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Latest Review Summary
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| Marcello-Vestry Marcello-Vestry | Avalon Japan MICP-10727 |
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It has been a cracking year for melodic rock and AOR with plenty more still to come. The 2008 MelRock Awards will be a headache beyond headaches! Adding to the welcome dilemma of picking out the best releases of the year is this little gem. Marcello Vestry is another slice of glorious classic melodic rock, with the finest traditions of this genre firmly entrenched in the performances, songwriting and production – all of which are world class. And so they should be with the likes of those involved. There are reasons this release is being described as Danger Danger's little brother. Vocalist Frank Vestry has been around several years and is best described as a cross between Paul Laine and Ted Poley (Ted's higher tone and Paul's rasp). Guitarist/Keyboardist Rob Marcello is of course a current member of Danger Danger and fellow band mate Bruno Ravel has co-written most of the material with the lads as well as producing the album and playing bass. And we all know Mr. Ravel turns in quality productions don't we? Just like H.E.A.T and Brother Firetribe, this is a step back into the golden age of driving melodic hard rock music, where the hair was big, but the music bigger. Europe has been turning out the finest melodic music in years in recent times, but now it is time for the Americans to fire back with this release straight out of 1990. A little has been made of the less than serious nature of the lyrics on here – this is all about the girls, the music and what a mix of the two does to a person! No harm there. What is important is that this album kicks ass and is a fantastic representation of everything most of this site's readers love about music. Big guitars, soaring vocals with layers of harmonies, keyboards and driving rock songs mixed with a couple of big 80s ballads. I love the slightly raspy tone of Frank Vestry's vocals, which really resonate with me; and Rob Marcello is all over this record. Guitars flaying and solos flying. And the thumping bass of Ravel coupled with a tight production mean this album sounds a million bucks and fits right into the Danger Danger catalogue between Screw It and Four The Hard Way (pretty much replicating the style of the dual Cockroach releases). The opening trio of Fireworks, Ready Or Not and All I Wanna Do Is U are melodic rock anthems complete with keyboard fills, guitar solos and memorable layered choruses. All I Wanna Do Is U is perhaps the most anthemic. Gone is the first big ballad of the album, but an uptempo rock ballad at that. And a big rock song if you know what I mean. It stars mellow and builds quickly to a fabulous chorus. Without You is pure layered melodic bliss and Live Life is straight out of 1988. The more sentimental ballad of the album is What You Mean, which reminds me of the debut Danger Danger release. Another trio of uptempo rockers closes out the album with One More Night the last track and perhaps one of the albums best with its driving beat and killer AOR chorus which doesn't miss a beat.
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| Harem Scarem Hope | Frontiers Records FRCD379 |
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Harem Scarem are one of those bands within this music scene who have an immensely high profile due to the number of albums they have released and the high regard in which people generally hold the band. When the band does release an album – everyone checks it out – and therefore you get to hear a lot of opinions. Lots of them. Not everyone is always happy, but one has to say that considering the ever changing musical route the band takes, keeping the majority happy, a majority of the time is something to be proud of. Even some of the band's most die-hard fans can't be pleased all the time, but Harem Scarem is simply one of the most consistent and likable melodic rock bands I have ever covered. After 11 studio albums and some 20 years making music together the guys have called it quits and this is the last album to be released. Frustration at not being able to follow the musical direction they want and repeated calls for the band to simply repeat the formula of their most loved records have eroded the enthusiasm of Harry Hess and Pete Lesperance. But they have given fans one more record to enjoy (and no doubt debate) and Hope is that very optimistically titled record. I'm not sure what fans were expecting from a final Harem Scarem record. I think some thought the band might finally give in and repeat the formula for Mood Swings as a farewell gesture; others thought they would deliver an album of uninspired by-the-numbers material. Neither is true. The band close out their long and illustrious career with a challenging album that has a much darker mood than their previous, more upbeat album Human Nature and a contemporary sound that will see several songs compared to the Overload and Voice Of Reason albums. The guys haven't played it safe here, but there are a couple of moments where you can't help but think that they could be doing this sort of thing in their sleep. There are a few songs here that work so well that they will rate amongst my favourite songs the guys have recorded in recent years. There are also a couple of songs that I could