| Bang Tango From The Hip | Perris Records |
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This is another album I have had trouble warming to. Basically I haven't got a lot of patience for albums that don't sound as sonically good as they should these days and the new Bang Tango is perhaps the roughest release of the band's career. I absolutely adore Dancing On Coals, that album was a truly original piece of work in a time where there were a lot of carbon copy bands making waves. Of course this is a completely different line-up than back in the heyday. The guys at times capture the spirit of the original band on occasion, while at other times they move towards a rougher punkish delivery. I think the thing here is that I'm just not sold on the songs. The opening rocker It's All Ok works pretty well as does the mid-album Mother Mary and Get Used To It, but elsewhere, such as One More Spin, Go Go Go and the very rough Carry Me Up don't work for me at all. And at a mere 31 minutes playing time, there is no room for fillers at all. |
| Quiet Riot Rehab | Chavis Records |
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I have had this for a few weeks now and I'm still not sure what to make of it. I think I must just accept that it is not for me. I have read several reviews for the album, all of which are very positive. And I can see where these people are coming from, as the record has a definite style and feel and I think the band has realized their goal of making a new record with a fresh sound and brining the band into the 21st Century. But, personally speaking, I'm not sure I want to be there with them. I still have fond memories of the band's old school sound and to hear them modernize with tuned down guitars and a certain retro flavored classic rock meets 70s blues feel is something I'm not getting into. The record has a very organic live in the studio sound, and singer Kevin DuBrow sounds pretty good in this setting. I think once you get your head around the style change and the new heavy, raw sound, things improve and there are some strong songs on offer. However I can imagine some folk won't get that far as this is a very different beast to the Quiet Riot we all remember. |
| Royal Hunt 2006 Live | Frontiers Records FRCD314 |
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Royal Hunt's new "live" album features 15 tracks and 90 minutes of music over the two discs. But what is on offer is pretty good stuff, even if it the release is aimed squarely at established Royal Hunt fans. The tracks picked concentrate on the John West era of the band, with a few old classics thrown in for good measure. West covers those as he does everything with gusto. He is one hell of a singer and I enjoy everything he appears on. This live set also features new members Kenneth Olsen (drums), Per Schelander (bass) and Marcus Jidell (guitars). The band doesn't skip a beat, with mainstay Andre Andersen still running the show. Recording quality is very good, although a little on the raw side, which I state as a positive, as I hate polished and overdubbed live albums, unless that is part of a concept. So, the record feels nice and live and there is plenty of energy coming through the speakers, helped by an enthusiastic audience. The show was recorded/filmed at St. Petersburg's Music Hall in Russia new frontiers for the band that has been going well over a decade now. Then there is the DVD. Film quality is good the new line-up of Royal Hunt can be seen enjoying themselves and hammering out the classics. It is a solid live show and decent quality DVD release. By now most will be aware that I had reservations about the lead vocals - not the quality of them - but the fact that the pictures are sometimes out of sync with the audio coming through. That lead me to believe that perhaps they were fixed after the fact - it happens all the time, but in this case John West personally guarantees that everything you hear is 100% live, which is why he should be applauded for a great performance, and why I enjoyed the CD as much as I did. I still have an issue with the out of sync pictures, which for me does take away from the overall enjoyment of the DVD portion of this live release. I will stick to the CD when I need a fix. I know some fans agree with me on this and some others disagree strongly. It will come down to personal taste as to whether these few problems take away from the release, but it remains a quality performance by the band. |
| Hotwire Devil In Disguise | NL Distribution |
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German melodic rockers Hotwire return with a new release that I think will find a place with fans of European melodic hard rock and especially the already established fans of the band. The band delivers a strong set of songs some a little heavier with a strong groove and some more lightweight poppier numbers. When they rock, I got a small taste of House of Shakira and at other times a more Bonfire style German melodic rock. The band works best when on an uptempo setting; I didn't enjoy the mellower tracks as much, even though the ballad Wonderland has a nice AOR hook and melody. Hot Love is also skippable as it features a totally and obviously programmed sound. Interesting that the guys should cover the Jimmy Barnes classic Ride The Night Away cool song, but doesn't really work with a German accent. The rockers Skytrain and Escape are two examples of the band doing their best work, as is the excellent opening rocker Waterfalls. A solid album, but a little up and down as far as style and impact. |
