| Avril Lavigne Under My Skin | BMG |
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Make no mistake - Avril was under a whole world of pressure to come up with another chart topping mega-success, but the girl has made a mockery of her young age with a truly great set of songs that will ensure this album doesn't carry the sophomore jinx. Featuring production and writing help from Rock God Butch Walker and several other high profile names, Avril expands her repertoire with a darker, heavier and moodier album with a lot more attitude and some very personal songs. What's best of all is to see her name alongside the writing credits for each and every track a route so often shunned by other chart topping stars. Her vocal range is tested and expanded successfully and the songs of Under My Skin have hit written all over them. I'm very impressed by her willingness to push the boundaries a little and experiment beyond the frame of the expected hit single format. At times the maturity expressed with the songwriting is nothing short of fantastic. The use of several producers to create this album means the styles are a little different throughout. This can sometimes be rather off-putting to the listener, and while it is evident here, the album has been constructed in the best way possible to minimize this and as a result it flows cohesively. Track By Track: Take Me Away is a classic opening track utilizing all the expected ingredients hard hitting guitars, snarling vocals, a big chorus and the first sign that Avril's voice has matured since her debut. Together is the first surprise of the album. This is a dark and melancholy rocker, with some haunting effects such as Tori Amos style piano and a Kate Bush sense of going right over the top. The chorus is simply massive a huge guitar fuelled vocal that soars over the top of the song and shows what a great vocal talent Avril can be. Don't Tell Me is the single everyone knows. I still love the track to bits and love the emotional vocals and the excellent lyrical theme. A big hand to co-writer and producer Butch, who is all over the track. He Wasn't is a punk fuelled modern pop rocker with attitude. The chorus is punk-pop, but the chorus is as commercial an anthem as one could expect, a la Sk8ter Boi. Expect this to me another massive single. How Does It Feel is a personal favourite. This is a massive ballad, with powerful and emotional vocals far beyond the singer's age. And the right turn the track takes mid-track sends the track right over the top. My Happy Ending is the new single and another Butch Walker co-write. Simply put, it's another hit single and a great example of modern pop/rock. Nobody's Home is a mid-tempo, emotion filled rock track that starts slow and builds to another great chorus. It picks up tempo from there and continues through a series of bridges and choruses. Great track with another powerful lyric. Forgotten has a really dark vibe to it it features a slow, haunting intro, which builds slowly into an angst filled song, with another powerful chorus which reminds me of Alanis Morrisette at her angry best. Who Knows is another massive hit single in the waiting. Watch for this one The chorus is somewhat laid back and reflective, featuring a cool electric/acoustic combination. The chorus is something else though a feel good, anthemic sing along if ever there was one. Fall To Pieces is a good, catchy mid-tempo pop rocker. More simplistic than several other album tracks, but most welcome due to a very catchy chorus. Freak Out is a mid-tempo modern rock track with a heavy, catchy chorus that features a great vocal and an impressive wall of guitars. Slipped Away closes the album perfectly. This is another classy, heartfelt power rock ballad. The track continues to build throughout and is a fitting climax to a great album.
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| Stan Bush Shine | Frontiers Records FRCD192 |
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For his brand new solo album Stan has plugged that electric guitar back in and returned to the very polished melodic rock sound that most fans favor. This is a simple, stripped back rock n roll record with a strong melodic rock/AOR feel that fans of the classic Barrage album will be pleased to hear. This is a back to basics album. Ten tracks - all within the 3 to 5 minute range and all getting to the point in quick time memorable choruses and vocal hooks quick to jump in. The style mixes the AOR of Every Beat Of My Heart with the more mature pop of Language Of The Heart and the guitar driven feel of Heaven. Stan is in top form vocally and the best thing about the album is the clear and crisp production which allows all elements room to breathe. Best of all, every track has a great chorus and additional memorable moments such as extra vocal hooks or great guitar riffs. And the performances are just perfect for the songs. Is it any wonder why? Some of my very favourite musicians are involved, including guitarist Tim Pierce and drummer Kenny Aronoff. The line-up is rounded out with Matt Bisonette on drums and Curt Cuomo on keyboards. Track By Track: Shine is a first rate guitar driven pop rocker with a feel good message. Falling is a slightly heavier and darker rocker, with that classic moody Stan Bush feel. I Will Be There is a bare bones mid-tempo pop rocker with a mellow verse and a more edgy guitar driven chorus. I Turn To You features another great riff and strong vocal. The extended chorus is subtle, but befitting the song. What You Mean Tonight is the first ballad proper of the album. Typical Stan Bush, which is a good thing indeed. Say It Ain't Love returns us again to the simple, but classic melodic rock style of Every Beat Of My Heart. The chorus picks up the pace a little and will please long time fans. Have You Ever Believed continues the stripped back uptempo pop rock vibe. Do It All Over is an album favourite. This is an anthemic uptempo pop/rocker in classic Stan Bush style. The Chance You Take is another Every Beat Of My Heart style AOR anthem and adds to the class of the closing moment of the album. When I Dream closes the album perfectly. Another classic, classy Stan Bush, slow but moody rocker with a great chorus hook.
Another album that cleverly doesn't over do itself and features just enough tracks to make it long enough without any fillers. Easily his best album since Every Beat Of My Heart. Perfect melodic rock/pure AOR.
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| Ten Return To Evermore | Intensity Records |
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It's actually been two years since Ten's last studio album, Far Beyond The World. Being that Gary Hughes is always busy with different projects and last year was consumed with the Once And Future King releases, I didn't think I had missed the band during their time away. But one listen to Return To Evermore and I was reminded of just why I love the band and in fact, how much I had missed hearing new material. Ten have their own unique sound, and Gary Hughes has his own distinct vocal style. The pairing of the two is something that really works and has impressed me since their debut album in 1995. While always retaining their "sound", the band has varied their delivery in recent outings, heading in a heavier, more direct approach with the songs. However Return To Evermore is a return to the band's trademark styles epic rockers mixed with vocally complex, layered AOR anthems and power ballads. This album is a return to the sound of Name Of The Rose and Ten, with a little of The Robe thrown in. And naturally, there are a couple of new twists too, but the end result is another cracking album that will appeal to the band's long time fans and those that adored the layered melodic bliss of the debut. This album also sees the debut of guitarist Chris Francis. He's been on board for a while now and played all over the Once And Future King epics, but this remains his first Ten album. His sharp guitar work insures the band doesn't miss a beat from its past with guitar great Vinny Burns. Before delving into a track by track analysis, there is one thing I did find with this album. It rocks where needed and the ballads are lush, but the mid-tempo AOR tracks are just superb. They are so utterly commercial, it will be hard for anyone to dislike the material on offer here. The album also has a fairly relaxed vibe. The urgency and the more aggressive nature of the last couple of albums isn't here. And I for one like this approach. It's just an enjoyable melodic hard rock record that you can take on face value. Track By Track: The album opens with the 8 minute plus epic Apparition, which is pretty much classic Ten in every way. The slow intro, the building tempo, the flailing drum and guitar parts and a few tempo changes; all bound together by a great melody and a memorable chorus. Oh, and did I mention the big guitar solo? The track moves directly into Dreamtide, thanks to some well placed keyboard fills. A tight guitar riff kicks things along in a fairly relaxed manner before Gary's vocals give the song a direction. Another great chorus features heavily throughout the 6 and a half minute track. Another example of classic early Ten. Evermore is a more intense, uptempo track and gets the groove going with some Celtic style keyboard fills a la Gary Moore. The pace is rocking, the guitars are filling the speakers and I love the chorus. It's a big harmony filled affair that will invoke sing-a-longs whenever played. Sail Away is a magic ballad, no question about it. Typical again of early Ten, this one features strings, piano and a monster chorus that cannot be removed from one's consciousness once heard. An album highlight. Starting with an acapella intro, Temple Of Love could be mistaken for a big rocker about to explode. But surprisingly it's in fact a very commercial, very simple and enjoyable pop rocker. The album is quite varied throughout and this is just another example. Even The Ghosts Cry is another album gem. Again the intro hints at something different, with a guitar solo issuing in the song, which then appears in a burst of pure AOR melody. This is classic AOR, with layered vocals, prime keyboards throughout, a hugely melodic guitar riff (and killer solo), and best of all, a monster chorus that is as catchy as anything released this year. Strangers In The Night continues the moody AOR passage of the middle of the album. This is a lower, slightly darker rock track with another strong chorus, all played down a little bit after the over the top nature of the preceding track. Evil's On Top Of The World sounds heavy, and although it features a strong guitar riff, it's actually equally driven by acoustic guitars and keyboards. Another prominent chorus, but not my personal favourite of the album. The One is another uptempo rocker with a strong keyboard fill and a more urgent, intense feel. Another good chorus makes the track, which is perfectly placed within the album. Lost Soul is a very enjoyable, good fun uptempo rocker with another memorable chorus and some great lead and rhythm guitar work. Stay A While is an acoustic ballad which turns heavier and darker. It flows quite nicely and is more reminiscent of recent heavier Ten tracks. The album closes with something a little different. Tearing My Heart Out is easily the band's most modern sounding track ever, with a revised, aggressive guitar tone driving the song. The structure is slightly different and the chorus is certainly something new. I'm impressed to hear such a change of approach and enjoy this song, but at the same time, I'm glad the whole album is not in such a vein.
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Voodoo Hill Wild Seed Of Mother Earth |
Frontiers Records FRCD191 |
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Heavier, darker and bordering on metal on occasions, this really sees guitarist/writer Dario Mollo deliver something a little different. On hand is vocalist Glenn Hughes who as per usual sings his heart out. This is something a little different for him also though. This is a heavier tone and style than his usual bluesy hard rock delivery. He handles it with ease of course, but the material is definitely more challenging. I'm really enjoying hear him sing something different. Make Believe is a great opener and not far from what we are familiar with, but it's Dying To Live that sends things over the top. Gruff, urgent and darker vocals really add an edge to this already heavy, chunky guitar driven song. If you don't concentrate on what's on offer this could almost sound a little loud and overbearing. At times I though it was just a little noisy, with so much going on within each song. But on further investigation things fell into place and my admiration for the album grew. The album features some in your face, furious rockers such as Still Evergreen and Make Believe alongside darker and more intense tracks like Atmosphere and Can't Stop Falling (which features a highly original mid-song interlude). In addition to those, there are a few unexpected twists such as the sparse, but intense Wild Seed Of Mother Earth and the relatively easy going My Eyes Don't See It and the haunting softer closing track 16 Guns.
It's heavier, more complex and more original then the debut and sees Glenn Hughes challenged vocally. This features some of the heaviest material of his career. At times everything does sound a little bit too much, but repeated listens helps the album evolve.
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Glen Burtnik Welcome To Hollywood |
Atenzia Records |
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Glen Burtnik is one of the original AOR Gods. His first two albums Talking In Code and Heroes And Zeroes set benchmarks for others to imitate and to this day are held in the highest regard. His other solo ventures have been a little more laid back and acoustic driven, which saw a continuation in the admiration and respect for his songwriting abilities, but those first two albums remain the favourites of the melodic community. Glen has spent the last few years in Styx, touring and featuring on their last studio album Cyclorama, not to mention his first stint with the band, on the Edge Of The Century album. In between solo albums and Styx duties, Glen has always written and recorded demos and there remains a wealth of unreleased material locked in vaults, not to mention quite a number of tracks being traded around the demo circuit. Over the past 12 months or so, Glen has been busy recording his first solo album since 1996's Palookaville. Glen promised two things for this record to update his sound and to make a rock record. He has kept his promise, as this record rocks, but in a seriously updated way, with a definite modern rock vibe in place. However, Glen hasn't forsaken melody this album harks back to his very best melodic out put on Talking In Code and Heroes And Zeroes just with an updated feel. Basically, this is Glen's best album since those two early records no doubt about it. In fact, this is truly a work of art. You know how some albums rock solidly great, but very straightforward? This album feels and flows like a work of art. There are intro's, outro's, interludes between tracks and extended musical plays that entwine tracks together. It's an album that sets you out on a great voyage. The production and sound quality is second to none. It sounds a million bucks and the added sound effects and musical layers over the basic tracks really gives the listener something to appreciate. This is a record that requires multiple listens in order to get to know and with each listen, something new is revealed. I love records like this. But there are a couple of small criticisms which take a little away from the end result. The record is seemingly split into two halves, with the more straight ahead melodic rock and traditional Glen tracks ending with track 10, Cry. The last few tracks are when Glen takes on his artistic license and experiments a little sometimes it works, but on a couple of occasions I think melodic fans will decide it doesn't. As I said, Glen has updated his sound and seriously rocks. The hard hitting guitars sound fabulous and the updated effects feel quite at home with the new sound. But there are a couple of occasions where Glen breaks into a rap-vocal, one time detracting from an otherwise very melodic and passionate song The Muse. The main offender is the aggressive alternative rocker When The Shit Hits The Fan, which to be honest I have no time for at all. It's only 2.42 long, but I don't feel that it has any place on this album. Glen has one of the genre's great voices and disguising it in vocal effects and spoken rap vocals is just wasting God given talent. The other small issue I have is the origins of the songs themselves. It's been some 8 years since Glen's last full studio album, yet there are a few songs here that are from Glen's songwriting archive some of which have been well traded by Glen fanatics and therefore will already be known to some. Tracks like Roses, Another and Super Boy are not new and then there's Glen's own solo version of the track he wrote for Styx - Kiss Your Ass Goodbye. That's 4 tracks some fans might already be familiar with. It's a minor point, but when die hard Burtnik fans such as myself are craving as many new songs as possible, it is a little disappointing. Track By Track: Super Boy is a slow to start guitar driven rocker with a big fat bass/rhythm sound and several production effects featured to build tension. An acoustic verse features more effects, which suit the track. Come chorus time the song explodes from the speakers after a vocally melodic bridge. A strong start to the album and a song that places the new Glen Burtink stamp firmly on the record as a whole. The 101 is a brief segway into the title track Welcome To Hollywood, which quite simply is a new Burtnik classic. This is a brilliant lyric, cleverly arranged and powerfully executed within the song, with a huge guitar fuelled chorus and some classic lead vocals. Another is another' Burtnik classic. Again slow to start, this mid-tempo pop/rock track feature some of Glen's best singing, with his vocal acrobatics providing the hook and bridge leading into the chorus, which is a truly memorable song in the best tradition of Glen's work a la Heroes And Zeroes and the tracks of Retrospectacle. BAM! is a sultry mid-tempo rock track. Solid, but not an album favourite, it features some unusual textures and a few additional production effects. A modern pop song is my best description. Kiss Your Ass Goodbye is a classic rocker, I just love this tune. I also like this version better than the Styx track, only because it has even more Glen in it. But there really isn't much difference from the original this is a very faithful rendition. Heart In A 3 is a great chance of pace, without letting the tempo of the album fall. This is a moody mid-tempo rocker, with some more outstanding vocals from Glen. This is another traditional Glen track that has been updated and modernized. Intermission is exactly as it says a 1 minute cooling off before the best track of the album bursts through the speakers. Roses (formerly known as Roses For The Working Girl) is a flat out, feel good rocker with all the trademark hooks and melodies required of a classic Burtnik track. This new version has been seriously updated from the original demo, with more guitars, more vocals and a faster tempo added. Cry signals a change of pace and the end of the first half of the album. This is a soft, slowly moving and very passionate songwriter ballad. When The Shit Hits The Fan is that track mentioned before! A heavy, alternative, effects filled rap-rock song. Next Spiritual War runs just over 1 minute in length. It continues the aggressive stance of the last track, with a brief vocal over a sharp guitar riff. Flash Before Your Eyes continues the arthouse portion of the album. This 2 minute track summarizes the tracks that have come before it, with lyrics and melodies of previous tracks woven into its complex new age vibe. All That's Yet To Come is a little gem for long time fans. This is a sparse track featuring only Glen's vocal with no accompaniment. It's a haunting and passionate vocal that really appeals to me, which leads directly into the Celtic influenced modern pop of The Muse. This is another gem of a track, featuring more passionate vocals over a wildly different track compared to anything from Glen's past. I remain disappointed he breaks into a rap-vocal, but it's a unique song that deserves credit. Muse (Slight Return) is another out there example of the wild ride this album takes you on it's a 1 minute uptempo pop track featuring a Gospel choir. Yes, seriously!