possibly live without, so I expect the usual fan debates to be as strong as ever. Hope continues the production and sound style of the band's output since Weight Of The World and slots in nicely alongside Higher, Human Nature and Overload. In my simple and plain view - if you have continued to follow Harem Scarem over the years – you will like this. Simple. The songwriting is of the band's usual high standard and the production likewise. Track By Track: The kick off is Watch Your Back – probably the most classic Harem Scarem styled track on the album. Darker and moodier than Human Nature for instance, but with a great commercial chorus in typical Scarem style, it could easily have slotted into the last release or any of the last 4 albums. Time Bomb is one of the tracks I continue to struggle with. Mostly because of an irritating repetitive cymbal through the verse that is a trademark of drummer Creighton Doane, but here it is so prominent in the mix it takes away from an otherwise adventurous modern melodic rock tune that sees Harry singing falsetto in the chorus. Hope starts with a classic Lesperance riff and dives right into the moody and dark Overload style of melodic rock. The chorus is to me, reminiscent of Weight Of The World, so the mix of both is appealing and works well. The next few tracks are where things get darker and heavier and represent my favourite part of the album. Days Are Numbered has a slow moody verse, but cracking beat and a soaring chorus that is completely addictive. Dark Times is clearly more aggressive both with the intense vocal delivery and the choppy guitar riff. But a thoroughly melodic chorus shines through and takes the song in a different direction before the intensity of the verse returns. No one does melodies like these guys. Beyond Repair is intense and heavy again, yet in a more restrained fashion to that of Dark Times. Moody and intense, but mellower through the verse, this time the guys rollout the angst and harder riffs for the chorus. A perfect contrast to that of Dark Times. Never Too Late eases up on the angst for a bit. This is a more traditional HS melodic rocker with melodies flowing through the verse before a short tempo changing chorus changes tact slightly. Shooting Star is the first of two big ballads and the way this one starts is reminiscent of everything we know and love about Harem Scarem. The vocal matches the recent output style of the band, as does the big chorus which features another killer melody. Calm Before The Storm is another big uptempo rocker with a dark edge and a flurry of drums and guitars. Modern in its vocal approach and thumping drum beat, but once again, the guys deliver big time when the chorus arrives. I love the dark and moody acoustic driven ballad Nothing Without You. It reminds me of the Overload album again, with the slight Beatles influence and some orchestral backing and is another big classy Harem ballad. Both the Japanese and European versions close off with their own exclusive acoustic bonus tracks that don't add any real value to the albums, but are nice enough.
I've been accused in the past of consistently giving these guys high scores, but when an artist delivers quality almost every time, then why should they not be recognized for that – even if the style diverts from the expected sometimes. That all said, I'll stick to the script and simply close off this chapter of melodic rock history by stating that Hope is yet another high caliber release from the band that will suit the vast majority of die-hard fans who have appreciated their talents over the years. Thank you Harem Scarem.
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| Gypsy Rose Another World | Escape Music ESM171 |
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I haven't been a fan of everything vocalist David Reece has been involved in over the years, but I am a fan of everything Gypsy Rose founder Martin Kronlund has done. I am definitely a fan of Reece's work in Bangalore Choir, which I thought was one of the more intelligent records released out of the USA in the early 90s. So the mix of these two personalities has a lot of appeal to me and I think that translates into the record delivered. This is an energetic melodic metal release with Kronlund's typically bombastic European approach, featuring a tight rhythm section, plenty of guitars and swirling keyboards. Reece sounds exactly as expected – gruff and raspy, yet with a controlled tone that adds a melodic edge to the intense vocal. The opening riff-tastic double kickdrum fired Final Call is a great slice of European metal and the moodier, slower Nothing Really Matters is more dramatic and intense. Keeping the intensity with a pace inbetween the opening two rockers is Angels, which has the most obvious chorus of the three. When I Call Your Name is a metal ballad that reminds me of Bangalore Choir. Don't Look Back is one of the album's more bombastic tunes as Reece takes Gypsy Rose in a fresh direction. Just as Fired started to sound a little repetitive, the thumping A Little Ain't Enough fires up the album again. All The Way To The Sun features the most instant and anthemic chorus of the album as we hit a solid run of late album tracks, including the moody angst of A Million Miles and the frantic pace and bombastic nature of Liar. Another World is a little too much and a little repetitive again, but the closing straight ahead hard rocker Hellhammer is more enjoyable.