| Suzi Rawn Naked | SonyBMG 82998-20966-2 |
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This is a great little modern pop/rock release for anyone out there that wakes up one day and feels like hearing Harem Scarem with a female vocalist. Except we aren't talking Mood Swings or Human Nature here we are talking Harem doing their Rubber style modern rock or more precisely a sound that falls into comparison with Harry Hess' solo album Another Day and Pete's own Fair Ground project. This is produced by, played by and in part, co-written by Harry Hess and Pete Lesperance and features a very commercial modern pop sound that Harem fans will know all too well. The vocals of Suzi Rawn (Canadian Idol finalist) are very welcomed and she works the material very well. Some of this is pure Harem Scarem, even to the point that she covers two Harem tracks brilliantly (and poppier) Don't Come Easy and Understand You (both from Overload). Pete's guitar tone is unmistakable, so if you love the Overload album, the band under the Rubber moniker and the guy's own solo projects, then this is utterly essential. If you are more old-school Harem, then take a listen first. |
| Bombay Black Anger Management | Kivel Records KR0031 |
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I like this album a lot it beats the band's debut for songs, production and energy. This American melodic hard rock outfit knows a good time and is happy to let you come along for the ride on their good fun party rock album, filled with tongue in cheek lyrics and in your face riffs. Highlights include the opening trio of songs - the rocker Without You and the poppy Better Off Dead (again with those lyrics!) and the very melodic Out Of Your Mind. More fun with Every Time I Think Of You and then there is the album highlight the big in your face Forget About It. The good fun, old-school rock n roll continues throughout the album undoubtedly a more consistent and quality filled release than their debut, which I thought had potential, but not quite the songs. The guys close the album with an acoustic driven bonus track titled U Suck, which is more fun and games at someone else's expense. Having had the recent advantage of seeing the guys live, I was surprised to see how incredibly energetic the band was on stage and was amazed at how heavy these songs sounded live. All I can say is that the next step for these guys on their way to stardom is to capture that raw energy on stage and have it translate into the studio. Do that and the guys will deliver a killer record. |
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Tribe Of Gypsies Dweller On The Threshold |
Indie |
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The guys deserve a longer review than this, especially give that their sound is so complicated, original and not easy to describe. If you know the band, you know their style and let me tell you that the new album delivers everything they are renowned for and the quality of the songs and production is everything fans would hope for. If you are new to the guys, track 1 might suggest to you that they are a metal band with tribal influences which of course, is true to a point, but there is so much more. They are a very diverse outfit that rock, but with strong Latin and South American influences, much of which comes through in the band's intense and complex percussion arrangements. But that is just the start of it. There's modern rock, Sanata like classic rock, soulful ballads and straight ahead rock all featured here. Ride On is a menacing rocker to open the album; Desolate Chile is eclectic rock; while Stop Bombing Each Other is the band at their most diverse. The ballad Halo sees a more soulful side of the band come to the fore, but still the complex percussion base remains, not to mention the delicate guitar work of Roy Z. Perfectly produced, never stagnant in its delivery and certainly not for everyone, but one hell of an interesting listen. |
| Black Label Society Shot To Hell | Band Of Beer Inc. |
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Zakk Wylde at his brutal best. We al know he can't sing but we're over that now right? Shot To Hell ranks as one of Zakk's best records to date and sees him in full swing following on from the very good Mafia release. There's nothing new on here that we haven't heard before, but it is done well and the songs are as strong as ever. I like his style and I love that guitar tone all we need is another classic Ozzy album with Zakk as the true partner in crime. If you enjoyed the last coupe of albums, then this is more fine attitude laced metal fare. |
| December Radio December Radio | Slanted Records CMD1113 |
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December Radio are doing all the right things afterall, they have a Grammy nomination now. They are modern rock, but this still struck me as heavier than your average modern rock outfit. The guitars are tuned down, the vocals are familiar and the sound all very contemporary so much so that you can hear this on radio but there is also that heavier elements that might appeal to more than modern rock fans. There are some big rock moments here (Can't Hide, Greed, Table), and then on the other hand the guys turn in a very commercial ballad with an acoustic base (Drifter, Least Of Three). So mix a little Pearl Jam, a little Nickelback and some AC/DC riffing and you might get something close to these guys. Interesting sound and some accessible, commercial songs on hand for modern rock fans. |