I don't think every track works, but credit given, this album is a true work of art and the production is fabulous. Effects, fills, segways and cleverly placed tempo changes make for a really interesting listen and there is some satisfaction in purchasing an album that has had so much effort put into it. Not Glen's best album ever, but his best since the early days and those first two classic releases. Now, let's not have a six year gap until the next record!
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| SR-71 Here We Go Again | Nippon Crown Japan CRCL-4585 |
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A new line-up, a new label, old attitude. The band has returned to the punk/pop nu-breed attitude of their much loved debut and for the most part, dropped the more aggressive, heavier edge of the follow-up Tomorrow. Not that there was anything overly wrong with the sound of that album but the songs were just not strong enough. Principle songwriter and frontman Mitch Allen has truly redeemed himself this time around, with a great collection of modern rock tunes that ooze class, melody and hooks. SR-71 were the poster boys of the nu-breed movement after their classic debut, with this album destined to put them back on the map. The band is different now, being that the line-up of the debut is all but gone, but the vibe remains intact. This is expertly produced, uptempo power pop mixed with a punky attitude, modern rock feel and plenty of melodies. Most fans will be familiar with the already released Axl Rose, which is a definite indication of the album's vibe. There are the lighter, tongue in cheek rockers like Rose, 1985 (classic lyrics), Here We Go Again and 15 Minute Idol (featuring John Allen on vocals) which pump the album along at a fine pace. Then there are the darker, moodier and more intense numbers like All American, Everything and best of all - In Your Eyes, which is without doubt one of my picks for song of the year 2004. It's certainly the best nu-breed rocker I've heard in a long time and its melancholy darkness just sucks me in. It's just a great listen and a great collection of songs - aside from the tongue in cheek country twang of the hidden track. I could do without that! A special mention goes out to Mitch Allen for some truly great satirical lyrics.
Fans of the band should not be disappointed I'll wager that the vast majority will find this a far superior album to that of Tomorrow and it will certainly give the debut a run for its money. Overall it's a little darker and certainly heavier than Now You See Inside, but easier going than the sonic attack of Tomorrow. Basically it fits somewhere in between, featuring some very catchy and rocking tunes.
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| Velvet Revolver Contraband | RCA Records 59794 |
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No-one is going to make me love this album. It just doesn't do anything for me at all. I don't think it will be rated a classic, but I could be wrong! There will be a great number of people that will enjoy this album and it will certainly find a range of new fans. This is a good honest modern rock album, of which Slash is clearly the star of the show. But I don't think it has the charisma, or lasting abilities that Guns N Roses or Stone Temple Pilots had. I'm a huge GNR fan and was hoping that this would be a partial return to the glory days of the band. I'm realistic enough to realize it's never going to be a carbon copy of GNR, but my expectations pretty much went out the window when I heard Weiland had been hired as the vocalist. That move was a clear indication this would be a modern rock project and that's exactly what it is. But, I believe it could have been much better. I think the biggest problem is vocalist Scott Weiland. I don't like his vocals to say the least and I'm not overly excited by the musical content. It's produced to perfection and all involved play their hearts out, but I'm still not sold on it. It's like the Brides Of Destruction album all over again. I knew the albums would go head to head this year, but I am surprised that I feel almost the same way about both. Before anyone reminds me it isn't 1988 anymore, let me remind you that I think there are plenty of killer modern rock albums available that feature strong, authorative vocals and memorable song hooks. There were some reports the album featured no guitar solos not true, there are a few fine solos on Contraband. My views are mainly due to the style of the songs and the vocals behind them. This is no frills, in your face, aggressive modern rock.
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| Stage Dolls Get A Life | Musicbusiness N 50002-2 |
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Stage Dolls have more in common with Def Leppard than just their breezy high-tech pop/rock style. Twenty years together, there have only been 5 studio albums previous to this, not to mention frontman Torstein's solo album. Each album is therefore met with much fanfare and applause and this album is no different. Once the band got to work in January, it was written and recorded in fairly quick time. Great for fans and even better that the album sounds like it has benefited from several more months of work, being that it features such a big sound. This is classic Stage Dolls and classic AOR. For fans of breezy, feel good melodic rock with that big punchy high-tech feel such as artists like Bryan Adams and Def Leppard, it just doesn't get much better than this. The songs are perfect and as simple as they are, the production feel and the band's delivery of them gives the whole album a much bigger feel. In all honesty, this could be the band's best ever album. Dig was fantastic, but a little more laid back, Stripped was classic, but featured a few fillers and the self titled Stage Dolls was a little short at only 9 tracks. The album opens with the anthemic rocker 24/7, and then cruses right into what is one of 2004's best songs Running Back To You. Song writers take note this simple, moody AOR ballad has it all. The album continues to grow with the uptempo pop rocker Get A Life, which features a perfect Def Leppard style guitar riff and anthem chorus. Someone Like You is a great sentimental ballad and You're The One is another perfect feel good rocker (even though it has already been featured on the recent Good Times compilation). There isn't a dud track on the album every track is a winner for fans of pure, classic AOR and high-tech melodic rock. But most notable is the brilliant mid-tempo moody pop rock of Naked In The Rain, the heavier Def Leppard of Everybody Wanna R&R and the perfect melodies of Only.
A big production sound and the band's commitment to strong material means that the band are classic and contemporary at the same time. Essential for fans of the lost art of big budget pop rock.
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| Pete Lesperance Down In It | Marquee/Avalon Japan |
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Harem Scarem's other mainman Pete Lesperance guitarist, co-writer and co-producer - has stepped outside the Harem name on many occasions, but never for his own benefit. Finally now, his debut solo album has been created and released sadly only to a Japanese audience thus far. Pete's solo style isn't a surprise, nor is the quality of the album. Neither Pete or Harry have ever disappointed, and this is no exception. As expected, this is a hybrid of the more recent Harem Scarem production style and the modern pop sound of the two Rubber albums, plus the feel of Harry's own solo album. Mix a little classic modern pop/melodic rock with the fabled nu-breed musical description and add a dozen high class songs and you get an album that is essential for fans of the style and of Harem Scarem in general. Pete's singing was previewed on each of the two Rubber albums, but he really comes into his own here, his voice perfectly crafted to fit the tone and style of the moody, modern melodic pop/rock on offer. You won't find better examples of perfectly crafted pop as the opening track Scars and the essential title track Down In It. The album is dominated by Pete's well known guitar sound, and the trademark Harem rhythm section of Barry Donaghy (b/vo) and Creighton Doane (ds/vo), but there are moments where the plot changes. Boy Without A Clue is a heavier, more aggressive rocker, Say You Will is perfect modern pop with a monster BBMak style hook, and Where U Want Me is as close to Harem as you could imagine. The album closes with the obligatory instrumental, a trademark of Pete's.
The modern pop/rock style of this will dictate that not all Harem fans will enjoy the ride, but if you own and enjoy the Rubber albums, this is every bit as good, if not even better than those. Style aside, the production is perfect and there isn't one filler track amongst the lot.
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London Calling You're So Lucky |
Atenzia Records |
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Two very fine nu-breed styled rock albums are reviewed this week. While SR-71 are returning to their roots, London Calling are releasing their debut, which should see the band really capture the attention of modern melodic rock fans. The voice behind the band is former Guardian and Adriangale frontman Jamie Rowe. This is where his heart truly lies in 2004 and therefore his efforts are concentrated on making this band work. Don't expect Jamie's vocals to match those of the past. There are elements for sure, but this is more along the lines of SR-71, 40ft Ringo and Mars Electric. There is nothing worse than a modern rock outfit with a lame vocalist, so Jamie's powerful vocals are part of the reason why this album is so satisfying. The other reason is the great songwriting. Naturally a love of all things nu-breed and punk/pop is needed to appreciate what's on offer here, but that given, the songs are very strong indeed. Melodies throughout, catchy hooks and some very fine choruses indeed. The opening track is a great example of what's on offer, but look no further than Beautiful Day for a glimpse of pure anthemic pop genius. The chorus is just such a winner and the vibe isn't far from classic melodic rock. New Sensation has a strong feel good groove, So In Love is a moody ballad with a 70's vibe, Misfit Song is a great breezy softer sounding pop song and Song About Nothing is pure Blink 182.
Another recommended album for fans of nu-breed and modern pop and certainly another highlight in Jamie Rowe's career.
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| Scorpions Unbreakable | Sanctuary Records USA / Phantom Europe |
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The Scorpions have returned with an album that will largely impress those eagerly awaiting a return to the band's melodic rock best. The guys had a lot of work to do to impress this time around, or risk becoming totally irrelevant. Their last couple of albums haven't benefited from experiment, and the last Eye To Eye, was utterly horrendous. This is not a total classic, but it is a very solid collection of rocking tunes that retains an updated feel especially with the guitar sound, but is based more upon their classic melodic sound and song structure. It takes a few listens to get into, but it's most definitely a melodic hard rock album. And that in a nutshell, is why fans will be impressed. The album features a varied range of tracks, which work together well. There's the darker, modern rock of the opening tune New Generation, the more classic uptempo hard rock of Love Em Or Leave Em, Borderline and Blood Too Hot, the moody mid-tempo melodic rocker Deep And Dark, and the classy big piano ballad Maybe I Maybe You. The album closes with an aggressive rocker Remember the Good Times which is something a little different again. The strength of the songs is what fuels this album. Completely the opposite to the absolute lack of inspiration behind Eye To Eye.
What's on offer here is an updated classic Scorpions styled hard rock album.
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Kee Marcello Melon Demon Divine |
Frontiers Records FRCD 194 |
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Swedish guitar hero Kee Marcello is best known for his part in three Europe albums as well as a stint with the mid-80's band Easy Action (which also featured vocalist Zinny Zan on the debut album) and later in Red Fun. But he has also recorded a previous solo album 1995's Shine On. Some 8 years later a new album is ready for release - the intriguingly titled Melon Demon Divine. While Shine On was a fairly laid back and sometimes acoustic driven record, MDD is anything but. This is a heavy rock monster, which sees Kee plugged in, turned on and cranked loud. And what is really interesting about this record is the sound. Kee has clearly realized that it is 2003 and not 1983 and has updated the sound, the tone and the songwriting process to accommodate a more modern rock feel, which suits this album down to the ground. What holds it all together apart from some inspired guitar playing and solid vocals is quality songwriting without forgetting memorable hooks and melodies. True that some of the tracks require several listens before the melodies become more familiar, but I find that in most cases, when that happens, the album's lifespan on my playlist is considerably longer and those that are instantly gratifying then instantly forgettable. Track By Track: Pre-Fix is a simple mood introducing intro. It runs smack into the pounding heavy rock of E.M.D. Everyone Must Die. This is a super heavy rocker, with tuned down guitars and a really dark feel to it. Kee's singing to the limit of his range, with a smacking drum sound adding impact. But within the heaviness is a simple, but great chorus that is equally heavy and changes the tact of the song - featuring a great melodic vocal. Enemies is just as heavy, but not quite as frantic, nor as dark. The guitar tone is still very deep and the song's verse is quite modern in its feel. A slight rap-vocal leads to a big guitar riff and vocal bridge that leads to the heavy melodic rock chorus, which is instantly memorable. The song has a couple of different personalities that mould perfectly together. Very intelligent songwriting which keeps the listening intrigued and wanting more. Blood starts off very tentatively. A subtle guitar riff and soft vocal moody verse lead into a chorus which crashes through the speakers. Heavy again, but the most melodic of the three songs so far. Epic kicks off with an acoustic guitar for the first time. The track sounds like a Goo Goo Dolls style mid-tempo pop/rock ballad. This track is modern rock friendly, with a chorus that is pure commercial heaven. Layers of vocals and a great hook make it a special feel good track that would be at home on modern rock radio anywhere. Raptor starts with a dramatic flair and dives into the heaviest riff of the album thus far. The super heavy guitar riff is tuned down to the darkest possible tone, with the song remaining that way, even right through the brief chorus. No big hooks in this one, but a great mood changer to the album as it is so far. If is a little experimental, playing around with varied riffs and no real verse structure. However, the chorus surprises me for being far more catchy within a song that really otherwise wouldn't be! Another example of the interesting song structures featured on the album. Falling Apart isn't one of the better tracks on the album, but the chorus remains catchy and memorable. Hey Romeo is a killer track. Something more traditionally melodic was needed about now and this track delivers that and more. This is a classic sounding melodic rocker, with a huge anthem chorus and more killer guitar riffs. The song gets bigger as it goes and features a great solo. Evil Ways is back to the super heavy and dark ways of the album's early tracks. This track is a little faster pace then others and rocks along at a great pace and features some frantic drum/guitar rhythms. But not only that, it features a killer chorus. Tattoo For Patto is another change of pace. This is a mid-tempo bluesy bar room rocker that features another strong hook and original vibe. Comin' Home returns to the dark heavy guitar vibe of the opening few tracks, with a more laid back ballad-esque verse that builds to a big anthem chorus that features a great hook and some pounding drum/guitar riffs. Ride On is an epic, uptempo heavy rocker that features a more classic heavy rock sound. Another enjoyable track. Added to the Frontiers European release are two bonus tracks not featured on the promo copy. They are: The instrumental version of Raptor, from the soundtrack of the US motion picture Blood Shot, and Can I Be The One co-written with tennis star Niklas Kroon, the Tennis Masters Cup official theme song, are bonus tracks exclusive on the European version of the CD.
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| Razorback Animal Anger | Massacre Records |
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Razorback features quite an established line-up of names. Rolf Munkes and Chris Heun on guitars, Marcus Bielenberg bass and Pierre Fienhold drums. Best of all, the sometimes under-appreciated voice of Snakes In Paradise frontman Stefan Berggren on vocals. Stefan has one of those voices which is perfect for either AOR, melodic or hard rock. In this case, its hard rock and easily the heaviest material he has sung on. This is prime European style hard rock, featuring a great heavy dual guitar attack and pounding rhythm section. What I really like is the fact not every song is pedal to the metal. The pace is varied and the songs allow Stefan to really sing to the best of his abilities, rather than just howl over the top. I swear at time I thought I was listening to classic Ronnie James Dio and at other times a bit of Iron Maiden. This is heavy stuff in places so much more so than the lightweight Snakes In Paradise, but every bit as classy. Each track has something to offer come chorus time it gives the listener something to hang on to along with the guitar riff and the addition of some harmony vocals really creates an inviting atmosphere. The band covers the classic Snakes In Paradise mood-rocker Fire And Rain, done true to form here, only heavier. The rest is all original material.