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| Silent Rage Four Letter Word | Frontiers Records FRCD378 |
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You know, bands will just make the albums they 'have to make', but whoever is in charge of selling it has to face up to the facts. Promoted as a 'natural progression' from the band's classic 80s melodic hard rock release Don't Touch Me There, this album is nothing like that release, and at best could only be described as a distant half-cousin, once removed. There are a couple of Four Letter Words that could describe this release. The stark reality is that I don't see fans being happy at all with this. There are several issues at play here. First has already been mentioned, I don't hear classic Silent Rage here. What I hear is an updated, modernized version that has more in common with the contemporary music scene. Second is the production. Gilby Clarke's style is obviously a long way from that of the band's former partner Paul Sabu. This record is rough, raw and stripped back to the point that some tracks sound like demos and the style of his production is a hundred miles from the stadium rock of the band's Sabu controlled work. Then there is the songs themselves. I just don't like them. That's really hard for me to say, as Jesse Damon is a true talent and I love his solo work and past Silent Rage records. But these songs are simply not very likable. There are no big choruses, no stand out hooks and the delivery of them is so rough, and it is really hard on the ears. And finally – yes there is more – the use of three lead singers across the album is further off-putting and makes the record even harder to get into. The raw, punkish modern rock of You Could Be The One opens the album and sends up that red flag immediately. The bridge to the chorus is awful and the verse is messy. Four Letter Word offer some glimpse into how the band used to sound, with that slightly Kiss-like vibe, but the production is just too raw. Man Or Machine and Feel My Love are just plain awful – both for different reasons, but both dreadful songs. The acoustic driven Close Your Eyes is slightly better and more traditional in its sound, but it's not until Nobody Knows that you get another ok track. The closing track Trouble has a little energy to it – but that's about it.
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| Polution Overheated | Escape Music ESM172 |
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This is an interesting release. The name of the band, the artwork and their picture suggested something heavier and while the lead singer does sound as if he has been swallowing razor blades, this is a solid and very well produced hard rock record. Yet another Swiss band here and it really must be something in the water there as how many Swiss bands come off with a huge AC/DC influence? (Krokus, Shakra to name two). Add Polution to the list. They sound like a AC/DC meets a commercial Metallica hybrid, the gruff vocals matching the intensity of the guitars. Reality, Same Shit Different Day, Paid Soul are all heavy AC/DC style hard rockers with attitude to match. Overheated is a gem of a pub-rocker with a simple chorus and a driving riff. In fact, the acoustic ballad Don't Know sounds well out of place in amongst the rest of the riffing. The slower bluesy Going Down is a better way to mix up the tempo. Five Years shows a slightly different attitude and is an album highlight. I think the guys sound best when the pull it back just a little, as they do here.
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| Richie Kotzen Live In Sao Paulo | Frontiers Records FRCD380 |
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Live In Sao Paulo is a another fairly simple release that will be of little appeal to any uninitiated Kotzen fans, but an immediate magnet to long time devotees. This is another live album that doesn't require a lot of text to convey the contents. It isn't the clearest or best recorded concert I have ever heard – this is truly a raw, live recording, but damn…can this boy play! Nearly 80 minutes of music over just 12 tracks here, meaning there is plenty of extended jam passages and a ton of guitar solos. You have to appreciate the atmosphere on this record – the fans are all singing along and Richie just soaks it up and his performance is inspired to say the least. Funk, ballads, rock and soul all pour through the speakers as we get taken on the wild ride that is Kotzen's musical influences.
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| White Wolf Live In Germany | Escape Music ESM169 |
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White Wolf returned to active duty last year with their good comeback Victim Of The Spotlight. They went on to play the United Forces Of Rock III Festival in Germany and this release comes from that set. I have to say – this is a cracking live recording. Nice and raw, in your face and energetic (based on the band's performance) and above all else – loud! The guys showcase several songs from the recent album and then delve into the back catalogue for some fan favourites with Don Wolf in very strong voice throughout. It is absolutely no reflection of the contents of this album – but there simply isn't much that needs to be said about this live album. So I'll keep it short and simple and leave it to the fans of the band to go out and buy!
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| Frozen Rain Frozen Rain | Avenue Of Allies Music Avenue 08 01 0001 |
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I like this record. I can't help but like it – it's so, well….nice! The pink and fluffy brigade is in full force on this, the debut Frozen Rain album, which comes after a 5 track sampler late last year. Frozen Rain is more or less the brain child of Kurt Vereecke from Belgium. He plays keyboards, synth bass and provides backing vocals as well as mixing much of the whole project. Helping him out is a relative 'who's who' of the AOR world, with Tommy Denander striking yet again on guitars (yes, you know the guitar sound this will have already); Daniel Flores (drums); Guido Priori (from Myland, on backing vocals); Steve Newman guests on rhythm guitars as does Jim Santos (Norway). There are still several more involved that round out the full band performance. This album is completely and entirely a traditional European 80s AOR release. From the light vocals to the fluffy keyboards and the sentimental subject matter within the lyrics. The band doesn't try to take on any new ground or put a new twist on something they know already works. It is al very familiar and safe, but sometimes that's what works. The guys change vocalists throughout, which makes things a little hit or miss, which is perhaps my only real complaint here. The opening track is ultimately a very catchy AOR anthem that I can't fault. I think fans of European AOR will enjoy this. Wire Of Love is also very enjoyable – both featuring vocalist Johan Waem. His last vocal Little Angel is also good – he's the standout vocalist on this record. Music Keeps Me Alive is perhaps a little cheesy (as is Park Café), but you can't fault the flow of the song or the way it captures the classic 80s AOR vibe. The ballad My Heart Believes It's True doesn't work for me, I think largely down to the vocalist Ollie Oldenburg – same goes for his closing ballad Tomorrow. The vocal on the more up-tempo On The Run works better, but his vocal on the similarly tempo'd Your Love isn't a favourite either. Johan returns towards the end for another solid European AOR track Red Light Zone (featuring Steve Newman). Never Be A Fool Again is one of the albums better tracks, with a slightly moodier feel, but still heaps of keyboards.
