| 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 Clichés) 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 themselves. Perhaps that will come from touring and then recording a second album, but if the first one fails and there is no record label, who would they actually make a record for?
I believe the biggest insult I could give the album is that it is largely pointless. It doesn't really cater to anyone and the song quality is that which would embarrass the members of the bands these guys are/were attached to. Despite talk of a follow-up album already underway, will anyone even care about this release enough to warrant a sequel? I say not.
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| Final Frontier Freelight | Escape Music ESM141 |
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Canadian saviours of pure, unadulterated 80s AOR, Final Frontier return for album number 4. It's the band's third label for their 4 albums, something I find a little perplexing. Granted the label involved for the first 2 albums was Z Records, but a band that delivers a high quality classic style AOR album at regular intervals, all of which are appreciated by fans, should not have to worry about what label they will be on from release to release. I hope that the guys find some comfort and satisfaction with current label Escape Music. In a sense this is a perfect album for Escape, a label built from a consistency on concentrating on AOR releases of a classic 80s nature. Final Frontier does not reinvent the wheel. They don't reinvent anything in fact. This is AOR by the numbers – no surprises here, but no disappointments either. Fans of the band's first 3 albums get more of the same here. Freelight is perhaps a little tougher than the first three – it features a more pronounced rhythm section and some impressive riffing from guitarists Mladen (Von Groove) and Lawrence Falconer. Mladen also provides bass and keyboards – the latter of which is, as usual, all over the record. Rob Moratti as usual delivers his flawless high pitch vocals, really going over the top in a few places! He has one seriously high voice at times. The album really gets off to a flying start, with the first 4 tracks flying along at good pace. The title track Freelight and the moodier Foolish Pride work best of these tracks for me, but it is the classic AOR ballad of I Hope You Don't Mind that really delivers. Bringing back memories of mid-80s soundtrack hits, the sentimental ballad should be a fan favorite. Someone's Watching You is very close to the 80s sound of Survivor, as is the poppy feel-good All The Way. Nothing Is Easy is another very familiar sounding ballad, but the formula is fail-safe. I also rate the darker and more aggressive The Witches Mask and the second bonus track – the emotional, stripped back ballad Delia.
If you haven't warmed to Rob Moratti's voice and the Final Frontier style through listening to their first three albums, then nothing Freelight offers will convince you to change your mind. But, if you have found a spot in your heart for these guys, the Freelight will definitely impress.
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| Riot Army Of One | Metal Heaven 00028 |
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Sometimes the best surprises come from expecting nothing. That's no slight on the good name of Riot or their long history, but I really didn't have any expectations either way upon receiving this album. But I've hardly stopped playing it ever since. With Army Of One, Riot have delivered one of the melodic metal highlights of the year. Once again I find myself pondering why some albums work and some don't. It all comes down to the songs. There are 12 great songs here and I like the way they have been sequenced. The album tends to flow from the harder rocking tracks to more melodic tracks and back again, but with a consistent guitar presence there to keep things balanced. There is the frantically paced opener Army Of One which leads into one of two very melodic songs, sandwiched between another solid hard rocker in Blinded. Those melodic tracks are: Knocking At My Door - a curious track to succeed the opening track, but it's infectious harmony filled feel good chorus is the perfect folly for the album's heavier intentions. Then the stand out melodic rock of One More Alibi features a terrific chorus with Mike DiMeo's warm and raspy voice doing a top job. It All Falls Down rocks at double-time again, moving into the soulful rock ballad Helping Hand. The Mystic then provides an excuse for guitarists Mark Reale and Mike Flyntz to duel at length. Shine is another great melodic metal track with double kick drums wailing and the voice of DiMeo powering along in a way fans of Mats Levin will definitely appreciate. The reflective instrumental Stained Mirror follows, which leads to the album closer – Darker side Of Night - another solid rock track with a great melodic chorus.
You can't really explain that in words, but it just sounds like the band's confidence is high throughout the record. It's funny to review this with the knowledge that Mike has now joined Masterplan. That will prove to be an interesting listen sometime next year. In the meantime, enjoy this!
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| Tom Cochrane No Stranger | Universal Music Canada |
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Canadian Hall Of Famer Tom Cochrane is one of my musical heroes. Right up there with Rick Springfield and John Waite, Cochrane is a gifted singer/songwriter who has the ability (like those mentioned alongside him) to get directly to the heart of the matter and deliver moving, emotionally effective music – be it when he is rocking, delivering a feel good pop rocker, or getting deep on a powerful ballad. I rate 1987's Tom Cochrane & Red Rider and 1995's Ragged Ass Road as absolute classics, with several other albums not far behind. That's why it breaks my heart to speak of this album as a disappointment, but it is – in a big way. It has been 8 years since Tom's X-Ray Sierra and in that time it seems that Tom has caught old-man's disease. He has forgotten how to rock. Actually, I can forgive the lack of rockers on the album, as that is just one side of Tom's musical personality. But the album is weighed down by slow and lackluster ballads, and relies all too much on an acoustic tone instead of Tom's usual electric fired delivery. The album as a whole sees a more stripped down approach taken. There are few overdubs used and a more live-in-the-studio feel is present. Tom's done this before mind you – he already has an acoustic live album to his name –which worked a treat, but the songs here just don't hold up as strong enough. The album's opening track – The Party's Not Over is a sure fire commercial hit – and the albums only real uptempo rocker. Even here the more organic approach is evident, but the raw honestly in Tom's voice is a good trade-off. But from this point onwards it is all ballad territory. I'm quite fond of the second track Glide, which as the title suggests, glides through the speakers and offers fans a feel good mid-tempo acoustic driven sample of the more mature songwriter Cochrane has become. Next up While You Are Young might have done something for me – especially with the classic slide guitar and old-school Cochrane feel to it – but by the end of the album it gets lost among the sheer number of slow songs featured. White Horse is another song that on its own has a lot of merit – a raw, honest vocal and a charming folkish influence, but in the scheme of the album has its impact limited. A slow track surrounded by slow tracks has difficulty in standing out. The adult contemporary mid-tempo rock song Didn't Mean is the first single – an odd choice I thought, given the tempo. I should have guessed it meant that the album would not be what I was hoping for. I speak of my frustration with the dominance of ballads on this album. Two tracks that stand out as definite highlights match the slow tempo of the album, but offer something a little different. Rough and Tumble is an acoustic song, but it has some fire in its belly – fitting it seems, as the song pays tribute to the Canadian troops fighting overseas and also makes several references to Cochrane's musical past. Great song… Another ballad follows up next, but Out of My Head is one of the very best ballads that I have ever heard Tom Cochrane sing. Raw, emotional, heartfelt and a beautiful chorus. Deep Breath follows, unfortunately continuing the album's ultra slow pace, but without the hooks of the last couple of songs. It kills the momentum built by the tracks before it. Northern Star is better – still acoustic driven, but with a little more spark, a strong chorus and finally some electric guitar too. The last three songs are 3 of the more interesting tracks I have heard from Tom and proof that he can still turn it on and deliver in a harder hitting style – if he so chooses. The three songs run together, taking a similar musical theme of distorted guitar and bluesy vocal. Starting with Since You Left Me, the song swaggers through to the instrumental Colour Blue and into a cover of the psychedelic 70s rocker Spirit in the Sky. I really don't like that song (probably due to ass-silly cover of it recorded in the late 80s), but I respect what Tom has done with it here and in sequence with the other 2 tracks, works a treat.
I sure as hell hope it isn't 8 years until Cochrane decides to record again and next time – pick up the pace a little Tom.
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| Richie Kotzen Into The Black | Frontiers Records FRCD315 |
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Speaking of modern rock as I was in the Cosmo review, here is a guy that knows how to do it well. Better than just about anyone else in this scene and he does it with both passion and aggression, something not easily accomplished. And all the while Richie Kotzen keeps it melodic and accessible. Kotzen's style may not be for everyone, but to his fans I would think this album will rate as one of his best ever. Richie picks up where the Forty Deuce band album left off and adapts that albums style to his solo delivery. The album is summed up by the opening track You Can't Save Me - brooding, intense, lyrically biting and passionate beyond belief. Richie lightens the mood just slightly for the great rock track Misunderstood, featuring one of his best vocals to date. The Shadow is cool too, but for different reasons. More classic rock melodies over a bluesy, yet commercial base. Kotzen's love of blues shines through even further on the moody ballad Till You Put Me Down. Highlighting the excellent way this album has been sequenced, that moody theme continues through Sacred Ground, but this time in the form of an angst ridden rock anthem. Rounding out the album is the seemingly happy go lucky acoustic driven Livin' In Bliss and the blues rock My Angel. Into The Black sees Kotzen write, play and produce every note of the record. It is a personal statement and a challenging one at that. 10 songs, 7 or 8 different vibes, but one great performance.
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| Martin Briley It Comes In Waves | MTM Music 0681-177 |
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American based, but English born singer/songwriter Martin Briley isn't your average melodic rock artist. In fact, he isn't really a melodic rock artist at all. This is another curveball release from MTM that doesn't fit into the usual melodic rock mold. Briley's album is melodic, but in more of an acoustic driven folkish way. The album is very laid back – there are maybe 4 uptempo tracks, with 3 of those rocking along at a nice pace and the remainder of the album residing in slow to mid-tempo acoustic pop territory. He has a strong singer/songwriter vibe going on, the kind that mixes the rather anti-AOR entities of Elvis Costello and unplugged era Eric Clapton with a sometimes more AOR friendly Westcoast bent. The album is a one man band affair, with Briley performing and programming all of the album's musical contents. The guy knows how to write great lyrics. This is a very personal and reflective record. Check out the tongue in cheek Church Of Disney and Me And My Invisible Friend. The very pop/rock It Comes In Waves, Church Of Disney, Fake Horizon and Invisible are the highlights of the record and offer AOR fans some sweet, lad back harmonies, but elsewhere such as I Don't Think She Misses Me At All, I find the album a little too soft, too slow and definitely too nice.
