack Douglas, who guided them through their most acclaimed period the last 70's, which was also their most toxic. This album sees the band having some fun and revisiting old influences, while also using this album as a career circuit breaker. Their last couple of albums have seen them fail to break any new ground and have suffered from falling sales. Both have their merits, but have very varied fan responses it seems the united acclaim from such classics as Permanent Vacation, Pump and Get A Grip are long gone. Realistically Honkin' On Bobo is unlikely to chance either circumstance for as good as it is not everyone is going to want to hear such a pure blues rock album and reactions will be mixed depending on what each fan wants. I really enjoyed this album I've played it extensively and find it a lively collection of smokin' blues tunes that really suits the style and the attitude of the band. I also enjoyed the vibe of the production and the band's performance it's clear to anyone listening to this that the band are having a ball and feel right at home. But once this review has been completed I can't see myself listening to this album again a seemingly confusing statement given the quality of the album. But no matter how good this album is, I prefer the Aerosmith I personally came to know and love since their resurgence in the mid-80s. Those that have a far deeper appreciation for the band, or have followed them since their very origins in the 70's will have a greater love for this record and will embrace it's style with far more ease. I believe the band have recorded this album for themselves first and foremost, and their oldest and dearest fans secondly. The covers sound great. A particularly inspired Baby Please Don't Go is the highlight for me, as are the few originals, which slide in alongside the covers with natural ease.
But I don't see universal acceptance of this album and their choice of direction and more now than ever I wonder where the band will go with their next release.
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| Mike Reno Renovation | Indie mikereno.com |
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Mike Reno's Renovation is a very curious release indeed. First the facts behind the record it was recorded in the early 90's as Mike Reno's solo debut, but due to industry politics was never released. Mike has toyed with releasing this himself since 2000 and was in talks with European labels to help make that happen. But his distrust of labels in general has seen him release this album himself, via his website. Initially you couldn't purchase this unless you are a paid up member of Mike's "inner circle" of fans, but sanity prevailed and it's now available to anyone who logs onto Mike's website. The album features a line-up of top LA session guys. Sadly though, just who is largely a mystery, as the information on the site is almost non-existent and the CD packaging offers no additional information it's a simple cover with a plain white reverse side. But I can add that the album was co-written and produced with Mark Spiro, who also handles a lot of the music. Popular guitarist Tim Pierce is featured throughout. The music itself the most important factor also has a small issue hanging over it. I presume Sony owns the original master tapes, as it appears Mike doesn't. This must have been mastered from his own personal copies of those master tapes, as this isn't mint quality. The sound quality on offer here is good, but no better than some of the sourced-from-DAT bootleg's that have been going around trading circles for the past several years. While the production quality would have originally sounded killer, the muddy quality of these tracks will have some disappointed. That fact will also put owners of bootleg or CDR copies off buying the original, now it is finally available. As far as the songs go, that's the album's high point. Collectively speaking, the 10 songs on offer here showcase Mike Reno at his very best and are amongst the strongest songs he has committed vocals to in his recording history. If releases at the time it would have rated alongside Loverboy's best work and to this day quality aside is an astoundingly good selection of classic early/mid-90's melodic rock. The tone of the album is quite dark it has several moody passages and some good rockers. Great to hear the guitar as the dominant instrument, aside from Mike's powerhouse vocals. This is a hard edged melodic rock album and tops Loverboy for heaviness in places such as the opening rocker Affection, Dream Machine and I Say Go. Then there is the sentimental AOR side to the album, such as the stunning power ballad Still In Love and the ultra smooth Take Me Back. The remaining tracks are more or less classic Loverboy in style. The original recordings included a track called Guilty As Charged. The copy I have has a drop-out mid-track and apparently that's the same with all copies. Must be, as that track has been dropped from this release. But that's a pity, as the opening track Affection is cut off abruptly, which is what I would describe as an error. So if such small glitches are still present, then the addition of Guilty As Charged would have been no greater problem. The one exclusive track to this release is the raw, vocal/piano version of the classic ballad All I Ever Needed. The track was written and recorded with David Foster, for inclusion on his 1990 River Of Love album. This version is a stripped back vocal version. The full band version of Foster's album is also well worth checking out.