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| Bret Michaels Rock My World | VH1 Classics |
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This release is purely and simply a cheap and lazy cash-in at the expense of gullible fans and potential newbies thanks to his auspicious reality debut on Rock Of Love. Now, here's the problem. Bret has spent two years selling himself (or at least his loins) on that low-brow reality show and it only makes sense to cash in on that wave of publicity with a new solo album. But rather than put in any real effort, Bret instead throws together a massive 3 new songs and cobbles those together with 9 tracks from his past two solo records. It has been 3 years since the last album and 3 new tracks is all that could be mustered up. Go That Far is of course the theme song from Rock Of Love and is a fairly likeable melodic rocker with that dose of Bret Michaels spirit. Shame about the crappy production. Driven sees him fall straight back into the hard edge rockabilly/country vibe that has flowed through all his solo work and Start Again is a straight up, predictable pop/rock/country ballad. The rest of the songs don't even warrant reviewing, as they have been out before and for several years at that. Remixed or remastered, they still don't hold a candle to Poison's output (the dreadful last studio album aside) and the country vibe can be either take it or leave it for listeners. Bret's first two solo albums were ok….nothing great, nothing terrible, but nothing worth rehashing yet again. To do so again here is just plain lazy, opportunistic and well…lame. |
| Krackerjack Rock On! | Indie |
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Denmark's Krackerjack have created a cracker (or should that be kracker?) of a classic rock album here, which infuses the best parts of the 70s rock vibe with a loose, contemporary production and a general sense of fun. These guys hail from Denmark, but they seem to have a fair sense of what 70s British rock was all about. If Airborne and Jet can make a career of sounding like someone else, then a more original outfit surely should rate highly with fans. These guys feature a very likable vocalist with a decent range, songs smothered in organ, all driven by a riff-tastic guitarist. The band's sound is very organic and very true…hence the comparisons to 70's classic rock like UFO, Thin Lizzy and Deep Purple. The title track Rock On! is perhaps the high point of the album – what a fantastic feel good song, with an old-school vibe. Lonely is classic Deep Purple – Jon Lord organ and all; Blame It On The Little Big Horn is perhaps my least favourite, but maybe because of the slow tempo. Back Together has a very commercial melodic rock chorus, drenched again in tons of organ. The obligatory epic is delivered with the 7 minute plus Hungry Boy, while Lullaby is anything but! A strong production, but not a super slick style. Simple, loose and raw, it suits the energy of the band and the songs on offer here. Fans of 70s classic rock should check this out as there is a lot to like. |
| Rev Theory Light It Up | Interscope |
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Wow, this is one out of the box. A sophomore album on major label Interscope sees US melodic metallers Rev Theory getting the full push. I expect this will turn some heads too.