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| Helix Rockin' In My Outer Space | Indie/Online |
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I'm still not sure what the actual line-up of this Helix album is, aside from vocalist Brian Vollmer that is. I'm thinking it might just be him actually, as the sound of this album does not resemble classic Helix in any way rather it mirrors Vollmer's own solo projects from the last few years. [Line-up since aded] That issue aside, I find that the use of the Helix name packaging these songs together is a blight on the classic Canadian hard rock outfit. The guys released a couple of patchy albums before going their own ways in the early 90's, but in the mid-late 80's, they were on fire, delivering 2 or 3 really classic melodic metal albums. This is nowhere close. It's rough, it's raw, it's badly produced and poorly mixed and the vocals are as gruff as could possibly be imagined. I don't find any of the songs catchy enough to comment on, and the performances are all over the place or badly mixed at any rate.
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| Vick Lecar Bad Influence | Indie vivklecar.com |
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I'm a fan of Vick's music and he is also a genuinely nice guy. He's keen to promote this album not as a straight covers album, but as a personal interpretation of some favourite classic rock tracks. I accept that, but add that one would hope that is the case in most instances anyway. Vick's interpretations are all pretty rocked up this album is best played at loud volume. The tracks selected are also very interesting a good cross section that features tracks from Deep Purple, Led Zeppelin, Bachman Turner Overdrive, Queen, Santana and Rainbow. The delivery however is a little varied, and a changing production quality often hampers the ability of some songs to sound their best. This is generally a raw, loud and in your face affair. Sometimes it sounds a little too loud (Let It Ride) and occasionally the delivery could have used a little subtlety such as Sanata's Hope Your Feeling Better. Additionally Queen's Tie Your Mother Down is not good at all sorry Vick, but the vocal pronunciation during the chorus should not have gone on record. There are some highlights though and this is where Vick shines. Stormbringer, Out On The Tiles and Long Live Rock N Roll all rock out and provide some enjoyment. And naturally, the album features some fine moments of guitar shredding.
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| AOR Nothing But The Best | Indie AOR5 |
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AOR is basically Frederik Slama and guests. But the dude really knows how to pull those guests! This best of compilation adds 3 new tracks, remixes older ones and re-masters them all. That means that this is the band's best release and an ideal way to introduce yourself to them. As the name suggests, the style of music is pure AOR and smooth Westcoast laid back pop with an equal fill of keyboards and guitars. The guest musicians involved read like a who's who of the soft music scene Fergie Frederiksen, Tommy Denander, Goran Edman, Chris Demming, Steve Overland, David Roberts, Bruce Gaitsch, Michael Landau, Steve Lukather, David Diggs, Richard Page, Vinnie Colaiuta, Pat Thern, Michael Thompson and more.
Should you already have those, the remixes and new tracks featured here will be a big enticement.
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| LA Guns Rips The Covers Off | Mascot Records |
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Covers albums...are they evil? Are they necessary? Are they a necessary evil? I'm not a huge fan of them, but I do own a couple of classics the best I can think of being Andy Taylor's Dangerous album. Basically it's an excuse for the band to have a bit of fun and earn a little money without the pressures of writing a batch of new songs. There are a few covers outings around at the moment, so the public could become a little jaded as can the reviewer! But LA Guns are one of the first out of the current block of covers releases, so they get the benefit of the doubt. So providing the songs selected fit the band's persona, the production and sound is fitting any regular studio release and the band are indeed having fun, they can get away with such a release. Thankfully LA Guns make the required grades on this occasion. This is their second foray into covers, their first being the Cuts EP from the early 90's. The production while fairly stripped back and raw is solid enough and in keeping with the band's standards. The songs are an interesting selection that also fit the ideology of the band's history and it's clearly evident the band is having fun. Some work, a few don't. New guitarist Stacey Blades makes his presence known, tearing it up throughout the album. Phil Lewis sounds in his usual great voice, so that's about all one could ask. Favourite tracks include the cover of Australia's own Angels and their classic Marseilles, Rose Tattoo's Rock N Roll Outlaw (another Aussie classic) and Saxon's Wheels Of Steel. Dislikes Tie Your Mother Down is a bit average and certainly well overdone already and Donovan's Hurdy Gurdy Man is a little out there. And the two bonus live tracks are little better than bootleg quality, so regardless of the live energy they portray, the sound quality brings down the album.
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Dare Beneath The Shining Water |
Legend Records/MTM |
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Dare to me are a classic AOR band. Their debut album Out Of The Silence is an all time classic especially as far as British AOR goes. The follow-up Blood From Stone was a stab at arena style harder rock, but remained very enjoyable - spoilt only by a muddy production. On Calm Before The Storm the guys returned to a mellower tone and was popular among fans. The last album changed direction yet again. Belief was more diverse than previous outings, touching on Celtic influences and more traditional tones, while being more stripped back than the normally multi-layered production. Frontman, writer, vocalist and instrumentalist Darren Wharton has always painted a lush and vivid canvas with his deep and reflective lyrics and his unmistakably haunting musical layers. Beneath The Shining Water is no different it again features multi-layers of lush keyboard and guitar passages and further layers of vocal melodies and accompanying harmonies. The album is richly produced, immaculately mixed and sounds every bit like a traditional Dare album. Style wise it mixes the laid back Celtic tone of Belief with the more straight ahead AOR of Calm Before The Storm. Everything an avid Dare fan could ask for with one notable exception truly memorable songs. I am still enjoying the album, so I don't want to appear too harsh, but the individual songs of Beneath The Shining Water just don't have enough individual personality. There is almost no differentiating between them. Sea Of Roses is a solid opening track, but with a worrying ease, you will find yourself up to track 5 the very personal U2 styled The Battles That You've Won without blinking. There just aren't enough dominant choruses on offer to be able to separate what tracks you are listening to. In addition to that all10 tracks on the album are of the same pace and tempo. This is an album of almost identical tracks. So it's an easy album to like, but also an easy album to get lost in. There are places where the songs sound as if they are just about to break out into a big chorus or pace changing bridge, but that never happens. And that's a disappointing aspect to an otherwise very smooth album. It's just too slow and too much the same and given the slow pace and laid back ballad feel, it's not an album to listen to when wanting to get fired up.
I have rated all previous Dare albums very highly and continue to enjoy those releases. However even though the quality of this album is unquestioned, I don't rate it as highly as any of the other albums as I already have this album in the form of Calm Before The Storm and Belief.
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| House Of Shakira First Class | Lion Music |
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I've been a long time supporter of these guys right from when I heard their classic Journey styled debut and had my socks blown clear off. Their follow up On The Verge wasn't as consistent, but saw the band developing and reaching for a more unique sound. 3 combined the best of both those worlds, with anthem filled rockers and ballads combining with a tougher direction and a certain musical quirkiness that has become their trademark. On First Class the band continue their faultless musical standards, but 3 may still get my nod as personal favourite just because it features a few more of those over the top anthems I am a sucker for. But, First Class is - critically speaking - probably the band's best; it's a more cohesive record, managing to combine all the band's much loved elements into one tightly written and produced package. To define this band is a challenge, as their styles and influences are both diverse, but to newcomers, there would be no better place to start than on First Class, because it features a little of everything. It's the band's most varied record, while remaining consistent in sound featuring lots of little production effects and oddities that the guys are now famed for. It also includes a couple of the band's heaviest rockers yet, plus a couple of great acoustic ballads, a few darker, semi-modern tracks and of course, a few of those anthems of pure melodic AOR bliss. The production is flawless and proof that any band could sound like a million bucks given the right studio and engineer and the right quality of song writing there are no fillers on offer here at all. Something I love about this band is their song titles. One can't begin to imagine what each song sounds like from the titles given and within the song itself, the title is not always used or turned into a chorus hook. They really know how to craft a great song. Track By Track: Ain't Your Crowd is a left of center opening track but with these guys, nothing is ever 100% by the rules! It's a rocker, but mid-tempo, with some fine Eddie Van Halen styled riffs, moving into a mellower verse before building to a guitar driven chorus that takes several listens to best appreciate. A good song that becomes a great song. Uncontrolled is the band at their fired-up, hard rocking best. It's fast, furious and over pretty quickly satisfying those that love it loud. This will make a classic live track. You Are is one of those tracks that defines House Of Shakira. Quirky, very melodic, layers thick with instrumentation and effects and absolutely blissful come chorus time. This is one of the band's trademark AOR anthems, with layers of vocal harmonies sending it right over the top. Hey Lord will be another great live track, as it's driven by a great uptempo rhythm and hard edged guitar riff. It rocks along sweetly before diverting through a tempo changing bridge into a another big harmony filled chorus. Black And Blue Skies (Part 1) is a totally acoustic driven track that again showcases the band's talent at songwriting and that vocal sound! Building to a full band track mid-song, the song gets bigger and louder and is another clear winner. Creep is the band at their heaviest and sees a darker, more modern guitar sound filtering through. The verse has a mellower, somewhat dramatic feel, before the chorus bursts through and rocks out, with more harmonies and memorable hooks driving the song home. Black Barn is a little different again, but will be familiar in style to longtime fans of the band. It's a guitar driven mid-tempo rocker with a dark edge and well placed harmonies and another strong chorus. State of Grace is a lighter, more easy going track, which is uptempo in nature and equally driven by electric and acoustic guitars. The chorus is a breezy, feel good romp and is once again layered with harmony vocals. Landing is an odd little track which is seriously one of the album's best tracks. It's a guitar driven rocker with a mid-tempo swagger and a somewhat left of center verse structure. The without warning the chorus bursts through with what must be the biggest harmony vocals of the album, making this one of the biggest anthems. A rough mix of Celebration Bound was featured on the first MelodicRock.com CD. This is a tighter mix as expected and is another great rocking uptempo anthem from the guys. Sunshine Song is something a little different from the guys, starting mellow, but turning heavier and dramatic in true Led Zeppelin orchestral fashion. It's the band's epic clocking in over 6 minutes and featuring lush arrangements and changing tempos throughout. A brave move with a positive outcome indeed. Chicago Blue closes out the album with a ballad. This is a great emotional acoustic ballad with a really passionate and emotional vocal that is the highlight of the song.
Bands like House Of Shakira are what will ensure there is still a melodic rock scene in 2014. They trade on the past, while moving forward in their own original way. I hope more people can realize just what a first class outfit these boys are. They deserve to rule the world!
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House Of Mirrors Night Flight To Paradise |
Escape Music ESM102 |
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Finland's House Of Mirrors have been a working band for 10 years, but only now have they had the chance to finish and release their debut album. The guys have their own sound, but one that will still be familiar to fans of European melodic rock. The guys remind me of such European melodic rock acts as Eclipse and vocalist Goran Edman in his Street Talk, Kharma and John Norum roles. Not to mention other such Scani-rockers like Europe and Treat. House Of Mirrors' album is comprised of simple melodic rock in the European style, with an easy going nature that rotates between guitar driven rock tracks and lighter keyboard filled AOR. There's a touch of Yngwie bravado in the guitar playing and a strong lead vocalist in Pekka Rautiainen to drive the well crafted songs. Spirit of Freedom is a good, catchy album opener, with a solid chorus and well placed keyboard fill. Glory Days is darker, moodier mid-tempo track. Heart Is The Key features a tougher guitar driven sound, but a lighter harmony filled chorus. Deep Inside is the album's first ballad - very smooth and featuring some good harmonies. Top Of The World is a breezy, up-tempo keyboard driven commercial rock song. Deliverance and Alive are both more stripped back simple rock tracks. Not one of the album's best tracks. Long Lost Love is a tasteful acoustic driven ballad with a strong lead vocal. Searching For My Soul rocks things up a little, with a heavier and more urgent approach. Night Flight To Paradise is a solid rocker with some flashy guitar work featured alongside some good harmonies. Move On is another solid straight ahead rock track with a good chorus - a strong note to end the album on.
I rate it a good, solid album with a selection of strong songs that will find some fans out in the community. Another strong release from Escape Music. Fans of the labels' other releases should also embrace this one.
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Edge Of Forever Feeding The Fire |
MTM Music 0681-101 |
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Edge Of Forever have come up with a winner for their debut album. While it doesn't cover any new territory musically, it does feature song strong performances and some strong songs. Style wise, it may have been heard before, but at the same time, there really isn't anything like this on the market right now, so it will attract some well deserved attention. The guys play a brand of melodic European hard rock with a neo classical 80's styled shred twist, a la Yngwie Malmsteen. The guys enlisted vocalist Bob Harris of Axe which was a golden move, as his vocals suit the dramatic, guitar driven songs. Jeff Scott Soto provides a guest duet vocal on Prisoner, which further fortifies the classic Yngwie Malmsteen comparisons. There are a couple of longer, more epic rockers featured both Mother Of Darkness and the big ballad The Road We Walked On clock over 6 minutes and gives Bob Harris a chance to stretch his vocal abilities. The double kick drum of Bloodsucker is prime neo classical melodic metal, while I Won't Be A Fool No More proves that the best material hasn't necessarily been reserved for the first half of the record. Jeff Scott Soto pops back up again with some powerhouse backing vocals. The album was produced by Marcel Jacob, so the Yngwie Malmsteen and Talisman comparisons are even further entrenched. The production is solid without being too busy or too slick everyone has some room to breathe here and my favourite aspect of the album is that it's 10 tracks only, with no padding, no fillers and nothing that doesn't rock. The guys are hard working and have already started work on their next album, which will be produced by Bobby Barth. Nice to see that happening, as too many artists piss around for far too long between albums.
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| Shortino / Northrup Afterlife | MTM Music 0681-100 |
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Jeff Northrup and Paul Shortino team up for the second time together the first being the acclaimed 1993 hard rock outing Back On Track, which was re-released with bonus tracks late last year. Don't expect a carbon copy of that album, as Afterlife is a little different. After all, it is 11 years later and the guys have matured. Back On Track was a great American hard rock album with traces of blues rock. Afterlife is a far more refined and somewhat mellower affair. It has its share of rockers, but the majority of this album is classy, but simple, pure melodic rock. I hasten to add that this style suits the guys down to the ground and the album as a whole is definitely more accomplished than their first and also some of the best material from either of the guys. They work beautifully together and one can only hope it won't be another 11 years before we hear a third album. This is a dark and very personal album with some inspired and haunting lyrics from Northrup, with Shortino's warm and raspy voice proving a perfect cohort. Track By Track: Here I Am is a good rocking opening, with the distinct Shortino rasp in control. Afterlife is a gem of a melodic rock track moody, dark and very melodic with a great chorus hook. Like A Stone is a soft piano ballad with a gut wrenching vocal from Paul. Very haunting. It's time to rock again and Crazy Mind proves to be one of the album's heavier tracks, rocking with a big guitar driven Led Zeppelin swagger. The song also featres Johnny Edwards on a lead vocal duet his voice adds weight to an already strong song and is very reminiscent of the JK Northrup album from a couple of years back (which featured Edwards). Feel Again is a mid-tempo melodic rock with a big chorus and great melodic vocal hook. Crossfire sees a return to the hard edged Led Zep vibe of Crazy Mind. Slave is moodier and darker and somewhat mellow, while still managing to rock quite nicely. Gypsy Soul is another moody mid-tempo rock track with another strong chorus. Mark My Words picks up the pace a little, just as it was needed. This is a sharp and pacey guitar fuelled instrumental that fits the album quite well. As I Fall is a little different it has a modern rock vibe and Paul sings this with a different tone that both suits him and suggests the guys are capable of bending the rules quite successfully. Prisoner is a great acoustic ballad with a big sentimental chorus that should please and impress fans of the duo.
Couple these elements with a highly polished sound and a great production, which makes Afterlife a very enjoyable melodic rock release.