| Anarion Unbroken | Majestic Rock Records MAJCD074 |
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Australian metallers Anarion further prove that Melbourne is the metal capital of Australasia. This is a powerful, traditional style metal album that fans of Iron Maiden would easily appreciate. The 9 track, 45 minute album is super intense and filled with a double kick-drum assault that Accept would be proud of. I like the fact the vocals are strong and commanding, occasionally reaching for a scream, but in most cases, holding a firm tone and a good melody. The guitar work is pretty special too lots of riffs and lots of solos. Again a brief review, but definitely an album worth checking out for fans of traditional melodic metal such as Maiden and Priest. |
| MSG Tales Of Rock N Roll | Armaggedon Music |
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I should have reviewed this months ago, but I just couldn't face it. I know there are some die-had Schenker fans out there that will take great offence to this, but this album is dull. Not even the track featuring my favourite MSG vocalist Robin McAuley can inspire me. This is simply Schenker by numbers certainly not a fitting tribute to 25 years of (mostly) amazing rock n roll. It seems each release gets worse for Mike, so where to from here? I know I'm not alone in this view as I have read all the reviews I can find of this overly long record none of them are great. And what was Michael thinking in joining all the songs together? It's hard enough telling one track from another anyway this sounds like one long hour long song. Sorry, but I long for the days of UFO or even Perfect Timing perhaps. |
| Bob Seger Face The Promise | Capitol Records |
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Faced with the promise of new material, I was really excited to hear this album. But much like the Tom Cochrane album just reviewed, the best part was the anticipation built up over years of waiting. Sadly the finished product could not deliver. The album sounds great and Bob himself is in fine voice and there too are some fine songs within this album. Just not enough of them and not of the quality we have been previously spoilt with. And with so many releases to listen to across a wide range of styles, I simply found that I wasn't interested in returning to this album after the first couple of weeks. That says it all really. If the class of Bob Seger cannot draw me back in, then there must be issues with the songwriting. I hope it isn't as long between the next album as it was for this one. All in all, nothing bad at all....just a little safe and predictable. |
| Various Artists Rock The Bones Volume 4 | Frontiers Records FRCD310 |
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Frontiers Records releases the latest in its line of compilation albums this one Volume 4 of the Rock The Bones series.
31 tracks are featured over 2 discs, the first concentrating on recent releases, such as John Waite, Ten, Glenn Hughes, Survivor, Shark Island and Shooting Star to name a few. The second disc features songs from just released albums and a couple coming up in January, offering a nice advance taste of albums from Hartmann, Jorn, Kelly Keagy, Danny Vaughn and just released tracks from Slamer, Talisman, Winger and Pretty Maids. All in all, a good value compilation if picked up cheap and chock full of mostly high quality melodic rock and AOR. No unreleased material however will make this irrelevant for those likely to purchase many of the albums featured. |
| Various Artists MTM Music 10th Anniversary | MTM 0681-175 |
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Same deal for this compilation this time it is MTM's turn to gather the best of their recent and upcoming releases to showcase. Featured here are new tracks from Zeno, Shiva, Jani Lane, AOR and Rain. Two bonuses here the inclusion of unreleased bonus tracks from Fate, Relapsed, Silver and Vengeance offer something for fans to collect, although several other tracks are also marked unreleased merely because the corresponding albums have not been issued yet such as Brett Walker and Robert Louden. The second bonus is a second CD of 15 tracks, promoting the best tracks of MTM's last 10 years. Can't say I agree completely with their selection the label has been responsible for a whole host of killer tracks over ten years, but there are some genuine highlights here from the likes of Danger Danger, TNT, Rick Springfield, Dare and Jaded Heart. No unreleased material on the second disc. Both compilations here offer something similar, yet different, but both offer a generally good oversight of some quality melodic rock. Check them out...then buy the albums! |
| Donnie Iris & The Cruisers Ellwood City | Primary Records PRI416 |
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American rocker Donnie Iris returns after a 9 year hiatus with a fired up new studio album that sees Donnie rocking in fine form. Also returning is the band's original drummer Kevin Valentine (Cinderella, Kiss). The record is diverse in that it moves from rock n roll to soulful pop to straight ahead commercial ballads. Then there is the few left turns such as the boogie influenced Rocque Fantastique. And I'm not sure about the cover of Soul Man though especially as the album's second track. Seemed out of place to me and killed the momentum of the opening track. I think Iris fans will walk away happy and content that their man is back and sounding like he never left. To an outsider however, this rather odd collection of pop rockers might be a little hard to get into. |