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| Paul Stanley Live To Win | Universal Music |
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It's taken nearly 20 years, but Paul Stanley has finally delivered his second solo album. Being familiar with the passion of some Kiss fans, I have no doubt there are some out there that have been looking forward to this release since the week after his debut was available. Built up over the last year or so as the Kiss album Kiss never made, or the greatest album of whatever year it would be released, Paul's new album finds itself desperately needing to live up to pre-release hype and expectation. I think Live To Win delivers to the believers, but will fall short for the uninitiated. It also wavers a little unevenly between styles, at times not sure which way to drift. There is a lot to like about this album and overall, it is a very respectable piece of work. That said, there are obvious areas where things could and probably should have been improved, and then there is that question over the updated sound/production. Paul has desperately tried to fuse the classic Kiss style with a full-on modern rock approach and on parts of this album it works, but who is he really trying to appeal to? Kiss fans will buy anything and outsiders or casual fans will just be listening for great melodic songs. I'm not sure anyone looking to buy this album would choose a modern rock direction over a more classic sound. And if Paul updated things to be more commercially appealing, then he is listening to the wrong people. Thankfully the album does feature some very good songs. Track By Track: Kicking off the album in fine style is the title track Live To Win. The down-tuning is obvious from the first riff and the modern approach might have been of concern for some if a chorus from heaven had not punctuated proceedings. You can't ask for a better or catchier rock n roll anthem than Live To Win, which blends modern production effects and guitar tones with Stanley's classic sense of knowing what makes a song great. Lift takes a darker turn and emphasizes the updated production values even further. The fact the song remains at mid-tempo and the chorus isn't as instant as the opener means that it could be a take it or leave it track for some. But it gets better with each listen and makes for a good partner for the opening track. When Wake Up Screaming kicks in, one could be forgiven for thinking that perhaps Stanley has abandoned the classic Kiss style entirely. Loops, heavy guitars and effects provide the foundation, with Stanley's very likable voice providing the melodies. I love the very melodic tone of the verse - raspy and stripped of layers - moving then into another great anthemic chorus. Everytime I See You Around is both the first ballad of the album and the first reference to the sound and style that made Stanley a household name. This is a classy and classic Kiss style ballad that should please all fans. Added string orchestration bolsters the sound and atmosphere. Bulletproof is the second almost-Kiss classic in a row. This track could have made an appearance on Revenge, Hot In The Shade or even Crazy Nights. It is classic commercial hard rock without the modern influences to scare off long time fans. All About You sees Paul Stanley tread a thin line between the modern rock influences of the opening tracks and the more classic sound of the last couple of songs. Either way, the song has a good uptempo beat and a big chorus. Not that I'm overly impressed with the chorus…this to me is one of the more throw away tracks on the album. Second To None is anything but throw away. This is one of the best ballads of the year and is classic Stanley at his finest, emotional best. A soft verse gives way to a monster chorus with soaring vocals and more orchestration. Perfect! It's Not Me features more production samples and a half-way sound similar to All About You. Not a bad track and a good uptempo chorus, but another song that seems to go half way without fully committing. It could have been either heavier and even more updated, or more classic in style. Loving You Without You is the third ballad of the record and another example of what Paul Stanley does best – deliver heartfelt songs with a positive message in a commercial melodic hard rock style that millions love. Where Angels Dare is another strong uptempo commercial rocker. The song builds early to a strong chorus and finishes the album in style.
But, viewing what is on offer I would have to say that I think most Stanley fans will be happy. A solid and enjoyable album that proves Stanley is the creative force behind Kiss. This is infinitely better than the Gene Simmons solo album, but could have been even better still.
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| The Andersson Mills Project Crank It Up | Z Records |
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I consider myself a fan of Tony Mills – his endeavors with Shy have always been rated highly here and the new China Blue project he is singing with is off to a very promising start with one song on the new MelodicRock compilation. 2007 will also deliver a new Mills fronted TNT album, so that should be interesting. But this, I'm afraid to say, is just dire. I respect Tony a great deal and have always found him to be open to criticism and varying opinions. But this really is a horrid release – but perhaps not for the most obvious reason. I'm an advocate for any artist to stretch their wings and experiment if they so wish and that is what Tony Mills does so here. Mills has previously dabbled with jazzy pop on his last solo album, but on this occasion, in cohorts with Swedish guitarist Linkan Andersson, the duo take a real left turn as far as what fans might usually expect. The Andersson Mills Project is primarily comprised of authentic American punk – influenced by the genre's 70s roots and delivered here with a definite enthusiasm for the style. It is going to take quite a bit of work for melodic rock fans to get their ears around a CD dominated by punk rhythms and modern rock influences, but the albums main problem doesn't stem from there. The style issue still allows room for a few songs to stand out as quality pieces and there are some things here that Mills fans can enjoy. I have been dancing around the main issue of contention. Everything else aside, the biggest problem with this album is that it sounds like shit. The production is just abysmal and I can only surmise that it only has been released because Z Records are desperate for anything to add to their release schedule. The sound quality within this record varies greatly but rarely rises above demo standard, tainted at times by massive distortion and a tone that just hurts to listen to for any length of time. Take Skin And Blood for example. Yikes. The album takes a small turn towards a more familiar melodic path in the second half, passing through nu-breed in the middle. But will anyone get that far into the record? Nothing But Poison and Head On Collision give Mills fans some reward, but how many listeners or potential buyers will make it past track 3?
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| Kevin Lee Flip The Switch | Sigus Records 2006 |
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Kevin Lee's musical history goes as far back as the early 90s with his Lonesome City Kings release via MCA. Since then he hasn't let up and tours constantly and has released one other full length record and a 6 track EP. Lee is your classic American mid-west rocker. The Chicago native soaks up the musical influences of that city to produce an uptempo guitar driven record with pop/rock comparisons to Cheap Trick and Henry Lee Summer (without the twang). Simply put - old school harmony and melody with today's production delivery and modern rock energy. I think this is his best album to date and will appeal to both straight ahead melodic rock fans and those partial to modern melodic pop/rock. Highlights include the nu-breed rocker Built To Burn; the mellower and straight up Brett Walker-esque melodic rock of Save Me Tonight; the glorious pop All I Want is rocker with a great chorus hook; the glammy Hollywood Trash and Can't Believe You're Mine. The album is consistent throughout, but you can't beat the first 4 or 5 tracks for quality.
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| GPS Window To The Soul | Inside Out Music |
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It is really a shame how things worked out for the last concoction of Asia. The band really hit their straps with the Silent Nation release and anticipation was high for the follow-up, which was near complete before being scuttled by the re-union of original Asia members. Still, that gave vocalist John Payne and fellow current Asia cohorts Jay Schellen and Guthrie Govan the impetus to get creative on their own project. For all intents and purposes, GPS is a natural progression from the musical base established by Silent Nation. I have read opinions of this album favoring it over Silent Nation and others that still prefer the Asia record. I'm in that camp, but the difference is barely negotiable. Both are great records and GPS is going to bring a lot of joy to fans of that line-up. Ryo Okumoto (from Spock's Beard) steps in to replace Geoff Downes on keyboards and is the perfect man for the job. This is quite an epic album and one with considerable rewards for listeners willing to invest a little time in it. There isn't a track under the 5 minute mark and several around the 7 minute mark. It has a definite progressive and harder edge – more so than the last Asia album, while at the same time carrying over the melodic sensibilities of that line-up, not to mention the killer rhythm section, thanks to Payne (bass) and Schellen (drums). Opening with the edgy 7 minute rocker Window To The Soul, the album turns left into Asia territory with the lush 8 minute AOR track New Jerusalem. It gets even more melodic and rather emotional on the classy 8 minute rock ballad Heaven Can Wait, which features some raspy, emotional vocals. Other album highlights include the Asia-esque Written On The Wind; the rich arrangement of I Believe In Yesterday; the commercial rocker All My Life, complete with 80s feel; and the closing hard rocker Taken Dreams.
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| Fatal Smile Neo Natural Freaks | GMR Music |
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Swedish rockers Fatal Smile may not be a household name, but they deliver the bang for the buck and definitely deserve higher accolades. Back with their second album, the guys have turned it up 2 or 3 notches to produce a hard hitting, powerhouse melodic metal album with elements of classic European hard rock and Metallica like metal grunt, all wrapped in a contemporary delivery. This is not for the faint hearted, but for those that dig European hard rock / melodic metal, you will do well to check these guys out. Neo Natural Freaks is 10 tracks and 42 minutes of power. From the opening riffs of the furious title track, to the aggressive Crash And Burn; to the thumping ear crunch of Learn Love Hate to the catchy punk riffing of Common People and the straight ahead hard rock of closing track 11th Hour – this album all attitude, all rock n roll and fuelled by the dynamic performances of guitarist Y and vocalist HB Anderson (ex-Scudiero).
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| Ruffians Desert Of Tears | Metal Heaven 00027 |
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US metal merchants Ruffians return after splitting in 1989 to complete unfinished business. What they deliver in pretty standard melodic metal with a European influence in their sound. The record doesn't strike me as anything more than an average everyday release and it is made all the more average by a very ordinary singer who spends just a little too much time shouting. The band have obviously been raised on a diet of Iron Maiden, as the chug chug chugging of the guitar riffing is prime old-school Maiden. The acoustic It Ain't Over offers some respite from the riffing, but I wouldn't call it a ballad. I Believe and Day Of The Champion are probably the best picks, but the album does tend to plod along at the same pace throughout.