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Tim Donahue Madmen + Sinners |
Frontiers Records FRCD185 |
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Tim Donahue has spent the best part of 3 years writing and recording this new album, which is a major step up for him as songwriter and performer. Madmen & Sinners is a concept album that flows through it's story with ease. It's predecessor was Into The Light, which featured Hurricane vocalist Kelly Hansen. This is a far more intense record. Dream Theater vocalist James LaBrie is perfect foil for the music Donahue has laid out. Neither totally progressive in nature, nor totally metal, the material lies somewhere in between a moody and atmospheric combination of melodic metal with progressive twists, powerful vocals and intense instrumentation. What's more impressive is that Donahue provides most of that instrumentation and mixes it superbly so as never to sound like a one man band. What I like best about Dream Theater is their ability to capture a melodic hook and deliver it with uncompromising power. That is mostly the case here, although a couple of tracks with a stronger or more recognizable chorus would have been a bonus. There is a lot of music to digest and a few extra hooks would help that. Track by Track: Million Miles is a good way to start any album a 7 minute hard rocker with plenty of challenging rhythms and beats to impress most fans of LaBrie and indeed fans of progressive hard rock in general. Let Go is a great little 2 minute track that features a big fat organ intro, which gives way to a soft acoustic backed vocal, which in turn delves back into the organ and leads into my favourite track of the album - My Heart Bleeds. This is an epic and moody rock track that takes nearly two minutes to build to it's summit before rocking out. Classic early Dream Theater and European melodic metal at it's finest. Feel My Pain is a straight up, double kick-drum fired rocker. A strong lead vocal and some fine guitar work are the highlight of the track. Morte Et Dabo is a rather unusual Gregorian chant style track that runs 2 minutes and leads into a short spoken work passage before kicking into another dark and moody track, Children Of The Flame. This is a heavy progressive rocker with some intensity and a middle section solo that will impress fans. The End is a mid-tempo rock track with a moody chorus hook and some atmospheric music accompaniment. Wildest Dreams is a near 6 minute acoustic track with a little more chanting thrown into the mix, but is generally a nice soft track to break the intensity of the album. Master Of The Mind is a classic Dream Theater style progressive rock track that clocks in a little over 7 minutes. Madmen & Sinners is the culmination of the rest of the album. This 15 minute plus epic takes in all moods and aspects of what came before it and finishes the album off with a bang.
It's rather dark, very moody and could have used a couple of extra hooks, but overall is a fine piece of progressive music. And James LaBrie could not have been a better vocalist pick.
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| Eclipse Second To None | Frontiers Records FRCD183 |
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Swedish rockers Eclipse are back with a follow-up to their debut album of 2001. The band were applauded for their debut, which was an excellent slice of Scandinavian melodic rock, featuring some superb light and fluffy choruses.
A few changes have been made to what's on offer with new album Second To None. The band has toughened up their sound and are noticeably rockier this time around, with a beefed up production further supporting the cause. Everything about this album is better than the debut. A tougher delivery a more urgent tempo and a swag of great Scandinavian hard rock songs. The debut may have been more AOR friendly, but this album has a more cohesive and consistent feel and should cross over to fans of heavier acts. Always Standing starts the album with a chunky guitar riff and a strong vocal delivery that reminds me of a European version of Badlands with the awesome Ray Gillen at the helm. A super catchy and harmony filled chorus takes the song right over the top. All I Do features a slamming drum rhythm and a particularly strong moody and melodic lead vocal. Track By Track: Second To None starts in the vein of a Def Leppard style rocker before a groovy rhythm section and a sharp lead guitar guide the track through to a heavier and darker chorus that is a good contrast to the opening two tracks. Street Of Gold has a 70's rock heart and swaggers along with a thumping bass rhythm. A good chorus helps the darker rock track fit into the album perfectly. I'll Ask For You is an unusual ballad. It retains the powerful approach of the rest of the album, but has a sentimental heart especially during the softer verse, before turning heavy during the chorus. Add some strings and a piano and you get one interesting ballad. Nothing Between Us is a flat out hard rocker with intense guitar riffs and a powerful lead vocal, with several production effects adding to the atmosphere. A brief double bridge segment mid-song provides the only big hook of the song, but it works a treat and underlies the intensity of this record and the lift in overall songwriting quality. Road To Forever is a pure melodic rock anthem and a gem of a track. It features a Van Hagar style guitar riff and an instant chorus which is reminiscent of their debut. Driving the song is the same tough attitude behind the rest of the album. Body And Soul is another about face for the album. This is a tough, slightly modern hard rocker with a swaggering beat and a drum rhythm that sounds very much like the Motley Crue song Dr Feelgood. It's time for another pure melodic rock gem and Something You Do is just that. It has a moody start and features a laid back verse, but come chorus time, it's Def Leppard in full stadium rock form. Season of Life isn't one of my favourite tracks. It just doesn't stand out enough, but retains the same tough rocking approach of the rest of the album. Better World is a nearly 3 minute long acoustic ballad which really wouldn't have fit in anywhere else within the album, so is therefore a perfect choice to close out the album.
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| Kick New Horizon | Majestic Rock Records |
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Kick are one of the most underrated bands on the planet. The British hard rock rockers have a sound which encompasses the best of traditional British melodic hard rock and a more radio friendly slice of modern rock not to mention their own unique sound. One particular thing I like about this band is their vocalist. His melodic friendly tone is refreshing over so many other modern vocalists that 'talk' over the music or sing in that banal tone that drives me nuts. There is nothing I like better than a record that pushes the classic melodic rock format into the new millennium, but retains the power and the characteristics of the past. Kick seem to do it with ease and on New Horizon they might just have recorded their best album to date. It's also great to see the art of tasteful guitar soloing hasn't been lost on these guys. It's been a source of frustration to me that this album has been completed for more than a year, but is only now being released. I have no idea why any label would not have jumped on it sooner even a major label. But thankfully wise decisions were made at Majestic Rock Records and the album is upon us. Kicking off with one of the two tracks from 2002's EP, Electric Storm should be familiar to most. This is a rocker with a modern feel, enhanced by some well placed synth and production effects. As expected the vocals are powerful and direct and the lead guitar work helps keep it melodic. New Horizon is a heavy modern rocker with a darker tone, but come chorus time its classic hard rock all the way. A cleaver and well orchestrated track with a great guitar riff underlying the tone. Paralysed is the second EP track to be included on the album and is still a clear winner. I loved this track when it first appeared and my love for it remains just as strong. As the track develops it just gets more intense and that chorus with the soaring vocals just blows me away. Something To Hold On To is another instant classic. What a gem of a track powerful, intense and emotionally damaging. This classy rock ballad builds from a moody intro into a soaring modern rock anthem that U2 would be proud to call their own. High acts as a tension circuit breaker. It's been an intense ride so far and this easy going, feel good straight ahead rocker changes the pace nicely. Power Within gets the tone of the album back on the dark and moody path taken by the opening tracks. Another memorable track, this mid-tempo rocker relies on more production tricks and a strong vocal to guide it. Forever Yours is another classic. This is a highly original track that has an atmospheric modern rock intro, before a killer lead guitar riff appears and leads the listener into the powerful song that gets better each listen. Cleaver arrangements, great songwriting and that guitar riff make the song very memorable. The acoustic driven Watch Me Fly acts as another great change of pace in the album. This sentimental rock ballad intensifies mid-song into a full band effort, featuring a fantastic vocal driven chorus. Access Denied is another highlight this time it's a foot to the floor hard rocker with a strong modern rock vibe. The guitar riff, the dual acoustic/electric approach and a hard rocking chorus prove to be a memorable combination. The funky, semi-alternative Bone is one track I'm not quite sold on, but it could grow on me in future months, although the chorus is just as strong and memorable as elsewhere on the album. In 2 Deep closes out the album in a truly hard rocking fashion. It's one of the more aggressive tracks on the album and runs at double time most of the time! Not the catchiest chorus featured on New Horizon, but there is a great mid-track bridge and guitar solo that impresses.
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| Crossfade White On Blue | MTM Music 0681-96 |
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Crossfade's excellent White On Blue might just be the smoothest album of 2004. Following some excellent work with Street Talk, vocalist Goran Edman (Mr. Westcoast) was picked up to front this new project, which was formed by guitarist Lars Hallbaeck and keyboardist Richard Stenstroem. The band is rounded out with drummer Per Lindvall and his brother, the bass player Sven Lindvall. It's a bit of a rarity to have a full band featured on a Westcoast release so often programming and sythn elements are used to cover missing players. Not here this recording spares no expense and the listener is richly rewarded. Being a Westcoast/soft pop AOR release means it will not appeal to everyone. No blazing guitar solos here. But there is some phenomenal songs featured and some flawless performances by all involved. There are no weak tracks or fillers here as long as you like things soft or softer! The Day The Music Died is simply superb. It's a wonderful slice of rich, textured AOR/Westcoast with an instant chorus and some very enjoyable musical passages. Goran has rarely sounded better or more on song. Did You Really is straight from the Toto song handbook. Fans of early Toto, not to mention Toto IV and Fahrenheit will love this track. I can almost hear Bobby Kimball singing this. Flying is even jazzier a breezy pop number with Sax and Trumpet making an appearance along with Congas and Bongos mid-track. Classic stuff for fans of Steely Dan and the like. Deeper Shade Of Love is a super-sweet piano ballad with a fine vocal and nice sentiment, not to mention some great harmony vocals later on it the song. Thorns Of Life is another classy Mr. Mister/Toto style AOR track. I particularly like the piano parts within the song. Don't Really Matter is another uptempo pop/jazz number and closing the album is You, a track that could rate as the album's best. It's certainly the rockiest, with a strong guitar riff supporting Goran's powerful vocals. At the center of this great track is an instantly catchy anthem-like chorus.
A very good debut and as stated at the top of the review one of the smoothest records of 2004.
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Evil Masquerade Welcome To The Show |
Frontiers Records FRCD186 |
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I don't like the cover, I don't like the name of the band and the story behind the concept and music featured on this album is just too damn weird for my liking! But that said Welcome To The Show is not a bad album for fans of European metal. Evil Masquerade started with guitarist Henrik Flyman having more and more frequent nightmares and translating those into songs featured here. Original Royal Hunt vocalist Henrik Brockmann lends his talents to the project, which is probably the best aspect after the flaying guitar riffs and solos which saturate the vocals. As expected, the music of Evil Masquerade is uncompromising it's in you face, it's fast and furious and it's angry. What nightmare wouldn't be? A strong production and even mix of keyboards, guitars and that endless Yngwie Malmsteen neo-classical style of delivery complete with double kick drums throughout helps the album come together. There are a few odd little touches in the very theatric delivery of the tunes which could make some listeners cringe or laugh, but it's not enough to damage the overall album. It makes for an interesting listen at any rate...
There are a lot of releases in this genre out there, so sample before committing to it.
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| Panik A Page Torn | Escape Music ESM100 |
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These guys have a great sound. Panik hail from Canada, but don't have a sound that could necessarily pin them to a set location. I agree with press comparisons to Matchbox Twenty, Seven & The Sun, Goo Goo Dolls and even Nickelback. I'm not sure about the Audioslave reference in their bio - these guys aren't as intense, nor as heavy or as modern as those guys, but I would add modern pop/rockers MilesAbove to the comparisons. These fellow Canadians share that love of catchy pop rock harmonies with a modern twist and also share producers in Corey Mcfadyen. And add in the softer side of the these guys are fairly laid back with the overall tempo of their songs, but they certainly know how to write a catchy song. Track By Track: Crush is a solid album opener and sets up the album. Find A Way is a gem of a track. It's a commercial modern rock track with a very melodic instant chorus that I could see working on any radio playlist in the world. Amazing is a mid-tempo rock track with a softer chorus and mellow vibe. Again the layers with the track and the excellent lead vocals and catchy chorus make for a memorable track. Gear Girl is mellower again, and sound wise heads into a Nickelback ballad vibe. Another strong (but short) chorus is featured. It's about time for a rocker and Harder is just that. This showcases the harder edge of the band, but remains a fairly easy going pop rocker. Die For You is another mid to uptempo number that sounds a little like a more modern U2. An interesting song with a strong lead vocal performance. Another Thing Coming is believe it or not, a cover of the Judas Priest classic. This is the heaviest track of the album and is a good fun track. It would be cool to hear live. Fly is a tough rock ballad and one of the better slower tracks on the album. A powerful musical accompaniment helps the overall intensity. Friends is another catchy mid-tempo modern pop track. Middle is a little tougher clearly more aggressive than some other tracks, especially with the lead vocal. Life Worth Living is a laid back pop rocker along the lines of several other tracks on the album. In A Moment is a tougher more actively guitar driven track that showcases another aspect of the band's sound and is a good positive track to round out the album.
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| Power Quest NeverWorld | Frontiers Records FRCD180 |
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Power Quest is a very interesting band. The line-up is half English and half Italian, with British keyboardist Steve Williams the founder of the band. Formed as an outlet for his melodic power metal compositions, influenced by the likes of Stratovarius, Rhapsody and Freedom Call, the band have already achieved some success, and were the subject of some furious bidding by excited Japanese labels. Of notable interest is Italian vocalist Alessio Garavello. He has a very powerful higher pitched delivery, but does not suffer from any accent or language barriers. So often the delivery of vocal lines can be difficult for someone singing a language they are not native too. But not so here it's very clear and precise and is a large part of the reason why this album works so well. The other is the diversity of the music. The guys are clearly melodic metal merchants, with some furious double kick drum epics on offer, but there is another side too. The band aren't afraid to offer up some straight ahead rockers to balance the more complex tracks and are very keen to use as many hooks as possible. Take Temple Of Fire for example. Fast and furious, but instantly memorable with a pace changing chorus and some over the top vocals. Edge Of Time is even more straight forward, with a song that heads straight back into the 80's, employing a keyboard sound reminiscent of British melodic rock circa 1985. It's interesting to hear a band of this type do such a thing. For Evermore is the same an interesting change of pace within a largely heavier and guitar driven album. Rather good really! Into The Light is an album highlight for me power lead vocals, smooth drumming and a catchy hook and guitar riff. It sums up what these guys are all about, which is good songwriting and flawless performances, coupled with excellent album production and a smooth mix. The most out there track of the relatively straight forward album is the closing track a 10 minute plus epic which like all good progressive rock songs covers all bases soaring vocals, frantic double speed passages, keyboard fills, softer pace altering intermissions and surprisingly, there is still room for a catchy chorus!
In fact, they have their own attitude and style which really should be sampled, but best of all, they write very good songs for the genre in which they fit.