However, if you already have a bootleg copy, there is unfortunately little reason here for an upgrade - aside from the one exclusive track. This could have been a timeless classic - and in some ways still is - but the overall package could have been better than what's on offer here.
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| Robin George Blue Songs | Majestic Rock Records MAJCD023 |
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Robin George is still acclaimed for his classic British high-tech AOR release Dangerous Music. He is less acclaimed for his liaison with Diamond Head singer Sean Harris in Notorious (but should be!). Those two albums represent his pure melodic rock years since then he has dabbled with the odd release, but always on his own terms never quite AOR as such, but always containing his trademark sound and style. Blue Songs is no different, it's very much in the vein of past recordings high-tech, programmed to the hilt and featuring his carefully placed vocals, harmony layers and guitar parts. His soft, delicate and often moody vocals and overall style can be left or taken, but I'm a fan, so I'm in the latter category. The stylistic slant of Blue Songs should be of no surprise they are laid back, pop orientated blues based songs, or tracks with a slightly soulful edge. They are certainly not melodic rock, hard rock or even AOR this is very soft programmed pop. It's well produced, sounds ultra smooth, but is going to be far too laid back and pop orientated for most readers and even some fans of his earlier work.
So it's going to be down to individual tastes where this album ranks, but for those that haven't previously indulged in Robin George, this isn't going to be the place to start. Instead, check out the two marvelous releases from the past Notorious and Dangerous Music. Still, it's a quality release if it matches your particular taste and is pleasant background music.
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Tygers Of Pan Tang Noises From The Cathouse |
Communique Records CMGCD026 |
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The Tygers didn't do themselves any favors with their last studio album and won't turn the tide with this release.
The title isn't totally inaccurate, as at times this does sound a little too noisy and unassembled. Some of the 10 tracks featured are far too long, with a couple around the 7 minute mark and one over 9 minutes. I just don't think there is enough going on musically to retain listener's interests over such a length. At 1 hour in playing time, there is at least 20 minutes too much music featured. The guys do sound closer to what they should be doing most of this falls into the NWOBHM category, although there are far better examples of it available. The CD package has no line-up, album or track details, so I can't really elaborate on that for you. A little research tells me only guitarist Robb Weir remains from the original band.
The production is muddy and sometimes demo-ish in quality a far cry from the band's earliest and most inspired recordings.
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Rick Springfield Shock Denial Anger Acceptance |
Gomer Records gomer99999 |
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Rick Springfield returns with a brand new studio recording that sees him in new territory, both as a performer and an artist. The ten year break between Rock Of Life and Karma has been halved, but this time Rick is on his own, facing the challenges of releasing an album independently and having to deal with everything that entails. On Shock Denial Anger Acceptance - as he has done on previous outings - Rick again invites the listener to ride along with him through an emotional roller coaster ride, on this occasion more often than not touching on the Anger portion of the album's title. As the title suggests, the album deals with four different emotions and it remains up to the listener what exactly they take from this 48 minute journey. And it's a wild ride. I think the album has been put together in an interesting fashion. There are no gaps at all between many of the songs instead relying on short segway's into the following tracks. It makes for an interesting listen and like I said - a wild ride. There's no other way to put it this album rocks hard and packs an emotional punch. But that should be no surprise to fans. Rick is no stranger to emotional, confrontational and introspective lyric writing. Rick's key appeal is his ability to involve the listener in his own angst, with his music at times written and recorded for himself as much as those that buy the records. Even in his most early days during the 70's, his lyrics defied the expected boundaries placed upon pop artists. There were some lighter moments that would find their way onto albums, but there has always been a dark streak to his music. That dark streak and the emotional impact of his songs has gained him a lot of respect and half the enjoyment of albums like Living In Oz, Tao, Rock Of Life and Karma has been the analyzing of lyrics. That's something that is slightly missing on SDAA. The directness of the lyrics and the forthright nature of their delivery haven't left anything to the imagination. Previously Rick has woven his angst in and around his music, this time he throws it right in the