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| Billy Falcon Made Man | Indie |
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Singer/Songwriter Billy Falcon returns for a new studio album that perhaps could be his best since the breakthrough Pretty Blue World release more than 15 years ago. Joining him is guitarist Bryan Hall, drummer Johnny Telucci and bassist Michael Spears (Blue Tears), who together make for a powerhouse bad – even if it is executed in a stripped back and acoustic dominated form. Billy retains the usual southern country / mid-western pop base as his musical theme, but Made Man has feistier edge thanks to some more uptempo and electric based tracks – not too mention a discernable energy flowing through the speakers. From the opening southern rock of the title track Made Man, the album sounds comfortable – like the guys are on a mission, armed with the knowledge this album features a great set of songs. There's the laid back, but electric driven soul of Sugar; the Tom Petty influenced Happy Hour; the emotional honestly of The Only One That Doesn't Know, a track which runs right into the contrasting free flow rockabilly of Better Than A Girl; plus the sparse, almost entirely acoustic double of the album's last two tracks.
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| Big Cock Big Cock | Driver Wild Music BCCD01110-2 |
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World's worst band name, or good attention seeking tool? Your call, but either way, the name is pretty apt, as Big Cock sing classic 80s style hard rock songs, primarily involving the subject matter covered by their very name. If the band's name is too subtle, perhaps subtle song titles such as Fucked Up, Every Inch Of My Love, Booze & My Baby, Rock Hard, Let's Make Love or Ride On Me will convince you. Subject matter and lyrical content aside, Big Cock, featuring Lynch Mob's Robert Mason on vocals and King Kobra guitarist Dave Henzerling (a k a David Michael Phillips), deliver some great fun, take no prisoners old-school American hard rock. Big Cock rock like the 90s never existed. A simple guitar/bass/drum backing is accompanied by the sleaze friendly vocals of Mason. This is the band's second album and sees the guys repeating the formula of the debut. If you liked that – then this is an easy sell. Highlights this time around include the attitude filled Real Man, the opening rocker Fucked Up; the sleazy Ride On Me; the piss-take cover of Paul Anka's She's A Lady; and the double time Guns N Roses styled rock n roll of So Easy Bein' Me. There's even a ballad this time around – the warm and fuzzy Every Inch Of My Love.
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| Fraze Gang Fraze Gang | Indie FG-01 |
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Brighton Rock guitarist Greg Fraser returns to action with his new independently released outfit Fraze Gang. The guitarist turned singer puts in a good performance here, with a whole album of swirling riffs and solos and an old-school melodic hard rock feel to the music. And as it turns out, he is a pretty handy vocalist too. We are not talking smooth as silk here, but his tone and energy throughout the album is highly enjoyable and when he slows things down there is a definite warmth to his voice. In fact, Greg reminds me of a fellow Canadian guitarist turned occasional vocalist – Loverboy's Paul Dean. But that's not all – there must be an affliction between kindred spirits, as I also compare the sound of the album and Greg's voice to Journey guitarist Neal Schon's solo work – especially where he sings on his classic Late Nite album. If it is not Schon's vocals I'm thinking of while listening to this album, then it is on some of the more straight ahead hard rocking moments of this album that I am reminded of Paul Dean's solo album from late 80s Hardcore – especially the tone of Fraser's voice. So if you mix both those influences with the classic Brighton Rock sound – not that of their Love Machine record – you'll get some feel for how Fraze gang sounds. Blow Me Away is a fine old-school rocker with a bluesy swagger; Savior and Broken Hero pair up as a couple of very good more melodic tunes; Rainbow Eyes is a fine power ballad, although the production isn't as sharp as it could be; Paradise and High Life are both cool rockers that again bring Paul Dean comparisons; Stargazer is another very melodic track with a good hook and Roll With The Punches is another very strong mid-tempo rock ballad. There is another side of the album that comes to light on certain places. There is a slight bluesy influence over the whole album, but that pushes through on three tracks - Sugar Daddy, You Had It All and Hot Rod. These unfortunately don't quite work for me.
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| Zeno Runway To The Gods | MTM Music 0681-176 |
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God, it's that bloke again! Vocalist Michael Bormann makes up for a quiet 12 months with his 3rd record in 2 months. And there is still Redrum to come early next year! In this case Bormann is the guest, providing the vocals for the songs written and played entirely by that talented German chap Zeno Roth. Zeno takes his time writing and recording new albums…a lot of time, so it is no surprise to find that some 8 years have now passed since the last album Listen To The Light. A lot in the world has changed in that time – all expect for Zeno's style. He picks up exactly where he left off in 1998 – Runway To The Gods is a natural successor to Listen To The Light. As expected from fans of Zeno, this is a record dominated by intricate guitar play. Solos, riffing, overdubs and even more soloing and following that comes the swirling keyboards. Bormann simply steers the songs where they are supposed to go and gives them the added personality required. The album opens in typically bombastic style with Fanfares Of Love, a song that begins with a flurry of guitars and simply gets more complex and over the top as it goes. The concluding minute and a half of this rocker is simply ridiculous! (I mean that in a good way!) Climb The Sky pulls things back a little and Land Of Illusion gets a little more melodic again. One thing is for sure – the 80s influence and the sound of previous Zeno records lives loud and strong in this new record. Highlights from elsewhere within the record include the big 6 minute plus rock ballad Runway To The Gods; the uptempo and pomp friendly Refugees (Longing For Paradise); the frantic and hard rocking I Feel – I Live and Purify, which features a killer vocal. The album also features to instrumental tracks - Sunset Birds Flying Home (Celestial Touchdown) and Sogno Di Angelo. Both are ok, but being a vocal fan, I find myself skipping these.
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| Wetton/Downes Icon II - Rubicon | Frontiers Records FRCD309 |
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Two dodgy live albums had left me a little blasé about the Asia duo's new studio album. Mr Wetton & Mr Downes produced a rich, lush and very fine example of up to date AOR with their debut. Maybe it was a little slow, but it was quality. Then those two live albums really killed my enthusiasm for the guys. But the opening strains of this album renewed by enthusiasm in a heartbeat as this is what they do best and should stick to. The Die Is Cast and Finger On The Trigger finally see the guys get out of first gear and into a more uptempo realm. These are two seriously good songs. Both tracks make a great start to the album and for are 2 of the best tracks from the pair in many years. And for whatever reason, they both have an unmistakably 80s feel to them, something that it thought the debut didn't make obvious. Following on from those tracks, Reflections is another musically rich track and a very smooth ballad. I'm not sure what to make of the double-header that follows though. Two songs in a row feature John Wetton duetting with a Anneke van Giersbergen of The Gathering. To Catch A Theif and Tears Of Joy are both very slow and while both a quality pieces, they sound more like excerpts from a Wetton solo project. Shannon sees the album get back on track, with the sound returning to the more expected. The soft, but layered harmonies and detailed orchestration of The Hanging Tree and The Glory Of Winning are (as the song suggests) both winners for Wetton/Downes. The album drops the tempo through the mid-section and only picks it up to the point of where the debut sat for the remainder of the record. I would have liked to have heard a couple more faster moving tracks like the opening pair. That said, the closer Rubicon may be stuck in that same mid-tempo sphere that the guys find comfortable, but it is a fine track to close the album.
Add in those two killer opening tracks and a more pronounced 80s influence through the record and you get an album that comes closer to the original Asia sound than any album since that band's early days.
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| Thunder Robert Johnson's Tombstone | Frontiers Records FRCD308 |
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Being free-agents has allowed British rock greats Thunder the freedom to do as they please. That has seen them fall into a very productive period which has seen three albums released in relatively quick succession since the band first stormed back with Shooting At The Sun. Thunder know what formula works for them and over the last couple of albums have concentrated on delivering songs in their traditional guitar driven style, with that unmistakable hard edge and a bluesy swagger. Robert Johnson's Tombstone continues that Thunder formula, so instantly you know who it is from the opening 30 seconds of the album and also that it will be a winner with fans. The very nature of the style and sound of this album hits the spot with this long time Thunder fan, and the sound quality (thanks to the well trained ears of Luke Morley) is equal to the best albums the guys have recorded. The only thing left to dissect is the quality of the songs. And the band don't disappoint there either, although I wouldn't rate this album quite as highly as the last two. Once again Thunder knows what works, so fans get the usual blend of high energy rockers with punchy guitar riffs (Dirty Dream, The Devil Made Me Do It, Andy Warhol Said, Stubborn Kinda Love) and the odd blusier number (What A Beautiful Day, Last Man Standing and the title track Robert Johnson's Tombstone). And no one should forget to mention the soft acoustic driven ballads which start slow and end with a bang (A Million Miles, It's All About You) and the very tender and reflective ballad My Darkest Hour, which shows an emotional maturity in the vocals of frontman Danny Bowles.
I might add for whatever reason I feel necessary, that the album title is not the best the band has come up with and the cover art is just plain silly. There – I've said it now!
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| Pretty Maids Wake Up To The Real World | Frontiers Records FRCD307 |
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Great record this one – but I had to re-check what I was listening to a couple of times. Danish rockers Pretty Maids have re-grouped after a 4 year break and returned with a fresh, updated sound that could see them pick up some new fans. The band's sound has been updated a little and the album swaps back and forth between the expected European melodic hard rock and some modern rock influences. The changes within this album work well for the guys and I don't think they are at risk of losing any old fans, as at the heart of the record is some good old-fashioned, likable songs. The band sticks to their tried and true sound on the opening rocker Wake Up To The Real World and the double time rocker Why Die For A Lie and the in-your-face Terminal Violence, not to mention the slow and moody Perfect Strangers. I Am The End is a mixture of modern rock and melodic metal which works quite well for the guys. It has an aggressive yet melodic feel and the vocals of Ronnie Atkins are perfect for the style. The mid-tempo modern rocker As Guilty As You sees the sound modernized even further while at the same time, the melodic hooks are turned up again. Such A Rush is classic European melodic rock while Where Beauty Lies is a passionate and heartfelt rock ballad. And the closing number Another Shot Of Your Love is a great melodic rock ballad, with a thoroughly commercial hook.