Imagine if Harem Scarem went metal and dropped some of their layered vocals. Rev Theory might be just what you get. Driving guitars and a modern rock production are at the forefront of this big sounding album, but a raspy melodic vocalist makes it very listenable with a performance matched by the quality of songs on offer. And I'm pleased they sound just that little bit more original than the dozen other standard modern rock outfits out there. Hell Yeah is a storming opening track and the chorus defies the heaviness of the song. The guys prove they can mellow out with the commercial acoustic ballad Broken Bones reminiscent of Daughtry. Wanted Man is another intense and fierce modern rocker and the closing Far From Over sends chills up your spine. A great performance, monster production and 2008 has another winner – this time in the modern melodic metal category. |
| Hardreams The Road Goes On | Perris Records PER2012 |
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Italy's Hardreams dish up a serve of traditional melodic hard rock here, with American label Perris Records taking on the band worldwide. Good solid material here, but the accent of vocalist Manu Esteve could possibly put some people off. It is a very strong European accent and is audible throughout the album. Musically speaking the album features an uptempo set of songs with guitars and keyboards equally represented. The production is ok – fairly even mix and while not the best I have heard, it isn't an issue of any concern. Apologies is a strong guitar driven melodic rocker; Rebel Heart has a solid chorus and likable melody; My Last Desire is a good mid-tempo AOR track but on We're One I had to read along with the lyrics to understand what was being sung! Some good some bad, but generally some very familiar music and songs here. Solid and traditional AOR that might have stood out a little more any other year but this year. |
| King's Call No Alibi | Artist Service CD6017 |
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I have no idea where these guys come from, but they sound British. This is an interesting classic rock release with a musical sound influenced by 70s rock (Thin Lizzy). The band has a definite moody vibe, but what strikes me immediately is that the guys actually sound too laid back. Being laid back is great, but when the songs are begging to be played as if they should be punching through the speakers, then the laid back vibe is working against you. The sound is also a little muddy which surprises me as famed producer Chris Tsangarides was behind the desk on this. The drums are a dull beat rather than a definite thump and the vocals are not as prominent in the mix as should be. I like the moody drawl of the singer and the melodies within the songs, but it all sounds delivered without any spark. There really are some fine songs here and a better production and more urgent vocal performance might have created another melodic highlight for 2008. |
| Deliverance As Above - So Below | Retroactive RAR7833 |
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If intense Christian metal is your bag, then here's something to check out. This is super heavy, super sonically charged and true all-out American thrash metal. Early Metallica with a slight modern rap-metal influence that made Korn superstars is in place here and to be honest, this does nothing for me whatsoever. Production quality is reasonable though and sonically it is a very in your face set of songs. I like it heavy when the mood fits, but I'm not enough melody in these songs and I'm not getting into the vocalist at all. Just not a singer in the sense that I appreciate and need in order to appreciate any set of songs. |
| Clusterhead Times Of No Trust | Artist Service CD6025 |
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Another metal band with a singer I am having a hard time getting into here. The guys have an interesting musical style here – modern European metal, but almost with an industrial twist in their influences. But I just can't get into the raspy, gruff and strained vocals. The press release describes the singer has having a warm melodic voice. Bloody hell. Er…no. Again, press statements describe the band as being compared to Bonfire, Axel Rudi Pell and Pink Cream 69. I just don't hear this at all. I hear the raspy vocal, but none of the warmth or the needed melodies to draw me back for repeat listens. Sorry, but this one just grates on my ears. |
| Journey Revelation | WalMart (USA) / Frontiers Records (Europe) |
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Music means so much to so many people and there is no denying that Journey's music invokes the passions of fans like few bands are capable of. So any new release by an iconic band such as Journey is surely going to stir these passions once again. When that new release is the debut of yet another lead singer…add a little more emotion again. In fact, I doubt any other release this year will invoke as much passion and emotion as this release. I thought long and hard over what territory and issues this review should cover and decided that at the end of the day it should really just be a review of the music on hand and therefore only cover the music. Sometimes one must completely close off any thought not directly related to the music in order to deliver an unbiased view point. Journey's decision to hire Philippine frontman Arnel Pineda was not met with universal acceptance or praise. It was in fact, entwined in unfortunate controversy, but this band is not known for its smooth transitions between singers! However, the decision has been made and Arnel seems like a very genuine guy with a warm and likable persona. And there is no doubt he can sing. One thing Journey does well every time is pick great singers to work with. Many reviews are complicated. So many angles to discuss and sometimes there is a lot to digest. None more so than for Journey's newest Revelation, which not only drops a disc of new material at our feet, but also a second disc re-recording the band's classics. Now things are complicated enough in Journeyland – just covering new material and a new singer, but the classics too? This is going to take a while… The new material – There was talk in 2006 of the band planning