listeners face and it can be a little off-putting at times. The emotional impact is still there but the searching and lasting depth is not. Still, few artists are capable of what has been placed on record here. Few artists can nail such charged emotions and channel it into their music and no one comes close to the lyrical depth penned by Springfield. This is a great album but it's not quite a classic. A few points to make I don't think the album flows as well as it could have, given a different running order of the songs. I also don't think it's a totally cohesive body of work, with variances in sound and production quality throughout. Karma's only downside (besides some saying it didn't rock enough), was the changing styles within, being that the tracks were written/sourced over that massive 10 year gap between records. s/d/a/a is much the same but shouldn't have been. The sonic changes between tracks doesn't not assist the flow of the overall album. There are a few tracks here that I would rate as some of Rick's very best ever some truly amazing songs. But there are also a few tracks I could live without and ones that might have better been saved for the Limited Edition version. The album itself seems to be in two parts simple and hard rocking to open, a mid album break that some could possibly live without, and the second half that's clearly more experimental and rewards long time fans with some very intelligent songwriting. Read through the track by track comments for further detail on these issues. The other issue I have with the album is the length of the songs. A good song is not necessarily one of length, but all too often while listening to the new tracks I feel that they are over before they had run their course. It is almost as if there was still more that could be said. The album takes listeners through 15 tracks (+2 short fillers), yet it is over in just 48 minutes. A couple of tracks run just two and a half minutes, which is a clear rebellion - but against what I am not sure. Rick has never been famous for long songs, but at 2.5 minutes, there's at least 1 minute and a good chorus or two missing from several tracks. Track By Track: Perfect is the right word for this opening track, it sets the tone of the album with a simple guitar riff and a pounding beat. The vocals are unmistakably Rick and the angst is expressed through some frustrated lyrics. The music is somewhat loose and very raw compared to the Rick of past, but the song still contains a couple of neat production effects and tricks. I'll Make You Happy is a cover of Aussie 60's icons The Easybeats. They remain one of the most important bands of this countries musical heritage and a huge influence over Rick's early career. Sadly I am not a big fan of this song, although it's really given a thorough workout here. Rick modernizes it with some fuzz-tone guitars, a sonic wall of energy and some screaming vocals. But with so many tracks on offer on s/d/a/a, why a cover tune as the second track? I would have left this for the very end of the album or even relegate it to the Limited Edition version. I don't think the song fits the flow or style of the album. Will I? is a melodic rock gem. This will be one of the select tracks in the running for song of the year. It's Rick, but it's updated and it contains some fantastic heartfelt lyrics and one of the best guitar driven chorus hook's to bless my ears in a long time. After a short interlude another hard edged rocker kicks in. God Gave You To Everyone features a tough, hard rocking riff and another raw and direct lead vocal. More introspective and in your face lyrics flow into a chorus which isn't one of my favourites it's a little simple. And at 2.5 minutes it feel incomplete. One of Rick's most straight forward and hardest rock tunes ever is Idontwantanythingfromyou. This is an infectious live, in your face rocker with a guitar riff you'll never forget. More spiteful lyrics flow in fact they are some of the most direct lyrics presented by Rick and the way the song gathers pace in quick time before launching into a keyboard bridge is perfect accompaniment to the direct and over the top chorus. Synth fills beneath the surface add texture to the song, but it's Rick's raw, energetic vocal that rules the song. Then it's straight into another segway, a curious little ditty that launches into one of the most sonically heavy tracks of the album - Jesus Saves. I have a love hate thing going with this track. I love the intro and I love the intricate verse and the layers of synth/programming that makes the song so lush with instrumentation, but I'm not as sold on the chorus. I don't know about everyone else, but I don't really need to hear Rick singing about white trash and his obsession with trailer parks runs through several tracks on the album! I love the lyrics in general and the raw emotional way they are delivered, but the chorus doesn't knock me out and I'm not sure the whole tuned down guitar thing suits Rick's naturally poppy style. With barely time to catch your breath, Beautiful You kicks in. This is another interesting track. It lightens up the tone of the album a little and is more in keeping with the nature of Karma, but is presented in a more contemporary modern pop setting. Something new for Rick that actually works pretty well, especially with the memorable