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| Michael Bormann Conspiracy | Indie / NL Distribution |
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One of the melodic rock scene's favourite vocalists is former Jaded Heart frontman Michael Bormann. He's had some time away, but now returns with not one, but four new projects, the first of which is his brand new solo album Conspiracy. Not surprisingly the album's lyrical content is dominated by the singer's frustration in being ousted from the band he fronted for many years. But thankfully for Jaded Heart fans, Michael continues on as a solo artist in much the same musical vein as the last few Jaded Heart records. The songs featured here really are very good. Some quality melodic hard rock and some fine ballads. The only problem for me is that at times the guitar sound sounds a little thin in places, especially on the heavier tracks where more bottom end is needed. This reflects on the overall production quality. I think there is some great guitar moments on here though – plenty of solos and some great standout riffs. Highlights from the alum include the opening title track Conspiracy, a lyrically biting affair with a hard hitting chorus; Stand Up, which has a great Jaded Heart style chorus and some fine lead vocals; Two Of A Kind is a good ballad in duet with (I believe) Anette Blyckert from Alyson Avenue; Living Just A Lie is one of Michael's best rocking anthem's in a long while…great stuff indeed. The album mellows at this point for a few good more laid back rock tracks. Reaching Out is another high quality track, this time a more reflective rock ballad and On Man One Soul is a perfect moody, venom-laced rock track. So This Could Be You continues that moody dark vibe and Amazing is a bluesy power ballad of sorts. The closing number Samirangel is a haunting acoustic piece which closes the album in melancholy style.
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| Love Child Soul Collector | Escape Music ESM139 |
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Love Child is without any doubt the first rock band I have reviewed that herald from the land of Liechtenstein. This European melodic hard rock outfit have pretty much got things right as far as getting their music across in the best possible fashion, with decent production quality and an even mix. The band's guitarist knows his way around his instrument and the band's general rocking approach can be appreciated. Two things need work though. The band just need that little something extra to draw the listener back in for more after some impressive riffs and a decent sound. More consistency in the choruses is what I speak of. The other thing is that the singer, for me, isn't someone I would spend a lot of my time listening to. The accent on his vocal isn't my thing and I generally just don't like the rough and gruff approach. The singer is ok, but you must be tuned in to his style and method of delivery to apreciate. After rocking out for the opening 4 tracks (in pretty good style) the band get a little more melodic on Sunset Rider. It suits them. This continues through No Return and Battlefield, making the mid-section of this release the highlight for me. Promised Land is one of the better rockers, played out in fine traditional European hard rock style and Midnight Train features some good melodic guitar work.
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| Styx & The CYO One With Everything | Frontiers Records / Universal FRCD311 |
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I didn't have any real expectations for this live record – yet another diversion from the band releasing new studio product (5 live albums and a couple of compilations in between a mere 2 studio albums) – and it is sadly only a portion of the whole live event. You'll hear and (obviously) see more on the DVD release. I imagine most Styx die-hards will be happy, as it certainly is a quality release. Just a couple of issues however – First problem is the repetition of the same old songs again. The Styx catalogue is so vast and yes, there is only 75 minutes available for a single disk release, and yes, you can hardly leave some of these tracks off – but overall I found the track list to be less than inspiring. Secondly, while I was one of the few that found the band's last record – the covers release – to be enjoyable, I'm wasn't a fan of the 3 individual tracks chosen to represent that album here. Those points made, the album is still enjoyable for what it is and Styx are a lean mean touring machine and as always are tight as hell on stage – even with the addition of a whole orchestra of extra members. That orchestra is the very reason for this release. This live performance comes from a pairing of the band with the Children's Youth Orchestra, who add that symphonic touch to the band's music – which let's face it – is a very natural fit. At times these extremely talented kids are the driving force behind the songs, but at other times they are being drowned out a little. Highlights include what they do with Blue Collar Man…fabulous; as is the extended Fooling Yourself and newer track One With Everything – itself a great little melodic anthem with a technical hook. The extended instrumental break with the orchestra here is musical class. The two news songs are Everything All The Time, which has a lot of energy and a decent hook. The studio cut ballad Just Be doesn't do anything for me though. Tommy's voice sounds as strong as ever, but the song doesn't have that 'play me again' hook to draw you in. The closing 4 tracks – Crystal Ball, Too Much Time, Miss America and Renegade are a sure fire way to end with a bang, 4 classics back to back with the orchestral twist adding some freshness.
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| Iron Maiden A Matter Of Life And Death | EMI |
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Good album - much better effort than the last one and an improvement in sonic quality also. In this case I have handed over the review to Mick Ward, whose metal reviews are occasionally featured here. He is a massive Maiden, fan, so who better to analyze this release. Over to Mick: Review By Mick Ward. 'For the passion, for the glory, For the memories, for the money, You're a soldier, for your country, What's the difference, all the same…These colours don't run, from cold bloody war.' Indeed! Once typical barnstorming opener Different Worlds makes way for These Colours Don't Run it becomes quite clear that Maiden are out for blood. These veterans haven't sounded so bold, angry and dark, nor as energetic since in their 80's heyday. A Matter of Life and Death is a chaotic album of exceptional proportions, epic ambitious and brimming with certainty. It muscles its way in with such controlled aggression even repeated listens don't ease the burden of selecting the better tracks. A Matter of Life and Death is certainly the most consistent and convincing Maiden has sounded for a very, very long time! The album mostly focuses on the chaos of war, but I can't remember when Iron Maiden has sounded so lyrically compelling. Not afraid to wear their hearts on their sleeves, the band has delivered a stirring, thought-provoking album, one that never sounds forced. If the lyrics above for These Colours Don't Run didn't convince you, for credentials look no further than Steve Harris' For the Greater Good of God. 'Are you man of peace or man of holy war, Too many sides to you, Don't know which anymore'. Or its closing lyrics… 'He gave his life for us he fell upon the cross, To die for all of those who never mourn his loss, It wasn't meant for us to feel the pain again, Tell me why…' The progressive leanings on A Matter of Life and Death are out front and almost every song contorts and ascends into something that, while typical of Maiden, also manages to remain stimulating and unique. Some may be disheartened by the longer than lengthy songs on offer here, but when considering the depth of each of these tunes, it can be appreciated why this is. Whilst The Pilgrim is a storming number reminiscent of the Powerlsave era that clocks in just over five minutes, at the other end of the scale The Legacy for example cracks the nine minute mark. Yet The Legacy is crammed with such impressive progression and brilliance it is worth its every second. Song-wise the only possible glitch is the inclusion of the Dickinson solo sounding track Out of the Shadows. With its sly wink back to his very own Tears of a Dragon amongst others, the tune is slightly alienated from the rest of the album due to nothing more than sounding like you've heard it before. Other than that, it's a fine song. To put it simply each song on A Matter of Life and Death is worthy of mention and dissection but I don't have anywhere near the space here to do the songs the justice they truly deserve. Take it as a given that each and every composition is magnificent and shows Maiden are finally moving forward while at the same time ensuring to respect their history. The idea not to mix the album was wise. In doing so the album doesn't come across as over produced and remains raw and live, helping the band to sound tight and like a unit. And if on occasion Dickinson sounds like he is straining then that's good because he sounds real and better for it! He hasn't sounded this good, so cutting, so insane and brilliant in years. The packaging is top notch (make sure to grab your limited edition with DVD bonus!) and it is quite fitting that while the album boasts some fantastic artwork typical of an Iron Maiden album cover, the band are photographed in normal attire in an everyday setting, no window dressing, just letting the music speak for itself.
Oh, and on that subject matter of war… Here then stand the victors!
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| Talisman 7 | Frontiers Records FRCD304 |
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Someone once wrote to me and said I had a bias towards Jeff Scott Soto and Harem Scarem. Sure, but I prefer to think of it as a bias towards great music and as far as I am concerned these two artists rarely put a foot wrong. So read whatever bias into this you may, but I don't think for one second that any long time Talisman fan is going to disagree. Sure, not all may agree with my assessment that this is Talisman's best record ever, but I am supremely confident that it will at least rank as one of the band's very best for all fans. And with vocalist Jeff Scott Soto's foray into Journey, there is for the first time in a long time, a whole stack of new fans about to discover this side of his musical personality. These folk could not have picked a better album to come on board to, as Talisman 7 delivers 11 classic melodic hard rock tracks that collectively add up to a truly wild ride through the many facets of Jeff and Talisman's history. The best thing about 7 is the fact the band sound as fresh as if this was there debut album, yet it draws on the experience gathered over 6 previous studio albums and some 15+ years together. Musically speaking the album touches on all the band's recognized trademarks and a few of Jeff's own, while trying a couple of new things which I think will really impress listeners. The guys took their time writing this record and it shows. I think it is the most consistent album from the band as each of the 11 tracks delivers something different and no sooner do you get to the end of the record, you want to play it again from the start. Marcel Jacob is a revelation on this record, providing most of the guitar parts as well as his usual impressive bass work. Track By Track: The modern almost punky feel to the opening of the album with Falling initially caught me off guard, but feels natural once you get to know the album. JSS' powerhouse vocals drive the song through its thrashy beat into a chorus that also gets better each spin and features a nice punchy rhythm section. Nowhere Fast kicks off with one of the more thumping bass lines in recent memory and slips into a classic Talisman groove, accompanied by a quirky guitar riff that sets up the song melody. The chorus is more instant and one I love hearing. Jeff's vocals are his typical style - attitude laced with soul and really are quite something. He sounds so at home and so comfortable with this material. Rhyme or Reason has the same production vibe and style, not to mention the same moody groove as the band's previous cover of Seal's Crazy. The sultry vocals and the intensity of the bass and guitar interplay are not the most commercial of combinations, but anyone that knows Talisman knows this groove and the song is a real grower. End Of The Line features another killer bass riff which opens up into a flurry of drums before a truly funky rhythm and lead vocal takes over the song. The chorus is pure JSS gold – layered vocals, great lift in tempo and vocal range, all the while rolling along with a classic groove. The 1 I'm Living 4 is one of the places within the album were the band try something new. And boy, does this track work. This is a new Talisman classic and for those Journey fans coming on board, this is where that band could take some lead from. The song is a mid-tempo melodic rocker, featuring a wonderfully soulful lead vocal that starts low and builds throughout the song. There is an underlying soft and sultry vibe and that unmistakable Marcel Jacob groove, but it is all wrapped up in a feel good melody that is impossible not to love first listen. On My Way is more or less classic JSS. A perfect answer to the last couple of moody tracks, this uptempo pop rocker is a feel good anthem with a perfect commercial pop chorus. Given the intensity of the album as a whole, this is a great mid-album circuit breaker. Forevermore is one of two big ballads on the album. Talisman generally aren't known for their sentimental ballads, but here they deliver two cracking examples. This is a brilliant ballad with a big harmony filled chorus and some nice piano parts. Definitely more comparable with JSS solo material, the band makes it their own with that classic groove. Succumb 2 My Desire is perhaps the funkiest Talisman track ever. And that's saying something. This has such an infectious groove, it is simply impossible not to dig it. There are a few different parts to the song – the soulful funk rock of the verse, the uptempo groove of the bridge and then the even faster chorus. Then there is the brilliant James Brown funk of the latter part of the song which I can't get enough of. Shed A Tear Goodbye is another track which I think is something as little different for the band – which let's face it – has never been afraid to try something different. A soulful intro bursts to life into another uptempo, very commercial rock track with a great verse-bridge-chorus set up. The songs has a definite feel good vibe to it and the chorus is one of the more instant featured on the album. Troubled Water is a mix of classic Talisman groove, with a more modern musical base and production style. A more straight ahead rock verse gives way to a funky chorus, which then morphs back into the next verse. It is an interesting song that keeps the listeners attention. The band closes the album with the second big ballad. Back 2 The Feeling is a soulful and passionate rock ballad with a killer vocal and some fine guitar work.