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John Farnham Whispering Jack 20th Anniversary Edition |
SonyBMG 88697027122 |
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Australian AOR icon John Farnham was a mainstay of the Oz music scene before Whispering Jack was released some 20 years ago, but it was this album that made John a household name and indeed, an entertainment icon downunder. This remains the biggest selling Australian album of all time and deservedly so. The high-tech AOR/pop album has a gently-does-it appeal that saw every man, women and even a few kangaroos own a copy. Now 20 years on it has been remastered and repackaged with a bonus live DVD from the Whispering Jack Tour. The DVD has been available previously as a VHS tape and broadcast on TV and remains a classic live concert to watch the power of this man's voice is insane. This release makes for a great package and the mid-price tag makes it even greater value for lovers of 80s high-tech AOR. |
| Twisted Sister Twisted Christmas |
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If you are going to do a Christmas album if you really absolutely must do it then this is the way it should be done. Twisted Sister have always played up to an image and this CD continues that trend, this time rearranging some Christmas classics to now rattle along to the original music of past Twisted hits. For example the band's best known hit We're Not Gonna Take It is now O Come All Ye Faithful also the first single from the release. It is a bizarre listen and at best is a lot of fun if not taken seriously. At worst it is perhaps a little tragic, but hey, it's the holiday season, so you have to give the guys a little slack! Above all, it is well produced and sounds ok, so if you are looking for some hard rock to ring your Christmas bell, you best be advised to check this one out. |
| Billy Idol Happy Holidays | Bodog Music |
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If you are going to do a Christmas album if you really absolutely must do it then this is the way it should not be done. This is utterly horrendous. Shite even. When Billy Idol is thinking clearly and on song, he rules - Whiplash Smile, Rebel Yell, Devil's Playground. But he is capable of making some questionable decisions through his career Cyberpunk being the most obvious. But now there is this new gem! What the hell was he thinking? Ok, so there is a market for Christmas albums, but who in their right mind wants a punk/hard rock icon to do an utterly and totally serious Christmas album? Why not rock or punk it up in the same vein as Twisted Sister has? Billy Idol is all out on his own here no wonder, as I would think his band ran for the hills when presented with the concept for this record. So, a solo Billy proceeds to run through 17 (yes, 17) Christmas favourites, all completely serious and all completely devoid of any kind of Idol type attitude. Billy Idol does Frank Sinatra doing White Christmas, Silver Bells etc, not to mention the gem Frosty The Snowman! (?) Good God! If you want a nice, family friendly, sweet and cheesy Christmas recording, buy Frank Sinatra. If you want rock n roll attitude, buy Twisted Sister, A Very Hairy Christmas, Lukather's Santamental or the Screaming Santas. Do not under any circumstances, buy this. |
| My Chemical Romance The Black Parade | Reprise |
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This is a thoroughly enjoyable modern rock album which mixes the popular modern punk-rock sound of bands like Green Day with a more complex classic rock style that brings influences like Queen, Meatloaf and Styx into play. The album is riding high atop of many charts around the world, which is no surprise given the style and the look of the band extremely commercial and contemporary to say the least. It's a great album for what it is commercial modern rock but what I really love about this release is that it is exposing kids to some music which isn't filled with simple, throw away riffing. It is showing a younger generation that music is much more than a 2.5 minute pop song and that it can be far more complicated, layered and in-depth. Take the lead single Welcome To The Black Parade. While the delivery is borrowed from Green Day, the band's songwriting depth is evident with Queen-like pomp and guitar parts and Meatloaf tempo changes, not to mention Styx-like layered vocals. Definitely a promising sign that there is an audience for a rock band that doesn't go by the book well, not at least the current book. |
| Harem Scarem Human Nature | Vespa Music |