chorus. Wasted reverts back to the raw, live in the studio production feel. The guitars come through thick and loud, but the pace is a little more laid back. The lyrics are nothing short of fantastic and highlight Rick at his best storytelling. And the vibe of the track is that of Rick of old, but with that updated hard edged feel of the album in general. Most importantly, it's one of the most natural Rick vocals on the album. It's only on a few tracks we here the unfiltered, unforced natural voice control the song and that's the very case here. Shoot Your Guru is where the album loses it's way a little. It marks a significant point in the album, as it marks a half way mark where the songs before it don't necessarily mark those that come after it. The track itself is only a 1 minute acoustic instrumental and would have been better shortened and remained as a segway rather than a separate track. Alien Virus continues the mid-album break. This is a two and a bit minute blues number that sounds like it was recorded in one take. It's actually very cool in it's own way, Rick's vocal is really raw and was obviously recorded without the aid of overdubs. But the song doesn't really fit on the album and together with the slow acoustic ballad Angels Of The Disappeared really does break the momentum in the album. I love Angels..., but paired with two other short acoustic tracks doesn't appear to be well placed. Eden marks the start of the second half of the album. In all honestly I think I prefer the second half of the album as it's a more natural Rick in play. Eden is a really cool, high-tech slow to mid-tempo pop song with plenty of synth, programming and drum loops driving it. The guitar plays a supplementary role in this case. Eden could easily have fitting on Rock Of Life or Karma. I'd be interested to learn when it was actually written. The Invisible Girl kicks things into high gear again, being a feel good pop rocker with plenty of acoustic and electric guitars jangling along. The chorus is pure Rick Springfield, taking in the best attributes of Karma and his general knack for writing catchy pop songs. My Depression wow where do I start? Basically I had this song pegged as song of the year, as I have had the demo since the release of Karma and have rated it as one of Rick's best ever songs. But I am disappointed with the way it has been presented here and feel as if it has lost some of its charm. The song itself remains one of Rick's best and most personal lyrics ever. In fact, it's one of the best lyrics ever, period. Chronicling the story of his life so far, the song starts as he was growing up and runs through to present day. In between is a monster chorus that questions it all. Wonderful stuff. In its current form the song remains one of the most original of Rick's career, but a little magic from the original demo is gone. What was a feel good pop rocker with a fair pace is now a mid-tempo track with an overbearing modern rock riff and some of the lyrics buried in unnecessary vocal effects and supported by a guitar rhythm that is more calypso than rock. And why was a killer guitar solo cut short and buried beneath a heavily detuned, overbearing riff? Never mind, it remains a classic, but not song of the year. From that small disappointment to Your Psychopathic Mother a song I can't speak highly enough of. This is pure songwriting genius and is another highly original moment for Rick. The chorus is sparse, featuring subtle guitars that build up the tempo and a lead vocal that is honest, raw and emotional. Then the chorus this came from nowhere and is seriously one of the best anthems of Rick's career. Filled with a hard rock guitar riff that doesn't dominate and another lead riff that lies beneath, the song has true depth. The vocal hook sends it right over the top. But I am somewhat disappointed again. At 2.5 minutes the song finishes suddenly and blesses us with only 2 choruses. It would have been no extra paid to add another chorus or two and a bridge between them. Minor point it's still a classic. And proving that the most original and experimental tracks are featured on the second half of the album Every Night I Wake Up Screaming comes along to blow long time fans away. This track starts with a simple piano sound, a drum loop and a light weight guitar riff that is in standing with change of direction over the last few tracks of the album. Kick to another raw and emotional vocal and a heavier guitar riff while the song builds tension. Then a big riff, a heavy synth vocal and that chorus the angst ridden modern rock monster. This is possibly the most intense and modern rock influenced track of the album that is rich with production effects and reminds me of the programming effects of Tao, expect with a seriously modernized sound. For metal heads it reminds me of the approach to sound employed by Kee Marcello on his latest album Melon Demon Divine. All in all a wonderful addition to the catalogue of Rick songs and a great way to end the album almost. Open My Eyes in fact ends the album. This is another reminder of the Tao influence as it runs only just over 1 minute as a soulful and introspective way to close the album. It's almost like Rick is winding down the listener with this simple track giving you something to think about after the roller coaster comes to an end.