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| Winger IV | Frontiers Records FRCD305 |
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This is an interesting one. Not too many expected to even hear a new Winger album in 2006, so the fact I'm sitting here reviewing this is a feat in itself. Winger left the scene on the back of a killer album – Pull. It is an album that has become a cult classic – I think a majority of the band's fans claim the album to be their best ever – which I for one agree. Sadly though, grunge had already hit and the band's new found intensity and maturity on that record was only heard by a fraction of what the potential audience should and could have been. So with unfinished business at hand, the band has reformed the Pull line-up, with the edition of an extra musician in Cenk Eroglu – who contributes keyboard, guitar and FX parts to the new album. The new album is something a little different again. The downside of Internet leaks means that many have already heard this album and just as many have already posted their opinions of it. And those opinions sure are varied. It seems there are some fans that are struggling with this CD and I do understand those comments, but I have a few of my own. IV picks up more or less where Pull left off – adopting the same intensity and moody mature delivery style, but also ventures into some new territory that may give some fans pause before accepting. This is far from an instant album and even once you get to know it inside and out, it remains a mood album. It is not something I am going to or can play at any given time, but rather when the mood fits. Pull was a little like this too, but perhaps more mysterious. IV is both modern contemporary and classic rock – there are songs that touch on both elements and at times it does so during the same song. There are some openly commercial moments and some truly dark and contemporary passages which will require some listening to. At first listen to the record I thought it was super intense and in some parts it is, but with time it sows some quite mellow and commercial moments. I find that the album doesn't feature as many individual highlights as Pull did and is not quite as ground breaking with the songwriting. I also find that this album makes for a better listen when played start to finish without interruption. Track By Track: The opening track Right Up Ahead is a prime example of the band at its most intense, complete with Pull style acoustic intro, soon engulfed by a heavy guitar riff. The song takes a few listens to get into with the chorus making itself better known with each listen. Blue Suede Shoes is an interesting choice to follow the heavy opening track. While equally intense and moody, strip this track and you more or less get a rock ballad with modern teeth. The added vocals and musical effects simply add to the mystique of the track. Four Leaf Clover is one of my favourite tracks. A simple guitar riff and a flowing melody and catchy chorus make for a very accessible and commercial rock track. M16 reverts back to the heavy intensity of the opening track. I like the heaviness, but can't say the chorus does a lot for me. Your Great Escape is an uptempo rocker with a less intense feel and even a breezy feel to it. It is the most commercial rocker on the album and sounds somewhat like a throw back to the band's early years. Disappear is another super intense moody rocker, with a modern vibe and a chorus that doesn't penetrate as well as some others. On A Day Like Today is another of the extremely commercial tracks on the album. This is a breezy acoustic driven pop ballad with the intensity of Kip Winger's solo records and the commercial likeability of Winger's early work. Livin' Just To Die has modern elements, but the heart of this song is a straight forward rocker with a twist. Short Flight To Mexico has a heavy down-tuned guitar riff driving it, but the chorus is far more upbeat and commercial hook. Generica is a track I can see some fans disliking, but I like its programmed robotic feel. It interests me and keeps my attention in a hypnotic kind of way. Can't Take It Back closes the album in typically dramatic and moody fashion. This mid-tempo rock track sums up Winger 2006 – a song that needs time to grow on you and isn't openly catchy, but provides enough to draw the listener back in for more.
Perhaps a couple of extra tracks in the vein of Who's The One or Blind Revolution Mad might have given it a more instant attractiveness. I like this record and know others will also, but I also expect the very nature of the album and its style to bring extensive debate among fans.
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| Meatloaf Bat Out Of Hell 3 | Universal Records |
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Ah…yes indeed. I haven't heard anything quite like this since…well, since Bat Out Of Hell 2. Nobody does it like Meatloaf. No one throws themselves (literally) into each song with as much passion, heart and power as the big man himself. For whatever reason, the records recorded in-between the Bat records don't come close to these three records. When the Bat Out Of Hell moniker is used, Meatloaf applies himself to the concept with a passion that is missing from his other records. In the end I think it all comes down to the songs and the fact Meatloaf believes in the songs used on each occasion. And of course we have the masterful Jim Steinman to thank for that. Each of the 3 Bat records has been a little different and Bat 3 is no different. Bat 1 was produced by Todd Rundgren and featured the songs of Jim Steinman; Bat 2 was written and produced entirely by Steinman and Bat 3 is a mix of the previous 2 – Jim Steinman was to produce but things got complicated and lawsuits ensued. The end result was that Meatloaf gets to use 7 Steinman songs with hitmaker Desmond Child stepping into the producers chair. Keeping the thread between albums going, Todd Rungren also contributed, credited here for "Vocal arrangements by Todd Rundgren." Bat 1 is legendary of course, but Bat 2 was an absolute masterpiece and my favourite of the three records. Jim Steinman gets the credit for that - his arrangements and attention to minute detail made that record an event. Jim's unique songs are what made Meatloaf great – although it is Meatloaf's unequalled passion that brings these songs to life. Both artists achieve their best when they work together, so I was very skeptical about this release once I learnt that Steinman wouldn't be producing. Desmond Child is no slouch – he is an accomplished producer and also knows how to get the best from the artists he works with. However, he doesn't have that same Steinman flare for the dramatic. But with Steinman's song contribution and Todd Rungren on board, the team assembled have managed to surpass my expectations and deliver a great album that is still worthy of the Bat Out Of Hell moniker. Yes, Bat Of Out Hell 3 is a clear winner for Meatloaf and while I still miss that extra flair and attention to detail that Steinman brings to the studio, this album works so well and Meat is in absolute cracking vocal form, and as per usual, throws everything into the delivery of these songs. I'll go through each track, but aside from the 7 Jim Steinman songs there are 7 others to comment on. Thankfully and wisely, the guys behind the album and in particular Desmond Child, have managed to come up with some killer songs that fit the Bat format and Meatloaf's larger than life vocal style and work will in conjunction with the Steinman originals. The production is huge – absolutely over the top pomp rock glory – with particular attention paid to the Steinman trademarks such as backing vocals, orchestration and instrumental passages. While these trademarks are present, at times you can tell that Steinman wasn't at work himself, but this I think is as good as it could possibly be without him involved in the studio. Track By Track: Naturally the album opens in typically dramatic style, but for the first time ever on a Bat Out Of Hell record, a non-Steinman song gets the nod. On a couple of occasions this album sees Meatloaf gets all modern on us and The Monster Is Loose is one of those occasions. The 7 minute hard rock epic was written by Motley Crue's Nikki Sixx with Desmond Child and John 5. It's quite the modern rock marvel, with super intense, super heavy down-tuned guitars and added production effects, but it really works in the scheme of this album and gets things off to a powerful start. There are parts within the song such as the mid-song bridge where things mellow out and take on a decisively Steinman-esque twist. Blind As A Bat is written by Child with James Michael and again features the hallmarks of a Steinman/Meatloaf classic. A dramatic vocal intro builds to a more pacey verse before an absolute gem of a chorus bursts through. I love this song and the passion in Meat's vocals are second to none. A perfect song for the album and proof that a great deal of thought has gone into getting the songs for this album just right. The first Steinman song of the album is the classic rock ballad It's All Coming Back to Me Now. Unfortunately sometimes referred to as a Celine Dion song (she did cover it with the help of Steinman), it is rather a song written for and featured on Steinman's all female star project Pandora's Box (Virgin Records, 1989). A couple of the songs from that album also appeared on Bat 2. This track is a duet in typical Meatloaf style – this time with the up and coming rocker Marion Raven. She has a great voice and suits the song perfectly. Bad For Good reaches even further back into the Steinman archives – this time being the title track from his only solo album in the early 80s. Queen guitarist Brian May guests here – his contribution obvious – the intro and outro guitar riffs plus a classy mid-track solo are worthwhile additions to the song. Meatloaf and producer Child stay true to the formula, style and personality of the original version of the song and I must say the updated version with Meatloaf's voice is killer. A great song that lives on again although I think Desomond Child underplays the important piano parts of the original. Cry Over Me is a Diane Warren song. Now Dianne is a wonderful songwriter, but she has a bad habit of getting far too syrupy at times. Meatloaf has used her before – lastly on the Couldn't Have Said It Better album, but this song is a Meatloaf classic in waiting. A very powerful and emotion filled rock ballad, the songs is memorable from the outset. Bat 2 featured a couple of left turns and I'm pleased that Bat 3 is the same – with both turns delivered at the hands of Steinman. In The Land Of The Pig, The Butcher Is King is a completely over the top aggressive modern rocker with that Steinman flair and some lead guitar parts from Steve Vai. No one but Meatloaf could pull this vocal off – heavy, modern and out of character with the album it would seem, but it fits the flow of the album perfectly and adds to the whole theatrical experience a Bat album should be. The sort instrumental Monstro (written by Child/Holly Knight/Elena Casals) is an orchestral segway that brings the dramatics of the last track together with the high octane, melodic rock anthem that is Alive. I love this track. Perfect Steinman without even being written by him. Child/James Michael/Holly Knight and Andrea Remanda are responsible for this pure rock anthem with a huge chorus and some of that classic rocking piano that both previous Bat albums featured. Add in additional orchestration and a flying tempo and a classic is born. Following this over the top rocker is a hard task, but again, the perfect song has been chosen. If God Could Talk (Child/Marti Frederiksen) is a mid-tempo rock ballad with more dramatic flair and orchestration and fits the flow of the album perfectly. If It Ain't Broke, Break It is another of the album's left turns and again features a heavy, tuned down guitar sound. I didn't actually pick this for a Steinman song, but it is…and something akin to his Pandora's Box release where a couple of songs go heavy/high-tech. I have never heard brass mixed with modern rock, but here you have it. Completely over the top, but for some reason it works. What About Love? Is another gem of a song from outside the Steinman circle. The Child/Frederiksen/Russ Irwin/John Gregory song is classic Meatloaf – changing tempo and featuring a female lead in places (courtesy of Patti Russo). Generally uptempo and featuring more classic Bat piano work, the song reminds me of Bat 1 in places. A strong chorus and those ever changing tempos make the song – especially when it gets even faster! The dramatic and orchestral Seize The Night is another Steinman classic. Nearly 10 minutes in length, the song mixes Objects In the Rear View Mirror with Life Is A Lemon and even some Everything Louder – in other words, classic Steinman. The song has several different parts and passages, but you know the drill. The Future Ain't What It Used To Be is another old Steinman solo album remake and again is kept very faithful in this version. Brilliant song made even better with the power and energy of Meatloaf. Cry To Heaven is a short vocal only track written again by Steinman. I'd swap this with The Future to close the album, as after all the over the top moments, this seems just a little simple to close the album with. Pretty song, but perhaps the only disappointment for me on the whole record.