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You can say what you like about any perceived bias towards Harem Scarem over the last few years in my reviews, but take a look at their creative output over the years especially in the last 4 years since they took up the Scarem quest again they are simply untouchable! The band has appealed to just about all melodic rock lovers over the years, so with each release there is a wide discussion about styles, sounds and individual preferences for different records throughout the Canadian bands career. Everyone has their favourites, and I continue to be blown away by their consistency. You can guarantee that every album will feature at least several new classic melodic rock songs and a few fresh twists too. This band keeps it interesting and for me, they deliver everything a melodic rock fan could want in a new record soaring vocals, big choruses and a huge production every time. Preferences for direction and style aside, you cannot argue that each and every Harem Scarem record is the pinnacle of melodic rock quality. The band's last few albums have been extraordinary and I'd stack those albums up against any other artist for consistency. I feel of lot of what I have just written is for the purpose of justifying my enthusiastic endorsement of their music but the fans don't need any convincing so onto the contents of Human Nature. Harem Scarem have in the past received a few less than stellar reviews from me (the first Rubber album for instance was a little hit or miss, as was Big Bang Theory), but this is another total class release as far as I see it. I said the same of Overload, but to my surprise, the majority seemed to disagree on that one! I guess many did not appreciate the band's move into darker, less commercial realms, but as a fan of the much underrated Voice Of Reason album, I saw Overload as a natural mix of the past and the band's more recent work. And I have always dug Harem's underlying dark vibe. My views aside, the voice of the fans reached the band. Human Nature is therefore classic Harem Scarem in every sense. This is a far more melodic release and sees the band pump out some huge AOR harmonies, while mixing the production style and direction of recent work such as Weight Of The World and Higher. A band that has been recording this long is not likely to copy any one style, instead finding their music evolving into a mix of everything from their past. Human Nature is just that its part Harem Scarem, part Weight Of The World, part Higher, part Mood Swings and even part Rubber, but always melodic and filled with hooks. Track By Track: Album number 11 opens with that familiar guitar sound we've come to love and we are away. Human Nature isn't in the band's usual style of opening with a punchy rocker. This is a mellower starter that builds to a glorious classic harmony filled Harem Scarem chorus. Making the point that this album is less on the hard rock and more on the melody, the title track does the job perfectly and becomes yet another instant Harem classic. Next Time Around is a little more urgent and rolls along at a nice pace. Once again, it is a perfect example of a great pop song and does what these guys do best gets to the point quickly. A mellower verse again gets rocking come chorus time - one I might add has a definite Mood Swings and Higher feel to it. The rock ballad Caught Up In Your World features another warm and inviting vocal from Harry, introduced by a hard edge riff, which returns for the chorus. This is an emotional track that features some fine guitar work from Pete. Reality is a straight forward mid-tempo melodic rocker in classic Harem style, with another great riff and melodies flying everywhere. The chorus reminds me of the very melodic run of tracks on second half of the Higher album. Hanging On is an absolute monster ballad. This track rivals the best ballads the band has recorded in their illustrious past and overflows with passion and emotion. I love it and rate it as one of the best ballads of recent times. Comparing the band's recent ballads, this is better than All You're Getting (from Overload) and Higher (from Higher) and is up there with This Ain't Over (from Weight Of The World) for class. The bridge and harmony vocals just add to the power of the song, which features a very demanding lead vocal. Don't Throw It Away returns the album to a slightly rockier path, but still bathed in melodies. A punchy riff is accompanied by a swathe of harmony vocals and the chorus is another big and classic melodic Scarem anthem. Just as every Harem album in recent times features some injection of more modern influences, so to is there a track borrowing from Queen. The moody and mellow rocker Give Love / Get Love is such a track. It's familiar, yet a little different at the same time and the punchy chorus is a clear tribute to the vocal styling of Queen. From there we delve into this album's modern rocker 21. This moody and harder hitting track is reminiscent of the style and mood created on Overload. It isn't as melodic as much of the rest of the album, but has its place and as already stated, I do like the darker side of the band. Starlight is typical of the band and won't be of any surprise to long time fans. It is of course, another solid track and acts as the required light and breezy melodic rocker with the catchy chorus, designed to punctuate the more left of center tracks around it. Going Under is a great catchy commercial modern melodic rocker and although it compares with the band's second Rubber album (Ultra Feel), it is so instantly catchy, I can't imagine any Harem fan not digging this. Tomorrow May Be Gone closes out the European release in perfect and absolute magic form. This uptempo melodic rock anthem mixes up those Mood Swings influences with something like Killing Me from Weight Of The World and Lost from Higher. One of the best tracks from the new album and a smashing way to finish any record.