to first do an album of re-recorded hits before thinking of any new material. I am thankful that decision was axed as it is hard enough for any singer to withstand the ever present pressure of the Perry legacy. The best foot forward is new material – let the new guy stand on his own feet and show the world what he is capable of. Revelation mixes both those ideas. That's both good and bad or at least there are pro's and con's for the decision, but no one could argue that the Revelation package is not utterly sensational value. Whether it is the WalMart package with 22 tracks and a new 2008 Live DVD or the European Frontiers Records release, which is missing the DVD, but adds an extra tasty new studio track – this is great value for fans. Let's be honest here. The new material disc of the Revelation package needed to be good. Bloody good. The band disappointed many with the disjointed Generations release; the Red 13 EP was under produced and it has been nearly 8 years since the release of the band's only other post-Perry release Arrival. I'm pleased to say that Revelation is bloody good. No….bloody great! I was completely open minded going into this. As stated – there are always issues with Journey – that's just the way it is, but they remain one of my favourite bands and Revelation doesn't disappoint. In fact, it exceeds those expectations I was trying not to have and delivers big time. A few points to make before delving into each track on the record. First and most immediate is the production. Take a bow Kevin Shirley. This is Kevin's best work with Journey, surpassing the ultra smooth Trial By Fire and the feel good ballad heavy AOR of Arrival. As smooth as Arrival was, after several years of constant playback, after listening to Revelation for some time, I was surprised how it now feels as if Arrival lacked kick. That's where our next accolade comes in. Stand up Deen Castronovo. You sir, have delivered your best performance since Hardline's 1992 debut. Deen kicks it on this album like I have never heard him deliver for Journey. He is a valuable contributor to the harmony vocals with this band and on this album, but let's not forget his main role – drummer – and he really makes an impact here thanks to a masterful performance and I am guessing, some guidance from Kevin Shirley. Ross Valory slots in there as he always does – with little fanfare, but alongside Deen really delivers the punchy rhythm that drives this album. Jon Cain's piano sound is also the best I have heard for many years – mixing keyboards and piano and taking us back to the band's 80s sound without ever being dated. Neal's shredding is beyond words at times and he really must be counted as one of the greatest guitarists ever. Arnel – now where do I start with Arnel? If anything, this album proves to me that Arnel is his own man and is not just a Perry clone. Yes, he gives the band that Journey/Perry sound, but on the original material he really does stand on his own two feet and his voice shines through. His voice...not Steve Perry's. Many have questioned Arnel's ability to deliver on the rockier Journey tracks. In a live arena perhaps that will still have to be proven over time, but on record, he really shines and delivers a performance with grit and with emotion. Yes, he absolutely nails the ballads in a more Perry style tone, but I love the rock tracks where his voice is more natural and unique and has this raspy edge at times which I feel is an integral part of delivering the song's emotion. Every singer has their own individual style. What creates that style is unique to each singer – their background, their upbringing, their nationality, their influences. Not all people are going to like the style of a certain vocalist and I expect there will be some that don't like Arnel's own style. But for me – he works wonders here and after all those months of horrible YouTube videos – here he is – bigger than life and positively booming through the speakers. His voice sounds so much bigger on this record. Track By Track: As expected it is a soaring Neal Schon guitar riff which guides us into the new record. Immediately Deen's drum sound strikes you – something which really drives this record. Never Walk Away is a classic Journey AOR anthem. From the same handbook that brought you Be Good To Yourself, Higher Place and Never Too Late comes this uplifting rocker. Arnel Pineda also places his stamp on the song from the opening bars. I can hear the Perry tone, but I'm instantly impressed that this is no clone and Arnel seems free to use his regular tone for the new material. The chorus is one of those instantly likeable affairs and I love hearing the vocals stretched to the point of a raspy edge coming through. That is even more prevalent in verse two – where Arnel really sounds terrific to these ears. The only thing I'd change here would be the level of the backing vocals through the chorus. They are there in classic Journey style, but noticeably muted compared to what they could have been. The mix of flailing guitar riffs and thick keyboard fills towards the end is perfect and the song wraps up with a nice closing thump. There is a part of Journey's musical DNA that seems to require the injection of really sappy lyrics at designated points and Revelation is no different. After such a kick-ass opening, it's a shame that the brakes have to be jammed on immediately after. Like A Sunshower is actually a pretty decent song if you can get past the fruity lyrics – especially through the chorus. This is a really soulful track and Arnel does his best Perry here. It seems to me that he saves his very best “Perry” for the ballads and the re-records, but is very capable of holding his own voice on the rockers. That fact may surprise some. A drop in Schon riff and a classy solo makes the song even more memorable, but I do have a problem with its positioning within the album. The last minute of the song is actually pretty old school Journey…a little less structured and somewhat free flowing. The gritty string plucking Schon intro of Change For The Better got my attention from the very first listen and continues to impress. And just as Steve Augeri had the defining lyric of his tenure with the band on the opening line of Higher Place; this to me (through fate