The team assembled has done the right thing by Meatloaf and the good name of Bat Out Of Hell, and I think the majority will be impressed by this record. I'd still love to hear more brand new Steinman songs though…and perhaps one more outing with the big man…
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| Europe Secret Society | Sanctuary Records |
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Europe reformed in 2003 and released their comeback album Start From The Dark in 2004. Their chosen musical direction created the usual debate among fans and left some out in the cold. I actually thought they updated their sound quite well. The mix of modern influences and a darker sound mixed with some of the band's commercial appeal generally worked for them. But I thought their main downfall was a lack of killer songs. Half the song was extraordinary, the other half rather ordinary. Secret Society is another interesting album that in many ways mirrors its predecessor. Again the band continues with the same style and direction – pushing it a little further still and again the album will cause great consternation among fans. My take is that those that loved Start From The Dark will probably rate this one even higher and those that didn't warm to the last album will continue to be left cold. And just like Start From The Dark, the new album still suffers a little from lack of killer songs. Overall Secret Society is a much stronger and generally more consistent record, but where it adds more depth, it actually lacks one or two tracks that really blow your mind, like the opening few tracks of Start From The Dark did. Where there could be improvements - I would certainly drop the vocal effects from Joey Tempest's lead vocals. He is an amazing singer and I have no idea why there are so many on this record. Plus the boasting of more keyboards on this record doesn't sound like it came to fruition. And again, just like the last album, this record features a stronger first half and a slightly less dominating second half. I'm pretty much sold on the album's first 5 or 6 tracks. The opening rocker Secret Society has a modern feel and some interesting musical twist, but is largely a straight ahead guitar fueled rocker. Always The Pretenders is precisely what I'm looking for as far as this band is concerned and is hard rock gold in my book. More tracks with this intensity and memorable hooks is what the album needed to make classic status. The Getaway Plan is harder and more contemporary, but still features a cool chorus and strong guitar riff. Wish I Could Believe is a strong modern rock ballad with another good chorus and well placed orchestral parts. The mid-tempo modern rocker Let The Children Play mixes in some retro classic rock and takes some time to get to know, but again, delivers with a decent hook. Human After All is another good song, but a bigger, stronger chorus such as Wake Up Call could have lifted it further. From here the next few songs all are worthy of inclusion and are part of what makes this album so consistent throughout. But they aren't in the same league as Start From The Dark, Always The Pretenders and Got To Have Faith for example. Highlight of the latter part of the album for me is probably the very melodic and commercial Forever Traveling and Devil Sings The Blues features some stellar guitar work.
If I could pick 5 songs from Start From The Dark and 5 or 6 songs from Secret Society, then I think you would get your perfect 100. Overall, a solid and very enjoyable record from a band that is proving to be a force some 20 years after forming. That's a rare feat.
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| Skid Row Revolutions Per Minute | SPV |
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Skid Row have an identity crisis. Their first album without venerable frontman Sebastian Bach was a bit hit and miss. The quality of the songs was there, but the direction was not. Part old school, part modern rock, it made the band appear indecisive as to what they should be doing. The guys are now back with album number two featuring frontman Johnny Solinger. It seems they have the same problem with indecisiveness, but this time they also lack the quality of songs, making this album rather a mess. Making the situation even worse for long time fans is the fact that the band barely acknowledge their traditional sound, this time flip-flopping between modern hard rock and nu-breed inspired 3-chord punk. Throw in a couple of hillbilly rockers and the Skid Row as we once knew it is perhaps lost forever. I'm not saying every track on this album is bad – there are a few moments where the song demands attention and the guys certainly rock with passion and attitude. The opening track Disease is little more than noise to me and the punk fuelled Another Dick In The System doesn't do much more, although the angst levels within the song are intense. Then there is the frantic hillbilly rock of When God Can't Wait, which is more Green Day goes country than anything I would expect on a Skid Row record. In fact, it isn't until the grinding hard rock of Shut Up Baby I Love You and the rocked-up cover of The Alarm's Strength that this album really gets my attention. The punk metal of White Trash has a good groove and a frantic rhythm and then there's You Lie. This is the dorkiest, hokiest "metal" track I have heard since Leppard's classic Stumpus Maximus cover of Please Release Me. Except this is an all-original number. This is the ultimate hate song wrapped up in an uptempo, feel-good country jamboree. You have to love the sentiment of the song and I love where the band takes it, but how can anyone take it seriously? But what's worse, there is two versions of the track on the album. The album closes with the same song – some 3 seconds shorter and with no discernable difference between the two. Some bonus track! Pick of the whole album for me follows hillbilly hour. Nothing is a track that gets closer to the heart of what this band is capable of and is an example of where the whole album should have been going.
Out of the 5 Skid Row studio albums available, if you had to pick only one to listen to, would it ever be anything other than the debut or the essential Slave To The Grind? All in all I gave Thick Skin a solid workout but now the review for this album is done, RPM just got shelved for good. And that's disappoints me greatly.
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| Nexx Another Dawn | Angel Milk Records AMUK001 |
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There aren't too many Spanish AOR groups floating around and just as few viable AOR acts that feature a female lead vocalist. Nexx, of course, are both of the above and further to that, one of the very finest pure AOR acts around today. The band's debut was a tribute to super songwriting and great performances, all wrapped into a great package. The album was critically acclaimed and the band's accompanying live performances were raved about. So the guys had a lot to live up to with their all important second album. Another Dawn sees the band on a new label and with a slightly adjusted line up. Adjustments aside, the guys pick up where they left off with Colours and deliver another mega-smooth, perfectly executed, slice of mature adult contemporary AOR. Another Dawn is once of the best examples of female fronted AOR I have heard in years (or at least since their debut!) and certainly the smoothest. The band have kept upon the same path set they set out on with their debut, but maybe with an even more refined sound than before. The guys have obviously matured together and while I paint this album as a very smooth slice of AOR, it is not without some energy and some fine guitar work. The album kicks off with the most uptempo and obvious rocker of the album. Critical is classic European AOR with a fine vocal from Patricia and a hook big enough to hang your hat on. The angst filled Hey Father features a more subtle guitar riff and some superb harmonies throughout. The chorus is as strong as anything the band has delivered to date. Like The Poet is an interesting track. The hook is far from immediate, but rather embedded within the song and more obvious with repeat listens. The song features a nice mix of keyboards and guitar and a very strong and clear lead vocal. Control In My Life is nothing short of a beautiful female fronted AOR ballad. Soft and sultry and better and better each listen. The vocal hook is instant and the addition of strings and prominent piano parts makes for AOR brilliance. Far Away is a nice straight ahead guitar driven pop rocker that lifts the tempo of the album a little approaching the halfway point. A more urgent chorus helps the song stand out. Praying For A Life continues a mid-album rock phase, with some more fine guitar driven AOR. The title track Another Dawn is a more subtle pop flavored track that features more string arrangements and a detailed sonic landscape. Not an immediate track, but one that certainly has a lot to offer thanks to its various layers. Again is reminiscent of the debut – a simple uptempo pop rocker with a strong guitar riff and a great feel good chorus. Caught In A Trap is a little darker and moodier and features a tasty little chorus hook that shows off Patricia's accent probably more than any other track, but it works for me. Guiding Star is purely and simply a straight ahead uptempo AOR rocker. Shine is an acoustic ballad that closes the album on a soft note. Not bad, but not a personal favourite despite the raw emotion of the song. Control In My Life (Reprise) is another does of that magic ballad, this time with the instrumentation removed and more orchestration and strings added. Wonderful! Second time around the song still remains a highlight and should be on radio if there were any justice in the world.