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| Spin Gallery Standing Tall | Atenzia Records ATZ02021 |
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The make-up of, and concept behind Spin Gallery is quite interesting. The band features three lead vocalists, with one Christian Antblad providing the bulk of lead tracks, with Kristoffer Lagerstrom and Magnus Weidenmo harmonizing and swapping for a lead vocal on a few of the album's tracks. The music is almost entirely provided by the very talented Tommy Denander, who co-wrote most of the album's songs. The production budget was obviously quite adequate, as the album sounds as full and as rich in texture as one would hope for as good as any major label release. What this album represents is one of the finest examples of its kind currently in the market place. The music is very smooth high-tech pop/AOR, all tightly produced and flawlessly executed. The production style and multi-layered vocals give the album a very modern pop vibe, which is why it has found chart success in their native Sweden. Style wise we are talking commercial Pop mixed with Westcoast, plus touches of modern pop and some traditional AOR for good measure. Fans of Tommy Denander, Mr. Mister, Joseph Williams era Toto, David Foster, King Of Hearts or Chicago will find a lot to like about Spin Gallery. Fans of modern pop acts like Invertigo, Martin Stenmark, Jamie Meyer and the like will absolutely love this. Track By Track: Standing Tall is as catchy as anything on any radio playlist right now. Perfect Westcoast/AOR with pitch perfect vocals and a nice little guitar riff from Tommy Denander. Heartache is a groovy, more pop orientated track featuring all three vocalists - meaning the harmonies are layers deep. A catchy chorus, but a much more pop orientated song for those into sweeter things. Am I Wrong is another uptempo pop track, this time with a hint of Joseph Williams era Toto and a very strong commercially friendly chorus. I Still Recall is one of my favourite tracks. This is a haunting, musically sparse track with strong layered vocals driving the track. At times especially in the chorus it sounds like Go On era Mr. Mister and has that Richard Page style vocal. No Looking Back is a little tougher and a little darker and makes for a good change of tempo at this point in the album. A strong lead guitar break is the backbone of the track. My Heart is simply a perfect ballad. This Clif Magness penned track is a soft and haunting pop ballad that has charm oozing from every line. A wonderfully sentimental and vocally rich track. Satisfied provides another well timed change in pace. This uptempo pop rocker lifts the album beautifully after the ballad before it and the chorus is one of the better anthems of the album. Need To Be Free is another ballad of sorts, but a layered mid-tempo one that flows very easily through the speakers. Living Without Lovin' is another very smooth and rather technical track certainly not your standard pop fare! A good chorus and some smooth musical chops make it an interesting track. And the lead guitar break is pure Steve Lukather. Waiting In My Dreams is a cover of a Mr. Mister track from their unreleased fourth album Pull. Very typical of the band back then and fairly true to the Mr. Mister version. To Hell And Back is a catchy uptempo pop rocker that features a nice AOR anthem style chorus and more layered vocals. It's one of the album's stronger tracks. The soft Westcoast ballad Grace closes out the album. Fans of Tommy will be very familiar with this track, having already been featured on the debut Radioactive album and also as an instrumental on the MelodicRock.com Vol. 1 CD. To be honest, another new track would have been a better fit. The band do a very nice job of the track, but third time around is maybe one too many for the song.
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Deacon Street Project Deacon Street Project |
AOR Heaven AORH00007 |
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Tommy Denander is back with yet another project. Deacon Street is another high point for Denander, and stands alongside the last Radioactive album and Spin Galley's debut as some of his finest work. What is the Deacon Street Project? Basically it's a gathering of friends by Tommy Denander and writing partner Chris Demming, who put together this guest list of AOR artists to record a bunch of tracks written, but yet not recorded on any of the other Denander projects. Featured on the album are people like Jan Johansen (Ignition), Jamie Meyer (Popstars), Bruce Gaitsch, Marcel Jacob, Magnus Weinemo (Spin Gallery), Lars Chriss (Lion's Share), Jeff Northrup (XYZ) and Sayit. This is a classic style AOR album, with a full production job applied this is not a collection demos, just unrecorded songs that were not used elsewhere. Classic AOR in the vein of Toto and a little of a Giant influence, but with that unmistakable Denander sound as used on Rainmaker, Radioactive, Sayit, Blind Alley etc, included. The tempo is mixed, with a couple of uptempo rockers, a few mid tempo ones, but also several slow, moody ballads the best of which is the excellent Before I Loved You. This track is a true AOR gem and will rate as one of the year's best tracks. A cover of Toto's Mad About You is another indication of Tomny's love of the band and his ability to play Steve Lukather, however the sound quality isn't as strong as elsewhere on the CD. The opening track is another highlight pure Giant style melodic rock, especially that trademark guitar riff. I mean this with the utmost respect, as Tommy Denander's output of late has been of the highest quality but there is such a thing as saturation and with such a distinctive guitar/production sound, there will be a limit to how many albums fans can or will want to buy. Though, I can't imagine anyone passing on this project.
Maybe not quite as cohesive as some other releases, but a well put together package nevertheless and as usual, it features some fine hooks, choruses and lead guitar parts.
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| Chris Catena Freak Out! | Indie IMCR008 |
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This is Italian vocalist Chris Catena's debut album. Chris comes from a musical family his father a famous tenor. But Chris' passion lay in rock n roll and his preference was for the most classic foundations of hard rock British blues based hard rock. It's an interesting sound that is the result of Chris' passion and his upbringing - I can't help but think his father's abilities have shone through to the son, as his voice at times has the definite approach of a tenor! Take Crazy People for example it sounds like Glenn Hughes meets Ken Tamplin meets Pavarotti. Unique, original and highly enjoyable. The album's style is rooted in blues drenched hard rock taking influences from such luminaries as Deep Purple, Whitesnake, Glenn Hughes and even a Gene Simmons fronted Kiss. Catena has a dark, rich voice that could cross genre's. His delivery style isn't going to be for everyone, but it is unique and well worth a listen. The album features 15 tracks, which means there is a lot to listen to and digest, but that also equals great value for money. There is also some substance to each track. There are up to a dozen guests on some tracks, with names galore featured. That makes for a lot of music and true enough, each track takes repeat listens to get to know and each new listen appears to bring something new to the listener's ears. The amount of guests featured and the fact that parts were recorded all over the world could amount to a logistical nightmare, especially with the mixing of the album. But Chris seems to be a talent behind the boards also, as this album is well mixed and balanced. Another feature again due to the guest roles on the album is the amount of free flowing musical interludes during songs. Quite often tracks will break from their paths to delve into an instrumental or solo passage before returning back on course to finish. It makes for some interesting listening. Track by Track: Crazy Man sounds like a track from the last Ken Tamplin album, with vocals and guitars going everywhere. A very catchy rocker with Kelly Simonz, Tommy Aldridge, Vitalij Kuprij and Frank de Groot all guesting. The song features a great instrumental mid-section. Freak Out Tonight is a duet with Glenn Hughes and also features Bruce Kulick, Tony Franklin, and a funky horn section. Throw in lots of organ and a funky beat and a typical 70's Glenn Hughes style funk/rocker is complete. Hey Man (Freedom Calls) is another uptempo funky blues number with a strong melody that features guests Stevie Salas and Tony Franklin, among others. Lady Starlight is a mid-tempo rocker featuring Bernie Marsden. Not one of the album's stronger tracks, but enjoyable nevertheless, thanks to a strong chorus. Desire is a mid-tempo funk rocker in the vein of Trapeze and Prince. It's a little laid back for me. Duran Duran's John Taylor guests on bass. Take Me Away is a faster paced, straight ahead rock track that gives the album a needed tempo lift. Dave Meniketti guests on guitar. A strong chorus is the song highlight. To A Friend is a bluesy ballad with that hint of Pavarotti again. Very 'expressive' I believe is the term. What You Gonna Do When Your Love Is Gone is a funky rocker and a duet with Jeff Scott Soto. Stevie Salas returns on guitar and Chester Thompson appears on drums. Sweet Talker is a cover of the funked up track from Whitesnake's classic days. What better track to have Mickey Moody and Bernie Marsden guesting on, along with Chuck Wright and Eric Singer. Quite a line-up! Don't Stop Running features Kelly Simonz and Tommy Aldridge again and is more or less a straight up mid-tempo rocker. Follow Me is a very soulful, almost Gospel like organ drenched rocker. Gimme Your Love features Stevie Salas and John Taylor again, this one again featuring a funky beat and some 70's inspired Hammond organ. Getting Tighter is a cover of the classic Deep Purple track again features Stevie Salas, Virgil Donati, both playing all over the track. The Stronger You Are, The Harder You Fall features Eric Singer, Chuck Wright and Bruce Kulick, and is Kiss influenced classic 70's hard rock track. Closing the album is the almost epic blues rocker It's A Long Way To Go. The track features the great John Lawton in a duet with Chris and is a very cool way to finish the album. A little over the top, a little bluesy and a little rock a perfect summary of what the album as a whole offers.
A well produced and well written set of songs and a fine debut by anyone's standards.
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| Double Cross Time After Time | TB Records TBCD0109 |
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Double Cross are a British melodic hard rock outfit whose music is the very definition of British melodic rock and AOR. This is a very enjoyable album for a number of reasons. The style of music is a hybrid of Dare, Ten and Pride, with their own signature style not forgotten. The band don't deviate from the traditional style of delivery for UK melodic rock, but that guarantees instant attraction for fans of the style and the fact that it's done very well indeed will only further their cause. The band has several things going for them. The album features a well balanced production and each member of the band can be heard thanks to an excellent mix. The guitars play off with keyboard fills, but still drive the songs and it's great to hear some solo breaks wherever possible. Vocalist Rick Chase has a perfect voice for the songs on offer, which is the other strength of the record. The guys know their craft and have recorded 12 very memorable tunes that all feature distinct choruses and memorable hooks. At times the band sound like Ten, in the style of their debut, and at times the tempo is stepped up a notch or two into a heavier realm such as on Valley Of The Kings and the almost progressive in nature Time After Time. The majority of the album is comprised of classic mid to up-tempo melodic rock and tracks like the very catchy opener Reach Out, How Do We Know and When We Were Young are first-rate rockers with a strong AOR vibe. Then there is the classic lighters-in-the-air ballad When Two Worlds Collide which sends the album through the roof. Two other ballads are featured on the album, but both are pretty rocking, all things considered. Only The Strong is a sentimental favourite and One Lonely Night is a dark and moody rocker.
A solid production, some very memorable songs and a varied but consistent delivery are the backbones of this very good album.
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| Hobbit All For The One | Indie Hobbitcd.com |
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Review By: Phil Ashcroft There's an interesting story attached to Texan pomp merchants Hobbit. Having had their 1st, 2nd & 3rd stabs at fame and fortune between the years of 1977 and 1985, the Tolkien-influenced foursome finally gave up the ghost after a string of record company promises saw recordings languishing in the vaults, seemingly forever. However, after a 14 year hiatus, the original line-up of Paul Turk Henry (bass, vocals, guitar), Gene Fields (vocals, guitar, keys), Richard Hill (lead guitar, keys), and Rusty Honeycutt (percussion) decided they should finally do something with the music they'd recorded. The albums Two Feet Tall and Rockin The Shire were remastered and independently released, and two years later with Lord Of The Rings fever at it's highest ever level, the band entered the studio for the first time in 18 years to try to do justice to one of the greatest stories ever told. Their self-styled Fantasy Rock is the perfect vehicle for a project of this type, and while the band have dabbled in Tolkien-esque themes before, this time they ve thrown caution to the wind and jumped in with both big hairy feet! Lord Of The Rings will no doubt be seen by some as a ridiculous concept to try to set to music, especially as Hobbit have done it complete with narration and a whole host of background noises and character voices. What they ve also managed to do is be faithful to the book (no missing Bombadil's here!), and instil a passion in the lyrics and their delivery that overrides the urge to guffaw, except of course the bits that are meant to be tongue-in-cheek. Even if you can t get into the late 70's/early 80's pomp sound of the band, you can't knock their attention to detail or the phenomenal amount of work that's gone into making this CD such a complete tribute to something that has touched so many. Musically they're a bit of an enigma. Sounding not a day more modern than Equinox to Grand Illusion era Styx at their heaviest, or Yes/Starcastle at their lightest, while the elitist in me wants to compare them to bands like Rail, The Hunt, and Morningstar. Is that any clearer? I thought not! A track by track review would be pointless as there are 32 different tracks, 20 of them are individual songs or instrumentals, while some are just dialogue and are untitled. To be honest the style is dictated mostly by which part of the story you're at, and as it's a concept album in the truest sense of the word, there's plenty of scope for light and shade. From the joyful pompy opening of Everywhere and In The Shire, to the serenity of the Eleven cities Rivendell and Lothlorien, and to the depth's of despair in the Mines Of Durin, Echoes of Mirkwood, and In Mordor, all heavier and menacing but no less tuneful. Every piece conveys the appropriate mood, sometimes the folkiness of Jethro Tull or early Heart (The Wind and the Way and Hey Bombadil), and sometimes something far darker and more sinister (Nazgul and Witch King), each one sung in character and with additional spoken voices in the background for atmosphere. The sheer volume of work that s gone into this is impressive, and made all the more charming by the fact that the narrators can't seem to stay in whatever accent they're supposed to be speaking. But all this would be pointless if there were no songs, and thankfully the guys can write a catchy tune or 10. There are some standard melodic rock moments among the Gene Fields sung hooks of Everywhere, and especially Destiny Chaser, not to mention the all-too-short and uplifting farewells with it's killer guitar solo, and half-a-dozen or so decent ballads. On the other side of the coin it's the darker Paul Turk Henry vocals, left-field arrangements, and superb basslines of Echoes Of Mirkwood, Mines of Durin and the brilliant Whispers Of Gollum which score the highest. Lyrically Hobbit have done the books proud with all the relevant character and place names incorporated, and while it s not the best produced album around, it's adequate considering the sheer amount of instrumentation, voices, and background noises that are heavily layered throughout.
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| Empty Tremor The Alien Inside | Frontiers Records FRCD178 |
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Review By: Phil Ashcroft After a lengthy gap since 1999's Eros & Thanatos , Italian prog-metal band Empty Tremor have finally found a replacement for departed singer Giovanni De Luigi and are about to release The Alien Inside through Frontiers records. In the past, as enjoyable as Empty Tremor were, they still lacked that vital spark that would take them into the big league. For the most part they seem to have addressed the problem by slightly simplifying their sound, as well as employing the talented ex-At Vance singer Oliver Hartmann, whose deeper rich tones are a significant improvement on De Luigi's higher, somewhat shrill, delivery. There s no doubt that in prog-metal circles Dream Theater's Images & Words changed the world as we know it. Many bands have tried and failed to emulate that sound, most would even argue that DT haven t matched it since either. The likes of Vanden Plas, Shadow Gallery, and recently the excellent Dreamscape have come the closest, and now Empty Tremor and their talented keyboardist Daniele Liverani (Genius, Khymera) have thrown their hats into the ring with this valiant attempt. All the trademarks are there, the big drums of Stefano Ruzzi, the intricate riff-work of Christian Tombetti and Marco Guerrini, the athletic basslines of Dennis Randi and the exquisite keyboard prowess of Liverani himself, but it's through Hartmann that ET have unearthed hooks where there were none before. Not that this is a masterpiece of Dream Theater-like proportions, but the band have grown to take in different sounds and styles, and have learned that sometimes less is more. As a result, the album is more mature due to the band s ability to take a step back and use the instrumental flurries sparingly rather than beat you over the head with them for the entire duration. My main problem with The Alien Inside is that a) there's nothing original here, and b) the last song is totally unnecessary and detracts from the total enjoyment of the disc. Let me explain with a track by track: The Alien Inside - Big symphonic Dream Theater-type sound with many time changes, very long intro before the vocals come in but Oliver Hartmann s rich voice is perfect for this style. A good attempt at a Metropolis style song. I Found You - Lighter and more melodic with great keyboard sounds and nice harmony vocals. Guitar crashes in later on, but a simpler and more melodic approach on a great song with superb vocals and guitar solo. An album highlight and one that will be played frequently for years to come. A New World - Another big symphonic rocker with a retro Kansas vibe about it. Some fluid guitar work and Vince DiCola/Kerry Livgren-style melodies, good vocals, and not a million miles away from what Shadow Gallery do at their most cohesive. Who You Really Are - More Dream Theater/Shadow Gallery instrumental interplay with a simple vocal melody that works really well. Chunky guitars and busy drums with Hartmann doing his best Dio impression. Great instrumental mid-section on which Daniele Liverani shines on keyboards, see if you can spot the bit from Jeff Scott Soto's Stand Up. Don't Stop Me - Another Metropolis -style song with a straight commercial vocal line and a superb performance from Oliver Hartman. The simple vocal/tricky instrumentation thing really works well and the guitar work is particularly appealing. Stay - Simple Eric Martin-style acoustic pop song on which Hartmann does a great job. Nice harmony vocals again and a nice change of pace. The Love I've Never Had - A more recent and heavier Dream Theater sound with Hartmann singing at the bottom of his range. Musically, the same themes that are used on the opening track keep re-appearing. Lots of frantic double-bass drum work and John Petrucci chord progressions that eventually segue into a reprise of The Alien Inside. The Alien Outside - The same theme yet again but by this time it s wearing a bit thin, it builds nicely but ends up being far too repetitious. It s a good melody but flogging it to death doesn t make the listening experience any better.