There are always calls for the guys to repeat their classic Moon Swings album, but they haven't yet and without that line-up back in place, they are unlikely to either. Rather this line-up has delivered the best possible fan pleasing album they can and I believe that has been achieved. Not quite a perfect record and perhaps nothing we haven't already heard from the guys, but hell, they just do this stuff so well. PS. I just got through listening to Overload again man, I still love that record!
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| Zion Zion | Frontiers Records FRCD313 |
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Zion is the comeback vehicle for Canadian AOR legend Freddy Curci. Freddy's career harks back to the late 70s with Sheriff, but is best known and best loved in these circles for the utterly classic Alias album. Two solo albums and the heavily traded demos for the unreleased second Alias album only added to the aura surrounding Curci's famed pitch-perfect vocals. An announcement many moons ago about a comeback rock album from Curci raised a lot of interest and a great deal of excitement. But how long have we now waited for this release? The most recent update on Freddy's very up to date website is from 2003 and states that Zion is nearing completion! So after more than 4 years waiting, it is with great anticipation that Zion is finally delivered to hungry fans. And because of that anticipation, there is going to be great disappointment upon hearing this album. It is simply not of a standard you would expect from someone of Freddy's pedigree and background. It disappoints in almost every department - from the average production quality, to the lack of killer songs to a very sub-par vocal performance, which at times is hard to listen to. Since the original announcement, Curci has suffered health problems where he feared he wouldn't be able to sing again, but why exactly this album took 5 years to complete is anyone's guess. It certainly doesn't sound as if 5 years of effort went into it. And I say that with a very heavy heart, as I am a huge fan of Freddy Curci. I own everything and when I interviewed him a couple of years back, I found a very warm and humble guy to talk to. But the hard fact remains that this album is simply not what it should be. The original master was so bad I considered it unlistenable. Since then the recordings were sent to producer Dennis Ward to be remastered. Ward did a good job there he evened out the album's sound and gave it some sense of professionalism. But while he can remaster the sound, he can't re-record some of the performances within, nor could he re-write some of the songs. And frankly, some of the production still suffers here, with poor tones affecting guitar and drum parts and lead vocals that at times sound as if they were recorded in a shed. It's all very upsetting for me as a long time fan to state these facts and I imagine just as upsetting for the poor record label that invested considerable money and time in this venture. Track By Track: All It Takes Is A Minute should be a contender for Song Of The Year. But it's not because it is simply assembled badly. I could forgive the hollow guitar sound and the crappy repetitive cymbal noise, but the chorus which really could have been a monster comes and goes with little effect due to some poorly arranged vocals and out of place harmonies. Then there are Freddy's lead vocals, which at times sound as if they were recorded in the shed out back, and at other times sound horribly strained. A tragic, if not criminal waste of a potentially great song. How Much Longer Is Forever is a new version of a track recorded originally for the second Alias album. Again the song suffers sound issues, it appears muddy and a little muffled, again with the vocals being the worst offender. To be honest, the original demo is far superior in quality. On that track Curci's vocals are amazing. They simply are no longer what they once were. The second half of the album has some more redeeming features, but for now it just gets worse. The modern rock influenced One Man Alone is horrible. And overly loud and bombastic intro is simply messy and the vocals are nothing less than painful to listen to. They are strained to the point of being unlistenable and clearly out of tune in other places. The uptempo rocker Dangerous is a little easier on the ears. The sound is still muddy and the guitars hollow, but at least the vocals sound more comfortable. I'm Running Home sees the required elements of a good song align more favorably. This is a big rock ballad with a catchy chorus and a nice pick up in tempo towards the end. I'm not sold on the guitar sound, but there is some nice soloing here. Everybody's Watching is possibly the heaviest thing I have ever heard Freddy sing and I like that vibe. The sound is still muddy, but the song at least has real attitude. This features a tough vocal and considering the earlier tracks, I am surprised Freddy holds it together. No Surprise is produced by Fabrizio Grossi and has that all too obvious guitar/drum sound he carries everywhere with him. A little modern rock influence creeps in here again including some vocal effects. The song really doesn't feature any great hook and is pretty forgettable. The Sky Is Falling is a straight ahead melodic rock with a terrific chorus and a better sound that I wish was carried through the whole album. The Devil's Dance is an intense mid-tempo ballad with a great lyric, solid hook and some passionate vocals at last. Who Do You Think You Are is another dark rocker with strong harmony vocals and a decent lead vocal. There's an Alias vibe to the track, but updated for the current year. Crash The Mirror is the darkest and most confronting song of the whole album. A great way to close out the record the slow, moody and intense rock track features a piercing vocal that I wish there was more of on the album. It's not the Freddy Curci of old, but the song has balls.