But all said and done, it's another great album from Rick that sees him repaying fans waiting to hear him rock again. Personally I felt that Karma is still a better record, being that there's a little more depth to it. s/d/a/a is in your face and is a good alternative if you want to crank things up. I believe a lot of fans will love this purely because of the hard rocking factor, but some may be disappointed in the updated style or the loose, raw production style employed on several tracks. The album might have been improved further by dropping 2 or 3 tracks and revising the running order. Minor points, it will still be one of my favourites from 2004.
I think this is a great idea and I applaud the concept and suggest other bands take a look at similar options. However, I have several problems with this particular Limited Edition and a couple of other things that have been done. The LE version retails at US$90. Being a die-hard fan I paid for this and therefore think as a consumer as well as a critic I am qualified to comment. The extra's set features 2 bonus discs one audio and one DVD. The audio bonus CD contains rare and unreleased tracks. It really depends on your outlook as to what value these extra's hold. But personally I think $90 is overpriced. A price tag of around $50 might have been more fitting and more respectful to the fans. Audio CD: Love Screws Me Up is one of three unreleased tracks from the Karma sessions, which for me is the main value of this package. Unreleased tracks are the true gold that long time fans strike to collect. And this one is a beauty. It doesn't really fit the persona of the Karma album it's a high-tech, feel-good pop rocker that's more along the lines of Sahara Snow, yet it does feature the same guitar tone as featured on several tracks from Karma. Revolution Day is another unreleased Karma gem. This is a stripped back, acoustic driven pop rocker you should all know already. Yep, listen carefully - this song is a prototype of what would become Beautiful Prize. This track, with completely different lyrics is equally uplifting and features a great sing-along chorus. This demo is in the same musical style that the original Karma demos were recorded in. Rhythm of Love is an unreleased track from 1988. Its one track I already had, but for others, it's another cool addition and is a very smooth and sultry pop rocker. It's something a little different for Rick and that's why I think it's a cool addition. Her Body Makes Vows is a third unreleased track from the Karma sessions. Another gem of course. This is another high-tech Sahara Snow style track with a moody heart and a mellow tone. Not as sonically clear sound wise as the first two Karma off-cuts, which is disappointing, but still cool. Next up is the track that was promised to be a special feature of the Alive DVD only. Yes, it's a different version, with all new musical accompaniments, but it's no longer the promised exclusive from that DVD is it? And for the record, I believe the DVD version is better. When You Dream, Rhythm of the Beat and Forever are all tracks from Rick's EFX Alive show. Nice tracks, very cool especially for fans of the show. Not essential for the fans of the harder edge Rick as these are very much Broadway/show style tunes, but cool nevertheless. However should there be a full CD release of the EFX show at a later date these tracks will be no added bonus. Next up are some of Rick's original demos. Following the Alive Greatest Hits LE idea of including bonus demos, Rick has included the original home demos of Rock of Life (from 1986), Affair Of The Heart and Souls (from 1982) and Don't Talk to Strangers (from 1981). Again, cool for some, and an always interesting insight into the foundation of what would come. Rock Of Life is of particular interest hearing it helps bridge the gap between Tao and Rock Of Life the album. Personally, I would have found greater value in more unreleased tracks. There are still plenty hidden away that could have been featured here. Poison Pen is billed as an unreleased demo from Success Hasn't Spoilt Me Yet. Now we're talking! It's a track with a cool concept too, but wait the track is only 1 minute long!! Major disappointment folks. Next up is the track American Girls recorded for the unreleased 1974 Springfield album. This version is recorded live from LA's Troubadour club in '74. Ok version that includes a little dialogue from a very Australian sounding Rick, a nice archive track. Following that is two tracks from that unreleased Springfield album - Fire Brigade and Sweet Teaser. Ok for die hard fans especially as this album is a very good example of mature 70's pop with a noticeable dash of angst. An alternative mix of the s/d/a/a single Will I? rounds out the disc. This is a more acoustic driven version that is designed to have less impact to appeal to the old folk in radio. I prefer