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| Magellan Impossible Figures | Inside Out Music |
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Review By: Phil Ashcroft This new Magellan CD, their 5th, came as a bit of a shock for a couple of reasons. Firstly because they released an album last year, and with leader Trent Gardner involved in so many other things (Mullmuzzler, Explorer's Club, and the Leonardo Project to name a few) there's usually a three or four year gap between Magellan releases. Secondly, and even more strangely, it's not through Magna Carta, the label that's put out all Gardner's previous work, and with whom the man himself seemed inextricably linked. The change of label is, on the surface, surprising, but delving deeper the split with his previous label was less than amicable and has left the band in considerable debt. If Gardner's trying to raise the band's profile in Europe, after all it's the biggest market for Progressive Rock, then signing with Inside Out is the best move he could have made. The good news is that Impossible Figures sees Gardner's excellent run of form continue without a hiccup, and while the album still features his unusually quirky time changes and varied mixture of musical directions, most of the songs continue the more straight-ahead and hard-hitting direction of last years Hundred Year Flood epic. Aided as usual by Trent's brother Wayne on guitars and basses, and augmented by excellent local Sacramento drummer Jason Gianni, the CD seems a bit disjointed at first as there are only six actual songs and three short instrumental preludes. However, with repeated plays it becomes obvious that the instrumental bits (Gorilla With A Pitchfork, Bach 16, and the Kansas-like Confessor's Overture) set the scene for the three most outstanding pieces of music that follow them. Trent Gardner's keyboards are the main focus as usual, and his Keith Emerson meets Kerry Livgren melodies are all over the lengthy Killer Of Hope, which twists and turns in Gardner's inimitable manner, never staying in one place for too long but returning frequently to the catchiest bits. Wayne Gardner is no virtuoso, but a skilled team-player who provides some modern sounding riffs that prevent the huge synth-led numbers from being too retro, although at times he can be so like Steve Howe it's untrue. The whole mix is somewhere between Dream Theater and early Kansas with plenty of light and shade. Late For Church is catchier still with Gardner's ever improving voice showing that working on Steve Walsh's album has rubbed off on him. Lyrically it's all very introspective with religious overtones, but far from being preachy and it's left to the listener to interpret the song as they wish. Musically though it has elements of the old and the new, with Gardner's complex vocal melodies being entirely his own. Hymn For A Heathen continues the same lyrical theme and is a great piano-led opus that wouldn't sound out of place on Song For America or Leftoverture. If it's mind-boggling variety you crave, A World Groove has everything from African rhythms, World music, pan pipes, funk & rock, and that just takes you up to the first chorus, and if that isn't enough the harmonies are a dead-ringer for Ambrosia. So far so good, but in the great Magellan tradition of inconsistency the CD takes a dip with the less cohesive Counterpoints, where some superb ELP/Kansas moments are spoiled by some funky sections where the lyrics don't seem to fit. Also album closer Feel The Cross is very dark sounding with a fuzzy noise that's closer to the Canadian FM's electric mandolins than guitars. Also they choose to finish the song with an acoustic guitar/bass part that's too close to Yes' Starship Trooper for comfort. I may be wrong and it may be meant as a tribute, but either way it doesn't really work.
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| UFO You Are Here | SPV |
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UFO return with the legacy of their past behind them a new line-up has emerged out of the departure of Michael Schenker and it seems he won't be back this time. But never say never in the land of UFO, where anything is truly possible. Joining band regulars Mogg, Way and Raymond are guitarist Vinnie Moore and drummer Jason Bonham. Both Moore and Bonham have extensive and respected histories and although their joining UFO is a little surprising, both fit the band rather well. The overall energy of the band seems to have lifted, with the songs of You Are Here all representing an air of positivity it's clear to see the band enjoyed recording this album. Sound wise, Bonham's authorative drumming ties in beautifully with Pete Way's bass playing and Vinnie Moore proves himself to be a great fit for the band, helping UFO cover their blues rock roots, while also providing all the required guitar acrobatics expected of any role that Schenker previously played. The production from Tommy Newton is also fitting not too over the top, nor too technical or crisp, but nor is it rough or loose where it shouldn't be. However, there are a few points to be made about the album. I found myself getting half way through the album without realizing how far into the album I had come. There is a distinct lack of memorable choruses in play. Where there are choruses, they are short and rather featureless. The instant hooks of classics like the early days and recently Walk On Water are not present. I like the sound, I like the delivery, but their definitely needs to be some work done on those choruses! Additionally, thanks to some information from long time Vinnie Moore fans, some of the tunes included on this new album are his old solo demos. Maybe the band are a little out of ideas then?
More work is needed on the overall songwriting - the rest the band has nailed down. I also hope that this line-up can stick it together for a while to come yet, as there are some promising signs of what is possible.
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| Snakeryder D.O.A. | Metal Mayhem |
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Snakeryder hail from New Jersey and have recorded an album of classic 80's styled, first in the air, hard rock.
Like 1988 continued on without an ending, this guitar driven slice of hair metal will impress those that keep one ear open for anything featuring the classic vibe of this genre. With a whiskey-soaked rasp, vocalist AJ Fedz brings warmth and familiarity to the sound, which combined with plenty of melodic guitar riffs and some well placed harmonies, makes for some pretty easy listening rock n roll. As the bio suggests, thoughts of Y&T and Cinderella come to mind, but additionally, this album might have something very positive to offer fans of other bands of the era such as Julliet, Motley Crue, Paul Shortino and even early Von Groove. The album's sound is well placed in the 80's decade, but the production is impressive enough to avoid any suggestion of being dated. Most of the album rocks at a good pace, with just one mid-album ballad providing a change of pace.
Nothing that hasn't been heard before, but certainly good enough in quality to ensure that it will reach a number of classic era rock fans and have them humming away to a new name.
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| Bulletboys Sophie | Indie BBR001 |
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The Bulletboys were never better than on their killer debut, but since then they have been a little hit and miss, with not all fans agreeing on what album represented the band's best work. Last heard, the BB's took and indie route in recording a very loose and raw surf-punk style album called Acid Monkey. It was certainly not their finest hour! The boys are back now, albeit, not close to their original line up, but at least closer to their original sound. They remain an independent act, marking the record through their own website. Sophie sees the band return to their party rock best, a sound that isn't far from any early David Lee Roth fronted Van Halen album which was always their best trademark comparison. There are a few modern/alternative tricks turned within the album, but for the most part charismatic frontman Marc Torien and guitarist Tommy Pittam stick to the formula of their early days. The only problem is the quality of the overall package. The style is loose, raw and in your face which is fine but the quality of the recording or overall sound is well below average. At times it sounds too loud and a little distorted and the mix can sound pretty muddy in places. It makes it very hard to appreciate the song themselves. And at a little over 32 minutes in running time, the value for the buck comes into question.
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| TNT My Religion | MTM Music |
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It's a tough call. Its 2004 does a band attempt to recreate its glory days by returning to the sound fans have called for, or do they continue to try and update their sound in an attempt to reach new fans and appeal to programmers of today's rock. The best possible outcome is an album that is based around a band's classic sound, but yet manages to incorporate fresh new elements and updated production values to create a blend of the best both worlds. Take Danger Danger's last couple of albums as two of the best examples of this approach working in their favor. Many bands that take this route fail due to poor songwriting. Regardless of style, you can't make a great record without memorable songs. As is often the case, yesterday's best bands struggle to match their past form or move so far away from it that few are happy. But not so TNT. After two quite experimental releases, My Religion sees the band make the toughest of calls they have returned to their much loved classic sound, while not forsaking the advances they have made as songwriters and performers. In short - they have nailed it. My Religion is such a breath of fresh air; it will have others lining up to emulate its design and will be used as a yardstick for other releases for some time to come. TNT have reached into their past and brought back the power, the style, the melodies and the harmonies from such classics as Tell No Tales and Intuition. They have mixed those elements with an updated and more contemporary production and a seriously rejuvenated kick-ass delivery. The performances on this album are also something to behold. Tony Harnell has never sounded more powerful. What's really pleasing is the variety in Tony's vocals. He has a fabulous ability to deliver a gut wrenching growl one moment and an ear piercing scream the next. This album sees the return of the much loved high-pitch vocal and accompanying harmonies, especially come chorus time, but with new warmth and depth to the overall vocal. I seriously think Tony just gets better and better. Ronni Le Tekro is also on fire. His guitar riffing is at times as heavy as it has ever been, really driving the songs of My Religion. Special mention of the soloing must be made. Within this album are some of the best guitar solos I have heard in many years and it's great to see an album with a contemporary feel, big choruses and guitar solos! Far too many artists have forgotten that this is an important aspect of any rock album. And the rhythm section of Morty Black and Diesel Dahl have never sounded better. The album features a collection of fabulous songs they all have their unique individual identities, yet flow perfectly together and make up an extremely cohesive album. The production quality is nothing short of a world beating, major label standard. If only more albums sounded as good as this and had as much life and zest to them. The album was produced by Ronni Le Tekro and Tony Harnell, but an important factor is the mix by famed producer Tommy Hansen. Tommy could not have done a better job of piecing the parts together and has balanced the vocals, guitars and the rhythm section perfectly. The fact is that My Religion is a masterpiece. A perfect album. I just can't get enough of this. It's one of the very best I have had the pleasure of reviewing since I started this site and is easily one of the best melodic hard rock records in recent years. Whenever I have had to take a ride over the past 4 months, the only album that has come on every single journey has been this one. And it's the whole package to great artwork, great songs, great sound. After several weeks of continuous playing, there are still new elements to the album to discover and as each week passes, a different track is named as favourite. There are several moods within the album, which keeps things really interesting and brings the listener back for more. It's musically interesting, quite complex and definitely challenging, yet remarkable accessible. Track By Track: I wouldn't call Invisible Noise a predictable album opener. It bursts out of a short intro with a trademark Harnell scream, before falling into a mid-tempo groove. Tony's vocals are powerful, yet subtle and the track features a simple but effective chorus melody. Add in some random guitar soloing and a mid-track break and you have a really interesting track. She Needs Me is just killer - a real feel good anthem. This is one of my favourite TNT tracks ever. It features a dark and heavy guitar riff and a truly powerful lead vocal that simply explodes come chorus time, with a monster hook and that trademark high-pitch delivery. The beefed up rhythm section and dark and moody feel to the track accompany the song's theme perfectly. Surely this will be a main contender for Song Of The Year. If She Needs Me is TNT 2004, Lonely Nights has the vibe of early TNT, with a style that wouldn't be out of place on Intuition. The chorus is another burst-through anthem, with more soaring vocals and a great Queen style guitar solo mid-track. A sing a long favourite and one of the more traditional style TNT tracks on the album. My Religion is perfectly placed as the dark, hard-edged, aggressive rocker, with Ronni's guitar riffs right in your face. Tony's lead vocals have a menacing edge to them and take my word for it don't stand anywhere near the speaker when he let's scream before the guitar solo. Ear bleeding stuff! One of the album's heaviest tracks and a fantastic example of a more aggressive and hard rocking TNT. Fans will be familiar with Give Me A Sign which was also featuring on last year's EP. This version has been remixed into character with the rest of the album, with a more prominent lead vocal and even more guitar further up in the mix. It was one of the two best tracks on the EP and fits in perfect context with the full album. Perfectly is the album's first ballad. This is classic Tony Harnell powerful and soaring vocals take the track right over the top, especially during the sentimental chorus. The song starts acoustically and builds throughout, into a full band track by the end. There's a hint of Tony's Morning Wood project about this song. After the ballad, You'll Be There gets things rocking again, with a strong mid-tempo pop rocker with a real groove and a happy go lucky feel to it. The chorus is very subtle, but gets better and more obvious with repeat listens and will be another favourite for melodic fans. Flow is a brief acoustic segway into the moody hard rocker Live Today, another track from the EP. This was my pick as best track from the EP and again, it fits perfectly into the scheme of the album as a whole. I never get tired of hearing this, with Harnell in great voice and letting fly with a dark and aggressive lead vocal. Changing tact is Everybody's Got A Secret - another track that is destined to be ranked a fan favourite. Like Satellite from the EP, this track features a very pop groove and has a distinct 80's feel to it. The uptempo, feel good pop/rocker with an instantly catchy chorus, will be one of the easiest tracks to appreciate and is a great balancing track to the darker and moodier elements within the album. Everything U R features another classic TNT guitar riff, but the song itself is a little different and shows yet another personality within the album. It's not the most immediate track, but rather is another grower, with a simple, but effective chorus. The last full track of the album is the haunting ballad Song For Diana. This is unlike any other TNT track I have heard. The Celtic styled ballad features a sparse, but complex arrangement and a female vocal from Tony's talented wife, to accompany his lead vocal, which really draws the listener in. The Last Word is another short and simple instrumental piece which closes the album.
All said and done, the album flows perfectly from the opening to the closing, with each track between another gem. It's one of the best albums TNT have ever recorded and quite possibly the best ever. I've had their classic Tell Not Tales for 17 years now, so My Religion has a lot to live up to, but so far it's doing a brilliant job. I can't imagine any TNT fan not impressed with this release. It's just that good. In fact, I can't imagine any rock fan not impressed with it.