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| Cosmo Alien | Frontiers Records FRCD312 |
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The name Cosmo is now synonymous with AOR legends Boston. Fran Cosmo is of course one of the main voices behind Boston's last couple of studio albums and was frontman for Orion The Hunter (formed with Boston's Barry Goudreau). On the last studio album Corporate America, Fran was joined by son Antonio (or Anthony), a partnership they have continued on into their own band. Naturally with so many connections to Boston - a band that defines classic rock one could be forgiven for expecting the musical output of Cosmo to be of a similar nature. No so. Herein lies a challenge to the record label. With expectations of a classic rock themed album along the lines of the bombastic, melodic bliss of Boston, how does one advise that this album is nothing like Boston, nor in the same musical realm? If anyone buys this album on the strength of the name alone, with expectations of what they guys have delivered in their roles with Boston, you risk disappointment. Cosmo is not pink and fluffy Cosmo is a modern rock band and in keeping with that, Alien is filled with tuned-down guitars, at times aggressive riffing and modern rock production effects. There are a couple of melodic tracks here not surprisingly they are the highlights of the album for me. The heavy rock ballad Don't Tell Me Your Lies has touches of classic, pomp and modern rock plus those Boston harmonies, and quite an epic feel. The chorus vocal is something else too. Helicopter is an acoustic driven pop rock ballad with a glorious chorus and some well-timed lush harmony vocals. Woman is also more melodic rock friendly, but compared to elsewhere on the album, these songs almost seem out of place. The consistent theme throughout the record is for aggressive riffs, a Led Zeppelin-goes-modern rock style of sound. Go no further than the opening track Communication for an updated tribute to the kings of hard rock. When I Close My Eyes and No Surprise are highlights of the modern portion of the album, but the rest are largely forgettable for me. The songs and more importantly, the choruses are just not consistently strong enough. And that I think is the album's biggest problem lack of killer songs.