AOR may be a dirty word to some, but when it is as good as this, it is hard to reason why it isn't selling far more units than it currently is.
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Beggar's Bride Boulevard Of Broken Hearts |
MTM Music 0681-171 |
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Here is another album from MTM Music that I just don't get. The album is the vision of Swiss producer, singer and songwriter Holggy Begg. Holggy was part of the team behind Oni Logan's recent solo album and this record carries the same earthy, acoustic vive of that record. The thing is - Holggy has a bloody awful voice. At times I am not sure if he is singing or trying not to throw up. It really is that bad. Thankfully he must be aware of this and only sings lead on three tracks. But he does pop up from time to time through the album. Singing the rest of the time is a range of special guests – Marc Storage (Krokus), Gary Barden (everything), Michael Voss (everything else) plus Aino Laos to name a few. The album lacks direction. And it certainly lacks melodies. It isn't melodic rock, it isn't hard rock and it really isn't acoustic pop either. I guess it is a bit of everything, but then the music is so varied and the singers are alternating from track to track, one isn't left with much of a flow to grab onto. I think the only upside of this album is a few select tracks that you can play on their own, but as an album, I won't ever play this from start to finish again. I had a job to that enough times to do this review. Highlights are obviously the two Marc Storace tracks, although don't expect anything nearly as heavy or rocking as Krokus. Broken Hearts is an acoustic driven pop rock song with a good melody, and First Way Out a more hard hitting track, but isn't quite as memorable. The two Gary Barden tracks are also ok – Dreams and The Open Sea are moody rock tracks, especially The Open Sea. As you see there are a few definite highlights with the 13 tracks featured, but some absolute dogs too and the rest of the album for me is largely forgettable.
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| Dacia + The WMD Dacia + The WMD | MTM / Psycho Active 0681-173 |
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MTM Music has reactivated their alternative rock sub-label Psycho Active in order to unleash a new wave of left of center rock artists on the world. The concept did not work at all originally, mainly due the fact that the type of record buying public that is reading about and looking for MTM releases are generally not the type that are going to be looking for anything remotely alternative. So the label has that challenge in front of them again – to reach a new audience within their existing barriers. Good luck guys. I guess there is a chance of this happening and also a chance of converting some traditional melodic rock buyers with the right kind of album. Tourist is an example of getting it right. Dacia is an example of getting it wrong. The album may open with a fine modern rock anthem in Who's To Say, which is quite melodic all things considered. But merely 1 minute into the second track Rockabilly Bitch it all goes terribly wrong. Who in their right mind would chooses to listen to a song like this? A heavy groove, some rapping vocals and a lame attempt to sound like Pink meets Gwen Stefani goes metal. Not me… Stop And Stare tries to undo the damage of that second track, but by now, how many potential buyers are left listening? This is quite a smooth modern rocker in fact, with a nice chorus melody. Perhaps there I a chance for this record still…. But them the album falls back into a heavy aggressive rap-rock groove and I'm lost for good. There are a couple of other cool tracks – the modern metal of Live To Tell has some value; My Reality has a decent hook; and the big metal ballad Losing You which features Motorhead's Lemmy is a decent track. The bonus video clip to the alternative metal of The Communist sure won't convince me otherwise either. The album is produced by Skunk Anansie's Ace, so that should give some indication to the musical direction, but I'll take that band above this any time.
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Wetton/Downes: Icon Never In A Million Years |
Frontiers Records FRCD306 |
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Vocalist John Wetton and keyboardist Geoff Downes are two icons of the melodic rock world. I guess the Icon moniker the guys chose came to them easily. They have earnt and deserve the utmost respect for having longevity in their careers that has led them on a path back to their current point – working together after forming Asia together some 25 years ago. Their debut Icon album together was filled with some fine adult contemporary AOR. A little laid back, but still, highly polished and very smooth. I look forward to the guys' delivering their second studio album next month, but I have to admit complete disinterest in their output in-between records. hey really are milking this partnership, as since the debut the guys delivered an EP, a truly horrible acoustic CD and DVD and now an almost equally dull full live concert release. Of the 15 tracks featured here, only a handful get out of first gear and manage to find a pulse. I know that if you want to be rocked you should perhaps instead see Iron Maiden live, but there are so many slow tempo tracks in this set that I am not sure who would still be awake to hear the more rousing final numbers such as Let Me Go and Open Your Eyes. The Heat Goes On sounds great as does Only Time Will Tell and the classic Days Like These, but elsewhere it is all very laid back and very 'AOR-lite'.
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Kingdom Come Ain't Crying For The Moon |
Frontiers Records FRCD301 |
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Time already for another Kingdom Come album or at least another Lenny Wolf release. As is the case with the last few albums, this is more or less all Lenny's doing – from the vocals to the majority of the instrumentation. Although Lenny boasted that this would be the heaviest KC album ever, there remains little difference from the past few records. Yes, it is heavier and more driven by a modern guitar sound, but the tempo is exactly the same as previous records as is the songwriting style. Of the last few albums I do find this to be the more enjoyable, but Lenny truly needs to get some other people on board. Some co-writers and a full band to back what is a great rock n roll voice. Until he does that, Kingdom Come records are going to be for established fans and nothing else. As far as some track highlights on this record – Ain't Crying For The Moon is an interesting track – it comes in two parts – a heartfelt ballad portion before turning heavier, but all the while remaining dark and intense. This Is My Life finally lifts the tempo a little and features a nice little chorus melody. Bon Scott is an obvious tribute to AC/DC, both lyrically and musically. Removed The Sting is a nice heartfelt ballad too. A couple of things I could have lived without though - Look At You closes with a 20 second silence so to give a break before the two bonus tracks. Pointless. Hate silence on songs in this age of MP3. Across The Universe is a soft pop cover of the Beatles classic – nothing special and the new 2006 version of Get It On merely updates the sound to fit this album – modern rock with a slower tempo. One other small matter that isn't relevant to those buying the retail version of this once it is releases - this review copy came complete with skips, jumps and audio hiccups at the request of Mr. Wolf. Absolutely crazy decision – almost as crazy as those promos with the voice over every minute to interrupt concentration. If you are going to offer promo copies to journalists to review you album, then give only to those you trust. This is not the way to fix internet leaks – it only pisses off those you are trying to impress. Next record that skips and jumps all the way though won't get reviewed.
However, out of the last 2 or 4 records, I'll take this one above those because Lenny is a talented singer and this record is a passionate one.
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| Tourist The Relevance Of Motion | MTM Music |
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As stated previously, MTM Music has reactivated their alternative rock sub-label Psycho Active to give themselves the ability to release some records outside the melodic rock field.
Modern rockers Tourist released this album independently in 2005, so many will already know of it. But now with a full European deal through MTM, perhaps now more will be able to hear it.
Some 18 months since originally reviewing this album, I can't say I have gone back and played it once. But that is more an issue of the number of new albums I must always absorb before reviewing. Now giving this a listen I can instantly remember what I liked about it back then and can't say that I have wavered from my original views.
Over to what I posted originally -
But there is a number of strong releases in the modern rock genre deserving of some attention. Tourist is one such band. This US act has released their new album independently, sadly ensuring that they won't get the media coverage they deserve. Their brand of guitar driven modern rock is every bit as good as their counterparts such as Foo Fighters, Hoobastank, Shinedown, or even Anberlin. These guys are on the heavier side of things and the sonic bombardment from a duel guitar attack and an intense lead vocal is unrelenting. Jacob's Ladder, Stay and the very anthemic rocker Everytime We Touch all would sound at home on modern rock radio. LRT and New Radio slow it down a little, but keep the aggressive undertone of the album. Only the closing track It Just Doesn't Matter doesn't quite work – the acoustic ballad seems a little out of place. Enhancing the quality of the songwriting is a monster production, all tied together by a super crisp mix from the great Mike Fraser.
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| Leverage Tides | Elements Music ELEMENTSCD064 |
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The rockers of Finland are really turning it on this year aren't they! The good word on Brother Firetribe is still spreading, and given the band are finally getting a full European release, those good vibes are only going to continue. Now there's Leverage – set upon the world to kick our asses! Leverage is a heavier prospect than the more AOR friendly Brother Firetribe, but there is more than one similarity. This album is more in the league of Masterplan – powerful yet very melodic hard rock/metal. The whole album oozes a powerful energy that few other albums emulate and the songs themselves are full of life and passion, not to mention good choruses, powerful guitar riffs and swirling keyboards. In Leverage, the keyboards play a support role rather than being the dominate force of the album such as on Brother Firetribe. On this album the guitars are more in your face and dominate the musical landscape. There is another aspect of this album which simply deifies all expectations of quality. The vocals of one Pekka Heino. Fresh from his outstanding performance as lead vocalist for Brother Firetribe, Pekka kicks it up another notch here – delivering a powerhouse vocal with all the finesse and power of Jorn Lande, but with an even more melodic edge, which still reminds me of Cheap Trick's Robin Zander at his most powerful. The production is first rate, the mix is tight and intense and the whole aura of the album is one of the highest qualities, enhanced further by the kick-ass rhythm section. There are no fillers or weak moments on this CD, just 10 brilliant melodic metal tunes. But within those are still a few amazing highlights. The album opener Fifteen Years is an intense melodic metal anthem with a terrific chorus and a powerful lead vocal which just oozes passion and power. A ripping guitar solo and a thumping rhythm section make it a metal highlight for 2006. Superstition and Horizon follow, Horizon being a moody and super intense metal ballad with layers of music to get through. But it gets even better – the one-two punch of Dreamworld and Follow Down That River ensure that this album is elevated from great to classic. These are two uptempo metal anthems that Masterplan would be proud to all their own. Truly two fantastic tracks with strong choruses and pounding intensity. Stranger sees the guys pull back the fierceness for a more reflective mid-tempo ballad, followed by a quite commercial straight ahead rocker in Sails. To pick out one last highlight, I'd have to jump to the closing track Gone. Once again it is super intense and wrapped in a supersonic musical blanket, the song smolders along with the glorious vocals of Heino delivering the songs melody.