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House Of Lords The Power & The Myth |
Frontiers Records FRCD 179 |
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Like no other band I can think of, House Of Lords have endured more obstacles while putting this album together. There were problems securing the rights to the name again, Gregg Giuffria pulled out at the last minute and the recording time has been spread over nearly 3 years or 8 if you include the very first demos recorded for a re-union. With such a long wait, expectations were high, which is why the result will find opinions mixed and extremely varied. There's a lot to like about the new House Of Lords album their 4th overall and first since 1992's Demons Down. However, those positive attributes aren't necessarily the same ones the majority of fans are going to be looking for. The name House Of Lords conjures immediate thoughts of power melodic hard rock with soaring choruses, bombastic and pompous arrangements and glorious lead and harmony vocals, all bathed in a rich layer of keyboards. The Power & The Myth has little of any of this and therefore could disappoint those looking forward to a sequel to any of the band's previous albums. And James Christian's vocals fail to add any spark to songs that really rely on him to lift them. When you take a look at it, House Of Lords have never recorded the same album twice. House Of Lords, Sahara and Demons Down are all quite different from each other, yet the band always ensured the albums featured the common thread of the elements already mentioned above and most importantly they always featured extremely memorable songs. The massive debut album is one of the all time great melodic rock masterpieces, filled with anthem after anthem. Sahara was tougher and heavier and more guitar dominated. Demons Down was the quintessential big budget, big production American melodic hard rock record. It should be no surprise that The Power & The Myth is quite different again. Not only that, but its some 12 years later. One should expect a new and updated approach, but it's also fair to say that one could reasonably expect some of the band's most loved traits be included. The Power & The Myth is one of 2004's most highly anticipated albums. The fan base knows what they want, but the band clearly has their own desires. House Of Lords are one of my all time favourite bands because no matter the style, the hooks and anthems have always been there. But this time around things are definitely a little different. More work than ever is required to get into this album. This is a modern melodic rock record, with a distinct retro vibe and strong hints of Zeppelinesque flair. The instrumentation from Chuck Wright, Lanny Cordola and Ken Mary is more intricate, technical and features a slight progressive flair. Not your typical 80's rock arrangements, that's for sure - which is a positive thing. There is no greater joy than listening to musicians who know their craft, really stretching their chops and clearly enjoying it, as Chuck, Lanny and Ken are doing here. But the down side is that a few elements from the past are missing. Gone are the big anthems. Gone are the multi-layered hands in the air choruses and gone are the layers of harmony vocals. I admire the band's desire to move on from everything that the past held, but I don't think the fans will be so open minded. Most alarmingly, the vibe of the whole album is quite flat. Despite the challenging and complex arrangements, the songs remain quite laid back. And the main reason for this is the vocal performance from James Christian. James is heralded as one of the greatest melodic rock singers ever, but his performance here is one of the worst I have heard from him. I am not sure why this is so, but there is a distinct lack of passion on this album. The lead vocals are very business like - more like a hired hand than a passionate member of the band. It just doesn't come close to comparing with his efforts of the past. I can't help but think Christian recording his vocals in Florida and the absence of Gregg Giuffria has left the album without that magic ingredient that their past albums contained. The keyboards that are a part of the album are just not prominent enough. The songs from The Power & The Myth are gathered from the 1995 re-union, right through to freshly written tracks from the last couple of years. Although taken from various sessions, the songs are pieced together very well and the album manages to flow quite smoothly from start to finish. Track By Track: Today opens the account for House Of Lords 2004. The track has a softly building into, which features a raspy and laid back vocal, surrounded by some cool instrumentation and a slightly progressive touch. The chorus bursts through the dark mood of the track, but is over before you know it. It's quite subdued, but gets better with repeat listening and is one of the better tracks on the album. The track's retro vibe continues during the end instrumental passage, which features a synth-string arrangement. The track leads directly into All Is Gone, which is a little tougher and again features some intelligent musical arranging. But the chorus is too flat and doesn't bring a suitable break from the rest of the song. Am I The Only One has an interesting intro, with a Middle Eastern feel to it. The track itself keeps on course from its laid back intro. It's a slow to mid-tempo rock ballad with a lush arrangement, but no major hooks. Living In Silence features a solid drum rhythm to open the song, followed by some fancy guitar work from Lanny Cordola. The whole rhythm of the track makes for interesting listening, but the chorus isn't memorable at all. James does sound like he has come to life a little, with some added vocal trciks, but fades again quickly. This track reminds me a little of an updated Sahara sound. It's certainly more aggressive than the first few tracks. There must be something a little amiss when one of the most powerful tracks of an album such as this, is an instrumental track. But The Power And The Myth is just such a track, with a sense of urgency lacking elsewhere. It's a musically brilliant little passage that wouldn't be out of place on a Rush album and leads perfectly into the next track. The Rapture is another Middle Eastern flavoured track one which has it's origins in 1995. This is another track that would fit the Sahara album and sees James Christian in much stronger voice. Still, the style of the track is somewhat different from the band and despite some great arrangements and a perfect production, might not translate to classic House Of Lords fans. But I like it a lot I like the transition from the instrumental to the track and I love the complex musical base. Man Who I Am is probably the album's most accessible track. This is a sweet mid-tempo pop/rock ballad that features a good melody and a memorable chorus, as well as a fairly lush arrangement with Ken Mary sounding particularly good. The strings and add orchestration and depth seldom seen in melodic rock, making this track an album highlight. Bitter Sweet Euphoria is a track fairly well removed from anything the guys have done before. The guitar work from Cordola is fabulous, as is the thumping bass from Chuck Wright. It continues to prove that the album's second half is stronger than the first, but could have used a bigger chorus and a more powerful vocal. Mind Trip is another song featuring strong instrumentation and some excellent production effects, but due to it psychedelic rock feel might again see some traditional HOL fans again feel a little alienated. But the second half of the song sees some of the band's most intricate jamming to date. Lanny, Chuck and Ken take on a truly progressive sound and let fly. It's pretty clear the guys are enjoying this chance to flex their musical muscle. The track moves directly into the album's closing track - Child of Rage. This serious song about child abuse is another album highlight. I'm told this is a JC vocal from several years ago, when the track was originally demoed. And I have to say that his voice doesn't sound any better on the album than right here. This is the JC of old and a burst of true the passion that the rest of the album could use more of. The track itself is a mid-tempo ballad with an earthy, retro vibe and a memorable chorus.
The performances by Chuck Wright, Lanny Cordola and Ken Mary should also be praised. The guys have all expanded their repertoires over the years and a higher standard of technical proficiency is evident here. In short their performances rock! But the songs in general just aren't as strong, nor as catchy as they could and should have been. The album takes a lot of listening to and does continue to get better as you get to know it, but it still doesn't come close the three classics before it. The flat performance from Christian and the fact that the whole sound and style is so far removed from what the band was much loved for means that the majority of fans are going to come away from this disappointed. It remains a musically interesting album, but really misses some bigger choruses and more memorable songs.
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| Danny Danzi DanziLand | MTM Music 0681-94 |
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Danny Danzi's back! But what took him so long? There is no simple answer to that question there were the record label problems, the constant band line-up changes and not to mention the recording, re-recording and the re-re-recording of the album's tracks. You see, Danny is a perfectionist and he just kept going until he was happy absolutely determined to keep working until his acclaimed debut Somewhere Lost In Time was topped. And without and shadow of a doubt, Danny has topped it and well and truly kicked its butt. DanziLand is better than the debut in every way as any important follow up should be. Better songs, much better production, a better performance and wow, take a look at the artwork! Danny plays his heart out here, with guitar riffs all over this album. Every possible space has been filled with more layers of guitar and some of the best soloing I have heard in a long time. Danny's talents as a guitarist must not be underrated. He really does give the big boys of shred a run for their money, but never at the expense of a good song melody. The production is also impressive. Produced by Danny with Wayne Davis, the album has been assembled perfectly, with a clear and even mix allowing all the layers to breathe. But by far the biggest improvement over the debut is Danny's vocal performance. He has really improved his range and the delivery of his voice and the songs benefit from that with more added layers of harmony vocals taking it really over the top. Both attributes add warmth and soul to the overall album. Track By Track: Such an album as this deserves a big build up and the intro Welcome does the job admirably. That leads straight into the fast tempo'd double kick-drum stomper DanziLand. This high octane hard rocker gets the album off to a flyer, but it's Eternity that really will turn heads. This Journey-esque melodic rocker has melodies and riff's going everywhere, a highly memorable and melodic chorus and some sweet harmony vocals throughout. Just A Matter Of Time is a 6 minute moody rocker, with a soft and subtle intro and verse, before a Van Hagar style chorus kicks in. The track also features lots of guitar fills and a killer solo. Let It Go appears to be the first ballad of the album and impresses with a heartfelt vocal before the full instrumentation kicks in, turning the song into a bit of an emotional mid-tempo melodic rocker. Only The Strong Will Survive should be familiar with most Danzi fans it has already been featured on samplers from his previous label Z Records and current label MTM. The song is a solid straight ahead rocker. Wild & Dangerous features a dose of cool acoustic guitar during the verse, but the chorus is all electric and rocks nicely. Classic hard rock for guitar fans. Time Passes By is the album's big power ballad, which in accordance with the rest of the album, also rocks! This is a nice sentimental track, with a great lead vocal and some more impressive guitar playing, albeit a little slower in tempo. Destiny is a more European style hard rocker with a dramatic almost symphonic feel. The track features some more flashy guitar playing and sees more great harmony vocals come chorus time. Fool is another solid, straight up hard rocker with a slight retro vibe to it. All Or Nothing is a track more dominated by keyboards and has a classic 80's feel to it. The uptempo melodic rocker has an easy going feel to it and features a feel good chorus. It's one of the album's coolest tracks. What About Us closes the European version of the album. This is a great tribute to the events of September 11 and is an acoustic driven rock track. It's another side of the Danzi sound and a very cool last track.
But an album of this quality will help his cause and should see his name a top of many Best Of 2004 lists. The style of the album is something there isn't a lot of right now, so I imagine this will be eaten up and truly appreciated by fans.
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| Pink Cream 69 Thunderdome | SPV |
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Fans of European melodic hard rock need look no further for a contender for album of 2004 than Pink Cream 69's newie Thunderdome. The guys know what works for them and what works for their fans and Thunderdome is simply a combination of those two things. This is loud, in your face and pumped up hard rock with attitude. This amazingly is their 9th studio release. Their previous best - in my humble opinion - was the brilliant Sonic Dynamite, with their last album endangered not quite topping its predecessor. But now the band has done just that and along with Sonic Dynamite, Thunderdome will rank as two of their best albums. It will be down to fan preferences as to what the majority think, but personally speaking I have found Thunderdome to be their most enjoyable album to listen to and review. Vocalist David Readman is in fine voice and as usual the production by bassist Dennis Ward is close to flawless. The guitar work from Alfred Koffler and Uwe Reitenauer is as powerful and hard hitting as ever and Ward along with drummer Kosta Zafiriou provide the foundation to the band's uncompromising and increasingly copied sound. Whether it's on the hard hitters like Thunderdome or the darker That Was Yesterday and Retro Lullaby, or the high octane rockers like Here I Am, the band deliver the goods. Changing the pace a little is That Was Yesterday - a great rock ballad in the best tradition of the band and features a great chorus hook and a strong lead vocal. Shelter is also a very commercial track that features a big hook and catchy singalong chorus. And for the record, I personally hate the song My Sherona and would be happy to never hear it ever again as long as I breathe. But the band has PC69'd it and true to form, it rocks hard and is a lot of fun. Still, I'll continue to skip over it each time!
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Axel Rudi Pell Kings & Queens |
SPV |
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Axel Rudi Pell doesn't vary the blueprint for his albums very much, but he does consistently record and release great albums, pleasing dedicated fans each time with more of his own brand of European hard rock. The band line-up for Kings & Queens is exactly as has been for the last couple of studio albums, which means Hardline vocalist Johnny Gioeli is back for his forth studio album. The formula for the last few albums has been an intro plus 9 tracks, including a couple of power rock ballads, a speed demon or two and a couple of extended epics with a few straight ahead hard rockers filling the gaps. Kings & Queens holds true to this formula, and again it provides a great listen and is highly enjoyable as always. Flyin΄ High really shreds for the opening track, with Cold Heaven, Strong As A Rock and Only The Strong Will Survive providing the straight ahead and uncompromising hard rock portion of the album, with plenty of great riffs and some power house vocals from Gioeli. Forever Angel is a great heartfelt power ballad as is the epic Sea Of Evil, which clocks in over 8 minutes. Legions Of Hell is the album's other epic, a great dark and moody rocker running nearly 9 minutes. What's most enjoyable about Kings & Queens is Axel's guitar sound. He's changed the tone just a little over the style of the last few albums - harder edged than ever, with an even more commercial hard rock style.
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| Bowes & Morley Mo's Barbeque | Frontiers Records FRCD181 |
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It's tantamount to the talent of singer Danny Bowes and writer/guitarist Luke Morley that the pair can be the driving force of hard rockers Thunder, yet work together in such a different atmosphere as Bowes & Morley. I must admit to preferring Thunder over the pair's blusier and R&B themed side project, but it still has definite charm. Their self titled album was somewhat of a disappointment to me, but continued to grow - even after the review was completed. After much thought, I concluded that it was a disappointment mainly because I craved a classic Thunder album so much. Thankfully, that was delivered in the form of the excellent Shooting At The Sun. With that desire fulfilled, I was more willing to accept a new Bowes & Morley album and have enjoyed it more then I did the debut. The guys have a fantastic relationship and play off each other effortlessly, which shows on this album. Nothing seems to have taken any effort and the whole album has a laid back, breezy soul/blues feel. Chris Childs (also from Thunder) appears on bass, Mario Goossens (Hooverphonic, The Others) on drums and Mark Taylor on keyboards/organ. The album is comprised of originals and a few covers including Stevie Wonder's Living For The City (a perfect version) and Ann Peebles' I Can't Stand The Rain a track I am not a fan of, even though this version is rather spirited! Add some jazzy piano passages (On A Day Like Today), some laid back acoustic tracks (Since I Left Her and the ballad Illogical) and the odd rocker (How Could You) and you get the picture of a very diverse album. For me, the guys don't sound any better than when they are really getting into the free flowing 70's blues on Waiting For The Sky To Fall.
Danny Bowes proves to be the master of all styles, and Luke Morley shows his talent runs deep. But fans of the harder edge of Thunder will certainly need to preview this before venturing any further.
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| Shylock Welcome To Illusion | MTM Music 0681-91 |
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MTM introduced a few new German acts to hard rock fans over the last year or so Shylock being just one of them. It's hard work to launch new acts, so it's pleasing to see a few of these guys with follow up albums due in 2004. This is when we get to see if the band has potential to go on with the job or fade as another forgettable face of hard rock. It's pleasing then to say that Shylock are the first to have a second album out and fall into the category of those most likely to rock on and continue to draw new fans. Their debut album despite featuring an awful CD cover showed great potential. Welcome To Illusion takes the band much further and elevates them to a must-watch band in the European hard rock scene. There remains an accent with the delivery of the lead vocal, but it's a class above the debut and still a very strong vocal. Fans of early Bonfire will know what I mean. Highlights on the album include the mid-tempo melodic rocker But I Like It, the album opening rock track Welcome To Illusion and the darker and heavier Revolution. The moody rock ballad Lose You, the interesting rocker Tomorrow and straight up hard rock of Guilty are also very enjoyable. The album is very well produced and sounds as good as others in the genre like Shakra and Bonfire. However, 15 tracks in this case is about 3 too many. The band have done it all by about track 8, so the second half sounds a little too familiar and the album would have benefited from being cut back by a few tracks.
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Brides Of Destruction Here Come The Brides |
Sanctuary Records |
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The debut Brides album will be released shortly with a blaze of publicity, but will that have any impact on the CD buying public outside of the individual guys fan bases? The band features bassist Nikki Sixx, guitarist Tracii Guns, drummer Scot Coogan and vocalist London LeGrand. London is the least known of the four his is a new comer to the LA hard rock scene after failing to break through in his native Georgia. The album has a feel of a number of contemporary and classic influences, with a little of the past from Sixx and Tracii Guns (Motley Crue and LA Guns), in a heavily updated contemporary delivery this record is as much alternative modern rock than it is classic hard rock. After many listens, I'm still not sure what to make of the whole affair. It rocks like crazy, as a monster attitude, yet I personally haven't warmed to it at all. Maybe it's the vocalist. As with several other examples in recent years, some classic hard rockers have chosen the path of a more modern rock/alternative vocalist. For the most part I don't like his tone or his delivery. Just not melodic enough for my tastes the style is far to harsh. Here Come the Brides was produced by Steve Bruno and mixed by Steve Thompson, an ever powerful duo that has worked with some of the biggest and the best. The quality of this album's production is therefore very good, but surprised me for it's rawness and overall simplicity. The band is clearly going for that 'live' in the studio feel. So it rocks, it's modern and it packs an in your face attitude. What about the songs? No problem with quality, although there may be a filler or two of the 9 tracks featured. The song style might not be for everyone though. You've got the punk influenced modern rocker Shut The Fuck Up to open the album does anyone really need a song with a title like this anymore? Following that, comes the frantic Guns N Roses styled rocker I Don't Care (a highlight), the heavy semi-industrial I Got A Gun, the LA Guns influenced alternative rocker 2 Times Dead and the modern rock/rap Natural Born Killers, which I quite dislike. The uptempo punkish Life is better it features a better vocal and an almost nu-breed style chorus. Revolution is also pretty cool, with another good Guns N Roses style hook, but a much rougher production quality. Only Get So Far closes out the album with the only slower track of the album a psychedelic styled rock ballad. It's ok, but the vocals don't sell the song. At 37 minutes in length and with most of the tracks already available in bootlegged demo form, there isn't enough on offer here.