the original. Overall, this is an interesting collection of songs, and is fairly good value, but given the fact there are more unreleased tracks in the vaults, it could have been even better. And if other archive or Internet releases follow in the future, the price paid for this set could definitely fall in value. Still unreleased tracks that I am aware of include Religion Of The Heart (alternative lyrics), Edge Of The World (a classic now covered by two other artists), Haven't I Been Good, Hey Eileen, Monkey (another Sahara Snow outtake) and not to mention that killer original demo of My Depression. Included as a bonus to the actual s/d/a/a album is another version of the excellent EFX Alive ballad Forever. It's a great track that might have given the regular version of the album a little more balance. Nice to have it included here. The DVD: This includes a Making of SDAA Interview, which is interesting in itself always great to hear Rick talk. Also included is a rather pointless High Tide trailer. The very special surprise is video clips of three tracks from the EFX Alive show. But once again the value of this bonus will be quickly eroded, as news of a full DVD release of the show scrolls across the screen at the end. The booklet contains all the much wanted lyrics for s/d/a/a. But this is another area of contention, as lyrics were promised to be placed online when the regular version of the album was released. But the rules were changed and now they are only available in full via this method, which I don't view as fair. The LE must be approached with caution and the cost must quickly be forgotten as more enjoyment will come from the set if that isn't considered. For the price I would have liked to have seen more offered, with the three unreleased Karma tracks the only songs that will remain on high rotation once the rest of the set has been delved into. 90% for the LE version - one point for every dollar spent.
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| Jorn Out To Every Nation | Avalon Marquee |
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Late last year I was asked not to expect too much from this album, as Jorn Lande himself was not happy with the results. Either Jorn got to fix those problems, or it is a case of the perfectionist strikes again, as nothing on this album indicates anything but pure hard rock perfection! Jorn on a bad day is still going to be head and shoulders above his nearest competition. He is such a powerful vocalist and has such control over his performance - the material is always delivered with such conviction. He always sounds as if he is in total control. Out To Every Nation is no exception it's another great example of melodic metal and powerful European hard rock. Backed by a powerhouse line-up of established metal names, Jorn rips through another selection of classic metal tunes. The guy really should be a household name worldwide. The opening track is a perfect way to prove the point. Young Forever has a fired up intro and a ear-blasting vocal and shredding guitar riff that slows just a touch for the chorus. The title track Out To Every Nation is classic Jorn and a personal favourite. In fact, there is no better way to introduce someone to his talents than via this track. It's both epic and powerful, but also thoroughly melodic thanks to a masterful vocal and a classic mellower chorus. Something Real is a slightly more straight ahead track with a progressive edge and a short, but heavy chorus hook. Living With Wolves is a true melodic metal track. An interesting intro gives way to a heavy grind that only gets heavier come chorus time. The mid-tempo song changes tempo twice during the chorus, but reverts coming back into the verse. Vision Eyes is a more relaxed melodic rocker with a slow, but soaring vocal for the chorus. One Day We Will Put Out The Sun is a stomping 6 minute rocker with a couple of production effects that make things interesting. A stronger chorus might have been beneficial. Behind The Clown is an interesting mid-tempo track which is a moody rocker rather than ballad as such. It's a track that needs a few listens to before the melodies reveal themselves. Rock Spirit is a straight up hard rocker with a catchy chorus and cool in your face guitar riff. Through Day And Night is another uptempo rocker, but one that didn't hold my attention as much as it needs a stronger hook to grab listener's attention. When Angel Wings Were White is the closing track for the general release and is a fitting way to end the album. It's an extended, slightly progressive mid-tempo rocker with a moody feel and a changing tempo. Big is the Japanese only bonus track.
In any case, I guarantee Jorn fans will still be impressed and the album is a great addition to the already overflowing riches that is the Jorn musical catalogue.
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