alone it seems) seems to be the lyric that defines Arnel's place in history. “Down low as far as I can go with no where left to turn…” through to the chorus hook “it's my life and a change for the better.” Things sure are better for Mr. Pineda! This song is for me what defines Journey as a great band. I love this and I love the vocal. Its one of my favorites from the new album, gritty and emotional in places, yet smooth and soaring in other places. And the chorus delivers big time. Castronovo thumps his way through while Cain's keyboards fill the sound like it was 1983 all over again. Schon's gritty riff all the while lies underneath the song giving it the menace it needs. And to give Cain a keyboard solo before the bridge just sets this song up as classic 80s Journey, all the while retaining a contemporary feel thanks to Shirley's masterful production. Neal Schon's extended guitar solo followed by a brief lull that builds to a bombastic close makes this song feel like a mini-concert and I can only hope that the band dares to roll this one out live this summer. Thank God that track is followed by another rocker - Wildest Dream has one of the album's heaviest riffs and opens with a furious Deen Castronovo beat and another defining Schon riff. I love the verse and the song builds nicely. The chorus is a little simpler than I originally expected and it was sometime before I warmed fully to it. Still I feel that there could have been an opportunity here to fill in the chorus with a few more words or some bigger backing vocals. The lack of doesn't take any away from the song, but it could have perhaps added to it. Listen carefully and you can really hear the raw edge of Arnel's vocals and Jonathan Cain is flat out pounding that piano, which reminds me of the way he attacks his instrument in Ask The Lonely. Love that… Another big solo, that pounding piano and more manic Castronovo muscle help complete the song. This and Change For The Better is the heaviest I have heard from Journey since Frontiers. I really questioned the need to re-do Faith In The Heartland for this record, but as Wildest Dream closes out and this song quickly builds, I can see why it has been included. It was the classic song from Generations and I see this not as a slight on Steve Augeri's great vocal, but perhaps a decision by the band that the sub-par production quality of Generations didn't do this song justice. I wouldn't like to compare Arnel's vocal to that of Augeri's, but Arnel does do the song justice and his booming voice is as loud as ever here. What really impresses me about this song is the adjustment in intent. Rather than it being an AOR anthem, as it was…this now sounds more deliberate and urgent and Deen Castronovo's drumming is simply stunning. He rules this song and once it hits the 5 minute mark, he and Schon just take this baby over. The progressive drum fills and the understated guitar soloing in the background are joined by some more simple but effective piano parts, making this a real treat for the ears. I can't recall the last time I thought to myself, 'we could actually use a ballad at this point' on a Journey record, but after nearly 15 minutes of pounding rock n roll, the classic piano ballad After All These Years is a welcomed break in the tempo. Once again I find myself impressed by Castronovo's drumming, taking me back to thinking how he delivers live on some of the ballads. That power is what drives the song forward. Arnel does his very best Perry vocal again, but not in a way that mimics the iconic singer. This is purely and simply – a classic sentimental Journey ballad that features one of those trademark Schon guitar melodies and hands in the air type chorus not unlike several songs before it. More swirling keyboards, a driving beat and more classic Schon propel the tempo back into the red. Where Did I Lose Your Love is a moody rocker that is typical of the band in recent years, only better. I love Arnel's voice here – very true to the Perry tone – and very smooth indeed for a rocker. His delivery and the mix of guitars and keyboards again takes me back to the Frontiers era. And to back that up – mid-song Neal infuses a riff that is classic Journey – that type of riff that just embeds itself in your brain like the solo in Send Her My Love. And again we get treated to a bombastic drum solo to close the song. This album really does feel like a concert at times. I love the energy that emanates from the speakers. I wasn't ready for another ballad, but What I Needed isn't a straight forward Journey ballad. It has a soulful edge that begins slowly and builds to quite a rocking and emotional chorus, completed with some more tasteful piano playing. Again Arnel is driven to the edge with a powerful vocal that sounds like prime era Perry, calling on him to show soulful finesse and raw emotional power – check out the vocal following Neal's solo. Classic. What It Takes To Win starts with an ominous moody edge and you just know something special is coming. Sure enough it does. And the power and passion of this song has remained with me since the first playback and is a favourite from the album (even though highlights are many). I read somewhere that Cain had to fight to have this song included – good thing he did, it would have been my second pick of all the songs lined up for inclusion. Best part of the song besides the restrained, yet fast moving Schon riff, is Arnel's passionate raspy vocals. This is where he shines as his own man. The further he pushes it, the better he sounds. I'm absolutely blown away the guys even leave some feedback from Neal's guitar in the mix. Further proof of the live feel this set of songs has and how it does sound like a concert. Cain's piano again adds texture and rounds out the sound along with the thumping rhythm section (sorry to Ross for showing no love until now). The guitar solo is fabulous and leads to another great melodic bridge that makes the song. Again – check out the emotion in the vocal and the thumping Castronovo drumming. Time for another big power ballad and it is my humble opinion that Turn Down The World Tonight is the best of them all and possibly the best Journey ballad in the post-Perry era. This is a nice big, powerful piano lead ballad with a classic Journey