Still, there is something about the album I don't warm to and I don't like vocals on several of the tracks. I don't have to like an album to see that it has definite appeal and will predict a few will wonder why I just don't like the album as much as I should. Personal tastes folks!
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| Faithfull Light This City | Vinny Records VR-015 |
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Melodic rockers Faithfull have been picking up a lot of attention and have been doing good business in Europe and Japan. For good reason too, as their debut album is quite impressive. The band is from Portugal and features vocalist Sergio Sabino, formerly of Evidence. There isn't anything here that will challenge the tried and true formula of commercial stadium rock of the 80s, but in this case, that's a good thing. With a singer that sounds alarmingly like Paul Laine, the band run through a collection of 12 high energy, old fashioned rock n roll songs a la Bon Jovi's Slippery When Wet or Danger Danger's Four The Hard Way. The production is also impressive. It could always have been more impactful and a little tighter, but on a limited budget, the guys have recorded and album that sounds every bit as good as many others out there and better than several more. What makes the album really work is the quality of the songs. Included are lots of hooks, catchy melodies and a few choice opportunities to raise your fists and singalong. Best investigate these guys and tracks like the opening rocker Light This City, the moodier follow up There's No Turning Back and the hands in the air feel good rocker All I Want, All I Need. The guys are also not afraid to tackle a ballad or two, but the main influence on Light This City is mid-to-uptempo melodic hard rock.
The album is very consistent, very enjoyable and very well written for fans of classic late 80's era melodic rock. A solid production and classy performance enhances the quality of this album, which rates as one of the better debut album's in sometime.
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| Velvet Dreams Velvet Dreams | Vinny Records VR-012 |
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Velvet Dreams is a band formed in 2001 by Italian singer Max Mucelli and half-Scottish guitarist Richardo Walls. The band features a classic hard rock sound, heavily influenced by their European location, but also featuring a touch of the old English AOR style. The music is well produced courtesy of Carlos Creater and in places features several layers of guitar riff's and solos and the added touch of acoustic guitars for extra texture. Unfortunately the good work that has been put into recording the album is largely undone by a horrible vocalist and some wonderfully dodgy lyrics. I never enjoy reporting such things, but the fact is that the vocals on Velvet Dreams are just not up to an acceptable standard. They are heavily accented and at times the lyrics are just shouted or spoken over the top of the music. Comparisons in the bio are made to Jorn Lande, which may be true as far as the tone and style, but these raspy vocals are more spoken than sung. He is not anywhere close to being in the same league as the great Mr. Lande. Then there is the lyrics ..do yourself a favor and skip Shouting, Standing In A Bar and Up Yours.
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| Reckless Reckless | MTM Music |
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Reckless was formed in 1993, forming out of the band Line Up with Patrick Axelsson as frontman and lead singer. Line Up released one album in Sweden and Reckless went on to record and release their only album in Japan in 1994. Now it gets a wider European release via MTM Classix. I'm afraid this is another album that just isn't in the league of being labeled classic. It's ok for what it is, but it isn't an all time hard rock classic by any stretch. Reckless' album is comprised of 13 straight-up, 80's style trans-Atlantic commercial hard rock songs, with plenty of guitar riffs flying about, interspersed with keyboard flurries and some raspy hard edged vocals. There's nothing wrong with the album at all. In fact, it's a powerful, well produced slice of melodic hard rock, featuring competent performances and a balanced, somewhat crunchy production. It's just that a 10 year old album isn't really as essential as the whole range of great new releases currently available. If there was a shortage of this stuff then it would certainly rate higher.
For those that already own the CD or have burnt copies of this rarity, three added bonus tracks are a good incentive for purchase. Overall, a solid, enjoyable album, but nothing quite essential.
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| M3 Classic Snake Live Vol. 1 | Little House Music LH1002 |
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Mickey Moody and Bernie Marsden seem to be going through an identity crisis. In their quest to be recognized as the real soul of classic era Whitesnake (which they are) the guys have, in recent years, been known as The Snakes, Company Of Snakes and now M3. The M3 line-up consists of Moody and Marsden, plus vocalist Tony Martin, bassist Neil Murray, drummer Jimmy Copley and keyboardist Mark Stanway. Despite introducing the new name and the classy new line-up, I am still not convinced of the need for this release. You see, of the 11 tracks there is not much that hasn't already been featured on the previous live releases from The Snakes and Company Of Snakes. In vocalist Tony Martin the guys have found a great guy and a seasoned performer. He does the material justice, but I can't help but wish Jorn Lande or Stefan Berggren was being featured instead. The performance is flawless, but the vibe feels a little flat. It's time the guys put more energy into creating new classics rather than dishing out the old via more live albums.
This is one for the die hard fans that must have everything, but I don't rate it essential to all Whitesnake or Moody/Marsden fans.
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| Coastline Coastline | Vinny Records VR-014 |
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Coastline are yet another melodic rock act out of Sweden, and another that feature a female lead vocalist. Their bio states influences from the likes of Darby Mills, Survivor and Tone Norum. That's a pretty fair call, but add in fellow Swede's Alyson Avenue and Broke N Blue also, not to mention Fiona at her pink and fluffiest. This is feel good, lightweight AOR with touches of Westcoast in places. The 80's pop/rock style and keyboard friendly strains of Coastline's music will be heaven for those that adore breezy mid-tempo numbers with sweet harmonies and tasteful guitar riffs. There is nothing here not to like especially with the quality of the song writing. The performances are also on song, with the mix favoring the lead vocals, keyboards and then guitars. The production isn't big budget, but is strong enough that it doesn't interfere with the enjoyment of the album.
If you enjoyed the Nexx album from last year and the others noted within the review, then Coastline is a worthy album to search out especially if female fronted AOR is your thing. The solid production is further enhanced by some catchy song writing and particularly enjoyable and pleasant lead vocals from Helena Rosendahl.
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| Various Artists None Blacker - Tribute To Metallica | Perris Records PER01312 |
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It's no secret that I am tired of tribute albums, so this new one from Perris Records didn't get me too excited. This tribute album says it features members of Every Mothers Nightmare, Lillian Axe, Near Life Experience and some other less heard of artists. EMN's Rick Ruhl is featured vocalist on Wherever I May Roam and Steve Blaze is vocalist on Master Of Puppets. In fact Steve Blaze is the only member from either Lillian Axe or NLE involved, so once he and Rick and Jeff from EMN are taken out of the equation, there are no other name players involved. The sound is average and the performances are about the same. I'm not sure who this will appeal to my guess is a few die hard fans of the artists involved, but there are all too few details about the album given. I wouldn't recommend this to Metallica fans, as these are straight up versions that you would better served by listening to the originals. The CD isn't long enough, with only 9 Metallica tracks included, the rest of the CD filled with song samples of the band's featured. It makes the CD more of an promotional advert than an official release.
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| Tesla Into The Now | Sanctuary Records |
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Tesla really had a job ahead of them to come back after so long apart. The band's problems were widely publicized, none more than Tommy Skeoch's drug addiction. Time has also moved on and 2004 sees a whole new playing field compared with the time when their last studio album was released some 10 years back. But the guys took the challenge of a return very seriously evident in the time it has taken the band to write, record and chose this selection of songs. I'm very pleased to say that I don't think the band could have done any better and have really made a great album for these times. It's more contemporary than I anticipated it would be, yet retains enough of the classic Tesla sound to please fans and perhaps prove to be a fresh force on commercial radio again. Tesla's band members all had their own solo things going, with Jeff Keith and Tommy Skeoch's Bar 7, Frank Hannon's Moon Dog Mane and Brian Wheat's Soulmotor both featuring more modern approaches than Tesla's classic hard rock sound. I see the songs of Into The Now garnering influences from both Bar 7, the super heavy Soulmotor and the band's own classic sound - molding those styles into something fresh and new. Into The Now is also heavier than anticipated and also uses more of the modern rock style tuned-down guitar riffs, but it's Jeff Keith's fabulous vocals and the band's rhythm section that remind us of what the band always sounded like. Track By Track: The band breaks into the album's heaviest and most modern track to open the album. Into The Now certainly let's listeners know where the band is at. The track features dark and heavy guitar riffs and a deeper than usual rasp from vocalist Jeff Keith. The chorus doesn't break the sonic attack at all. It's relatively short, but effective. There isn't any big guitar solos, but rather some production effects and vocal filters used mid-song. All very effective and cleverly done to prove Tesla can update and remain cool. Look @ Me kicks off and closes with the same snappy guitar/drum beat. The guitars aren't quite as tuned down as the title track, but remain heavy and pack a punch. The chorus remains short, but is more typical of what we expect from Tesla. What A Shame is even closer to the classic sound of the band's past. The chorus is stronger than either of the opening tracks and the song features that unmistakable electric/acoustic hybrid the band is famed for. A great song that has strong potential for rock radio. Heaven Nine Eleven changes the pace of the album nicely. This is a dark and groovy hard rocker with a strong hint of the classic Tesla sound, just heavier. Things are varied up a little by the use some vocal effects during the chorus and a perfect build in intensity to the heavy chorus break. This track is another great example of the band updating their sound and using cleaver production techniques to blend the old with the new. Words Can't Explain could be lifted from just about any of the band's past albums, given that's its acoustic driven with a riff-heavy chorus. The song builds and gets heavier as it goes and is really one for the old die-hards. Another potential hit song. It wasn't surprising to see Caught In A Dream used as the album's first single. It's easily the album's most commercial track and is a really enjoyable acoustic ballad with a big chorus hook. Miles Away is an interesting track. It clocks in over 6 minutes and is a lyrically touching track utilizing an acoustic verse, before launching into a heavy guitar riff bridge. Another musically intelligent and interesting track. Mighty Mouse is a straight ahead rocker with a modern twist. Not the best or my favourite track from the album. Got No Glory is one of the album's heaviest tracks. Featuring a killer guitar riff, the song isn't one of the more melodic, relying more on the impact of those guitar riffs. Come To Me is another acoustic driven, laid back number with a good chorus hook. While it is acoustic driven, it's another track that sounds new and features a great lead vocal. Recognize is another darker and heavier track, even if the tempo is pretty slow. The song has a bridge-chorus set up, where the tempo picks up, with an aggressive guitar riff. Only You closes the album with another new twist. This is an all acoustic track with strings and a truly haunting feel.
Into The Now really is a great example of a classic band moving into the present, but without abandoning what is expected of them their classic sound.
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| Jaded Heart Trust | Ulftone Music UTCD082 |
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It is widely regarded that IV was Jaded Heart's best record. No surprise then that the band has chosen to return to the more hard hitting approach of that album. The last opus The Journey Will Never End was still very classy and largely enjoyable and I rated it highly. But it was a little more diverse and somewhat softer than the band's previous efforts. I don't believe there was any undue pressure on the band to deliver, but for whatever reason, they have really nailed it with Trust. The band has really put in a superb effort. Everyone is on song. Popular vocalist Michael Bormann sounds better than ever, really launching himself into the vocals. Guitarist Barish Kepic serves up some of the band's toughest riffs and best solos and the rhythm section is as tight and as powerful as they have ever been. Then there's the harmony vocals - easily the most satisfying in the band's career. From 13 tracks, there really isn't any song that lets the listener down. There isn't any let-up in intensity, with the opening rock anthem Anymore and the more urgent Feels Like Home really kicking things into high gear from the word go. There are some lighter moments to vary the pace, but those tracks, like Burning Heart, still have massive intensity. Throw in a couple of big Def Leppard style anthem ballads in the form of Love Is Magic and If I Lose, add a couple of slower, moody rockers like Masquerade, Trust and Let It Rain and you have a perfect balance to the uptempo hard rockers like Hating You and Jaded. I can't compliment the band enough on their selection of songs and the power of the delivery on Trust. These are quite simply, the best songs the band has recorded. My only small compliant is the record at times sounds too loud. Maybe it was the mastering, but at times it sounds a little distorted and just too loud. Rightly so that this record should be played and appreciated at high volumes, but let the listener control that.
It's probably nothing you haven't heard before, but seldom is it done so consistently well. Jaded Heart fans are going to eat this up and new fans won't be far behind.
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Final Frontier Second Wave |
Avalon Japan / Z Records UK MICP-10392 |
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Final Frontier are back for their second attack, with scant regard for the fact that it's 2004. The Second Wave is aptly titled, as listening to the album is like the 1980's all over again. Vocalist Rob Moratti and guitarist Mladen Haze (Von Groove) provide the backbone of the album both providing the music and writing all the songs together. The band's debut was an enjoyable keyboard filled jog through the early 80's AOR sound that made Foreigner and Journey stars. On The Second Wave, it's more of the same, with tracks on offer sounding like they could have been lifted from any 80's release from Styx or the previously mentioned Journey and Foreigner. What's even better about the new album is the songwriting. While there has been no attempt to veer from the style of the keyboard friendly early 80's, the songs themselves contain better hooks and even more memorable choruses. There are plenty of moments to catch the listener's attention and reel them in. The beauty of each track is instantly recognizable thanks to well placed melodies and vocal hooks. The album's direction is evident from track 1, but get into it a little and uncover the singalong gems like Somebody's Gotta Pay The Price, Lydia and the utterly essential Lost Inside A Dream. After The Fall is the band's big radio ballad and would have been guaranteed a spot in heavy rotation if it was 1985! My main criticism of the debut was the thin production, which remains an issue with this release. But I'm sure that fans of early 80's AOR will be happy to overlook that factor in favor of some infectious singalong rock n roll. And thank God the artwork is better!
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| Street Talk Destination | MTM Music 0681 - 88 |
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Over the course of three studio albums, Sweden's Street Talk compiled a strong catalogue of music. The band has also gathered momentum with each release, peaking with their last studio album Restoration, which also featured Hugo alongside Goran Edman as a vocalist. Destination is a fitting title for this Best Of compilation. Has the band reached their final destination, or is this just a stop on their way to world domination? Sadly the world is likely to remain dominated by the likes of Britny Spears, but those with good taste will still hold Street Talk dear to their hearts. All three of the band's albums have featured Goran Edman on vocals - the centerpiece of this set of songs. Also featured are the two Hugo tracks from Restoration and two tracks from Kristian Andren - those lifted from the debut. Rounding out the compilation are two instrumental tracks not previously available in Europe and the added incentive of two brand new tracks. The first new track on offer is the mid-tempo, guitar fuelled AOR anthem Astray. Goran Edman's vocals have seldom sounded better, or smoother. The track is layered with sweet harmonies and hooks and is among the finest the band have recorded. Fitting then, that this song makes its debut on a Best Of compilation. Made For Paradise continues the uptempo and more guitar driven feel of the new tracks on offer. This is another feel-good pop rocker with a memorable chorus and is another example of perfect European AOR.
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