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| Rain Stronger | MTM Music 0681-178 |
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In order to review the second Rain album I had to return to the 2002 debut to refer my memory. That album has always been held in high regard by myself, but it is quite a different animal than the new album Stronger. In fact, it wasn't until I completed my playback that I realized how different it was. There are many common threads between the records the line-up being the most obvious but both records have distinctly different feels. The debut was a catchy little album that featured a predominately acoustic base. It was written mainly by guitarist Lars Forseth and album contributor Sonny Crow. Then there is Stronger an album that generally sounds as if it is a heavier affair with a more contemporary sound and a much more pronounced contribution from singer Michael Bormann. He is responsible for delivering 5 songs himself and is involved in co-writing the rest of the material with lead guitarist Tore Moren and the rest of the band at times. The album's heavier edge is driven by a more obvious electric guitar component. In fact, the acoustic side seems toned down and then there is the darker more contemporary tone in place on several tunes that's to start with though. As you get to know it, the album mellows somewhat and you can hear elements of the debut shine through. Track By Track: Do You Like It is somewhat of a surprising track to kick off the album - dark, slow, heavy and nothing like anything from the debut. It's probably a good choice then, as it sets up the feel and general approach of the album as a whole. The song itself features a strong, memorable vocal and although simple, the chorus remains catchy. Insobriety lifts the tempo a little and isn't quite as dark as the opening track. There's definitely a Jaded Heart feel about this one which takes a few listens to appreciate. Get Over It is intense. That menacing guitar tone returns and the piano part is almost spooky. The track picks up speed and while the chorus isn't big or instant, it makes its point. This is probably a good point to lighten the mood a little and Crazy does just that. A little acoustic works accompanies a strong verse melody and the catchy chorus sees electric guitars beef up the sound. I'd Die For You is a pure power ballad with all the trimmings. A slow intro, a build up to a powerful ending, an emotional vocal and chorus this could have fit easily onto any Bon Jovi album of the last 10 years. Flesh And Blood has that darker vibe again, yet a relatively free flowing tempo. It also features a great raspy vocal, some nice harmonies and a very strong chorus. It is one of my favorites of the album. Let Me Be Your Favorite is a straight ahead melodic hard rocker and positioned well within the album. The Other Side is another very fine power ballad and comes at a juncture in the album where things take a softer turn. Deserve It is a feel good melodic rocker that could easily have come from the debut. Right By Your Side is a largely acoustic driven track that gives Bormann a chance to shine with a killer vocal. It also gives the last part of the album a vibe similar to that of the debut. Lovesong closes out the album with another ballad but this time a more uptempo rock ballad that again sounds like it was recorded for the last couple of Bon Jovi records.
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| RockStar Supernova Supernova | Burnett/Epic |
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The much talked about second season of RockStar ended as most had guessed with the pre-picked Lukas Rossi "chosen" as the band's singer, edging out 15 other contenders. The show was thrown together in the weeks approaching deadline as the band producers really wanted (Alice In Chains) weren't interested. In flies Mr. Reality Tommy Lee, who through most of the show couldn't have appeared less interested unless giving a few of the female singers suggestive remarks. He brought one time GNR guitarist Gilby Clarke with him and also former Metallica bassist Jason Newstead. In the producers chair and helping arrange, write and formulate the debut album for the band was Butch Walker although he had the good sense to only appear on one episode of the TV show. The music for the debut album was recorded while the show ran and extra work -including (obviously) the vocals - was added towards the end and after the show. The result an album as equally confused as the show was and with about as much lasting merit. The biggest problem with this album is that is just doesn't serve anyone. Modern rock fans aren't going to buy this. Melodic rock fans aren't going to warm to the modern influences. Nu-breed fans will just buy a Butch Walker album and get the real thing and fans of Motley Crue, GNR and Metallica are quite likely to die laughing when they here songs as lame as Leave The Lights On. This gets my vote as the cheesiest song of the year and something that would never be seen on any other album featuring these guys. The opening track It's On shows a little promise, the modern rock vibe and gnarly vocal summing up vibe created on the Rock Star TV show. Be Yourself (and 5 Other Clichιs) is pretty good too but let's face it it's a Butch Walker tune that probably wouldn't have been deemed good enough to make his own solo albums. It's All Love is also an ok track if not a little bland a moody modern rock ballad that I could hear on radio and sees vocalist Lukas in good voice. Can't Bring Myself To Light This Fuse has the potential to be a monster ballad and features a surprisingly subtle vocal, but again, it sounds like a Butch Walker reject. Headspin made its debut on the show and is probably the band's best chance of any airplay. This is a solid commercial modern rock ballad. So they are the ok songs. Now for the songs that make you think WTF? Underdog is a horrible modern rocker out of step with the rest of the album, going nowhere and doing nothing for the album whatsoever. The chorus riff was the theme song for the show, but nothing else stands out as remotely catchy. Make No Mistake...This Is the Take is another lame track that sounds messy and without any redeeming hook. Valentine goes absolutely nowhere and Social Disgrace follows the same path. Bland and forgettable modern rock that could be attributed to any number of other bands out there. The album is pretty bad throughout, but guys save the worst for last. The Dead Parade is just horrid and one of the worst songs of the year. The chorus doesn't match the verse, the intro doesn't match the song and the bridge sounds like a piece of yet another song. Just horrible. There is just no personality on the record. The band was created out of nothing and clearly hasn't carved out a niche for the |