vocal. If other songs belong to Neal, Arnel or Deen, this is Jon Cain's moment. Some beautiful piano drives this song and Neal's slow soloing towards the end, with the addition of some orchestration make this a monster ballad. The first Journey instrumental in many years closes the US disc of new material. The Journey (Revelation) is a slow building showcase for Neal Schon. And just as it should, it reminds of something from Neal's solo career, most immediately something off the brilliant Late Nite album. The European only bonus track is Let It Take You Back, a reasonably laid back rocker that features a nice crunchy guitar riff and an Augeri-ish lead vocal. An effects filled bridge leads to a chorus that doesn't lift the tempo at all – it just kind of slots in there. I could have used a more impactful chorus to be honest and the song, while a pleasing addition for die-hard fans, is probably the weakest track of the set, and its relegation to bonus track status is not a surprise. So, good for die-hard fans and pleasing it isn't another ballad – but also not strong enough to lift the points rating any higher than the US release. The Re-Records – This is the interesting part I guess. The controversial part of this 2CD set and the part that will probably be debated more than the new material or anything else for that matter. The band's motivation for doing this is clear – get out from under the various strings and conditions that control their original songs. They aren't the first to do it and certainly won't be the last. In fact, Kiss are doing the same right now. This move allows the band to license these versions to various projects and it also allows the band to showcase their new singer and just how close to Steve Perry he can come. A few facts before a few opinions. Unlike the new material, which was 100% produced by Kevin Shirley, the re-records were produced by Kevin with Jonathan Cain & Neal Schon. Shirley told me that Jon and Neal did the basic track recording, with Cain helping to guide Arnel through the vocal process. Shirley came in after that and helped complete the process and adding his special touch. The re-records have a slightly less polished feel to that of the original material. Let's face it – the band has been playing these songs for centuries now and all could probably do it in their sleep with little problem. So this disc has a distinct 'live in the studio' feel. The songs almost play themselves. They are well produced and played (as expected), but don't quite have the sonic punch of disc one. I guess here the songs are being performed as like they originally were (in the 70s and 80s), whereas the new material has a more contemporary setting. Arnel really does an amazing job with the vocals. He sings like a man possessed (with the spirit of Steve Perry as expected) and his booming voice lifts the songs. His performance is really quite amazing and a contrast to the natural tone of his voice demonstrated on the original material. That said – there are parts here I didn't appreciate as much and his voice occasionally doesn't quite flow over the lyrics like Perry's did. But how could anyone stack up fairly against one of the best vocalists that ever lived? Impossible… This set of songs is very much a straight forward copy of the originals, with little deviation or additional new flair. That is a little disappointing…and for that reason I personally don't have a lot of time for these versions. Now, that's not saying there is anything wrong with them either. They are all classic songs afterall and all of the above comments and the actual quality of the songs is all positive. What it comes down to is individual tastes and needs. Personally I wouldn't be spending a lot of time with straight forward re-recorded hits no matter what singer. And for that matter – no matter what the band. I just don't see the point for die-hard fans. This isn't a slight against Journey – just the general concept. I haven't had a lot of time for other artists doing the same thing either. What I would have preferred is a disc of classic hits updated, or stripped back to acoustic or something just a little different. How about with a symphony orchestra? Now that would be cool… Then again, if that was done…the band wouldn't have these versions to license out. Picks – Be Good To Yourself (nice solo Neal), Any Way You Want It, Stone In Love and of course the big ballads Faithfully and Open Arms. And consider this – Be Good To Yourself is 22 years old and finally only now features the bass playing of Ross Valory. I don't want to be too hard on these versions or this concept. Like I said, people will have their own take on this and they'll either take it or leave it. Had this disc some out on its own I would have been less favorable with my overall views, but coupled with a live DVD and a set of 11 or 12 fantastic new songs, how could anyone really complain – especially at the price point being offered in the USA or the standard 2CD price for Europe.
This therefore is my opinion. I haven't always agreed with the decisions made by the band, but it is hard to argue any point when you are holding a disc of this quality. The new material is some of the best songs I have heard from the band in many years. No, it doesn't break any new ground, but it does continue the classic spirit of Journey in the very best way possible. Many fans don't want new ground – not from a band some 30 years old. I think the guys have done the best possible job in delivering a set of songs that is true to their 80s sound, and with some magic desk-jockeying by Kevin Shirley, has delivered a contemporary sounding record that positively jumps thought the speaks with energy not heard since Escape and Frontiers. I wasn't expecting such an energetic and engaging record – at least as far as the new material goes and I'm happy to admit this goes above and beyond my expectations. As a stand alone release, I think the disc of new material might top Arrival, which was a real classic. Now, the score… The new material is as close to perfect as it gets. Considering the play-back it has received so far - it still sounds fresh and engaging each listen. I'd rate Disc One - Songs 99% with Production a perfect 100. The re-records are a little more difficult. All classic |