One for those that love it heavy and love it melodic and where you have keyboards dominating Brother Firetribe, here the guitars are in control. A perfect set of inspired releases.
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| TNT Live In Madrid | MTM Music 0681-172 |
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DVD Review: Bonus Audio CD included in package. This to me is not a great live album. It is a great collection of TNT songs – who could argue with any set list that contained brilliance such as 10,000 Lovers, She Needs Me and Intuition? But it is just not a true live recording and watching the performance up close only magnifies the effects used to create the TNT live sound. And beyond that, there is no way that the audio from this DVD hasn't been touched up big time in the studio. It is well known that TNT (and may others) use programmed backing vocals for their live concerts, giving them the ability to match the original versions of the band's harmony rich classics. I do respect the band's wishes to go that route in concert. TNT is certainly not alone in doing it. Fans demand perfection from their artists and some of these classic songs are simply impossible to replicate live as they were recorded. But I'm one that would rather that any artist go completely live and only reproduce on stage what is humanly possible – giving the songs a true, raw, live, warts and all sound. That said the energy and first hand experience of a live concert can see these things overlooked and forgiven. It is a little different when sitting back in the comfort of one's own home, watching the concert on DVD. Those "enhancements" are only magnified and watching the guys fake their vocals puts me right off watching. The whole piped-in backing vocals thing just looks fake. That issue is made all the more obvious and off-putting by watching the guy's front up to their microphones pretending to sing, while the backing vocals are clearly from their original studio recordings. It takes away from the performance and just doesn't seem real. To be honest, I'm not even sure all of Tony's lead vocals are live from the night. Everything about this live performance is just a little too slick and a little too polished and personally speaking, I don't like it. To speak of the concert itself for a moment, what you get is a pretty slick performance on a relatively small stage at a club in Spain. The filming is crystal clear and the crowd is enthusiastic. The band runs though a true hits package that includes a few early classics (10,000 Lovers, As Far As The Eye Can See, Intuition, Downhill Racer, Seven Seas etc) and a few newer classics such as She Needs Me, My Religion, Black Butterfly and Invisible Noise. The 85 minute set is probably missing a few important songs, but this fact would not be so important if the band and Tony were still working together. Now they have split, it makes the need for a definitive live concert ever more essential.
I'll have to see what Mr. Harnell makes of my comments, but suffice to say, I doubt I'm going to be very popular with the now departed TNT frontman.
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| UFO The Monkey Puzzle | SPV 80001057 |
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UFO are back with their latest studio album, the second to feature guitarist Vinnie Moore, not to mention a well received live set. After finding their way a little on the last album You Are Here, the boys deliver a much stronger record in Monkey Puzzle. The album doesn't offer anything unexpected or out of character for the band, but it does deliver 11 strong blues tinged rockers that is more or less going to be everything UFO fans expect from the band. What makes this album better is the consistency in the quality of the songwriting and the tight sound the band has developed after a lengthy tour getting comfortable together again. It also signals the return of drummer Andy Parker, after stand-in Jason Bonham took up with Foreigner. The album didn't throw out any classics first spin, but on repeated listens I found each song to be more engaging and as a body of work, the album flows effortlessly from start to finish. The overall feel of the album is fairly laid back, but the band is clearly at ease with themselves and I'm finding more guitar riffs and melodies in this album than I have heard in quite some time. The production is perfect for what the band needs – solid sound, evenly mixed, but without the life being squeezed out of the performance. This still sounds like it could have been played live in the studio. Highlights of the album include the classic UFO bar room rocker Hard Being Me, which opens the album; the moody organ drenched Who's Fooling Who; the hard edge rocker Black And Blue; the very melodic and relaxed Drink Too Much plus one of my new favourite UFO tracks - Good Bye You - a song that is a little more laid back and features a memorable chorus and great overall vibe.
Nothing unusual or original here, just quality songwriting and an engaging set of performances. Something about this album just works for me.
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| Alibi Misdemeanours | Escape Music ESM136 |
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Alibi is another new British melodic rock outfit, again fronted by popular guitarist Vince O'Regan. This is more Vince's baby, whereas Eden is more Nick Workman's. It more ways than one, Alibi is the sequel to the two Pulse records and sees that band's sound used as the foundation for Alibi's debut. This picks up more or less take up where Pulse left off. Joining Vince is Pulse bandmate Andy Mills on bass and James Wright on drums. Vocalist Rick Chase hails from Double Cross, a fine British melodic rock band in their own right. His vocals are perfectly suited for this material and with any luck Vince has found a line-up that will exude less drama than the goings on within Pulse. The album contains some really superb straight ahead melodic rock and AOR, all with a classic British AOR influence. And I mean really superb song writing! These are some very fine, very catchy typical melodic rock songs that will definitely find the ear of a lot of fans. However the production quality again remains an issue – as it seems to be with every O'Regan produced record. I just keep getting that tinny drum/keyboard sound and despite a drummer attached to the project, a drum machine vibe too. Sonically it is mastered with an emphasis on a thin rather than the big fat beef sound it deserves. I swear that at times one can hear tape hiss on the playback. I would prefer to concentrate on the positives of the project, which are the songs. That said, I believe the guys kick off the album with one of the weakest tracks. Get Ready is maybe my least favourite track of the entire album. I much prefer the Def Leppard Photograph vibe of Masquerade, which has a fine chorus hook, and the more urgent No Reason. The rock ballad Gabrielle has a big Firehouse / American rock feel to it and is a taste of an era past. By Your Side is a superb mid-tempo melodic rocker with a great chorus melody and lead vocal. Out Of Love sounds distinctly like a Double Cross melodic rocker and is another strong track. Who's Foolin' Who sees this band carve out their own sound with another impressive hook while Yesterday's News is another good ballad. It has an old school Poison ballad vibe to it too. Nothing Changes is reminiscent of a couple of earlier tracks and that Double Cross vibe. Another album highlight even though it doesn't deliver anything we haven't heard before. Lost On The Inside offers plenty of keyboards and some nice guitar soloing, even if the production is very thin. A good chorus hook again too. The acoustic driven Why is an ok mid-tempo ballad, but not equalt to the strength of the rest of the material. The album closer is a cover of Neil Young's Rocking In The Free World. Tobe honest, I could do without Alibi's version. Once you have the original and Van Halen and Bon Jovi covering it, anything else isn't going to match.
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| Eden Open Minds | Majestic Rock Records MAJCD086 |
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Eden is a UK melodic rock band that features Nick Workman, vocalist for one of my favourite bands Kick, and guitarist Vince O'Regan (Bob Catley, Pulse, Alibi). I'm a big fan of Nick and I'm pleased to hear anything he releases, be it with Kick or solo. Eden is an interesting album – it mixes traditional British melodic rock with a more adventurous edge, which sometimes sees the guys head off into a more experimental range. If I'm honest with myself, it isn't the easiest album to listen to – it doesn't adhere to any typical melodic rock boundaries, instead challenging listeners to pay attention with additional instrumentation and some unexpected musical passages and pace changes. Workman's lead vocals are what sells this record for me. It's not an easy album to describe, but I don't think it would be unfair to suggest that it is part Kick, part Pulse, part Led Zeppelin inspired classic rock and part something a little different again. The album differs from Kick in that it is not as modern in feel – definitely more classic rock, yet with an aggressive edge at times that gives it a heavier vibe. Helming the sound is the Tommy Denander of British rock – Vince O'Regan. I've not always been enthusiastic for his production skills, but his guitar playing is of the highest caliber. True to form, I'm not sold on Vince's production of this album – the whole guitar/keyboard/drum sound is much as it always is – a little on the tinny side – and not beefy enough. Those familiar with Pulse and the last Catley album will know it well. Sadly my enjoyment of those two albums were affected by poor production. However, this alum is a lot more comfortable to listen to, so credit where it is due. As far as the song highlights - Close Your Eyes isn't the big melodic rocker you might expect to open any album, but it gets better each listen. The moody Fools Parade is a more instant track and the closest thing here to Kick. A great chorus melody and lead vocal add to the intense feel. Chase The Sun features a strong lead vocal and an interesting and somewhat adventurous passage midway through the song, plus some fine guitar work. Heads Up is a great all out rocker as is the even faster paced All Fall Down, which is another track that has a sparse sound that becomes better with each listen. On a softer note, How Far You Are is a terrific ballad, filled with and emotional vocal and great melodic hook. The album closes with the varied and intense rocker Erase And Rewind.
A beefier sound might have helped deliver the message the band envisioned, but at the end of the day, it is a piece of work the guys can be proud of. It will be down to the individual tastes of Kick fans as to how this rates with them.
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| Mikey Jones The Light Of Day | E-Z Sounds EZSCD001 |
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While Kick vocalist Nick Workman was off working on his record, band mate and guitarist Mikey Jones was working on one of his own. The Light Of Day is the debut solo album for the Kick guitarist, which like Eden, is a little of the traditional Kick sound mixed with something new. Both Nick and Mikey have experimented a little with their solo albums and let's face it, Kick do the same with their albums, so don't expect straight ahead melodic rock here. The Light Of Day is a little closer to the sound of Kick than Eden is, then adding even more mood and intensity. Mikey does a fine job here as lead vocalist, not to mention adding some pretty intense and intricate guitar parts. My only problem is that I don't think the vocals are clear enough in the overall sound. They are either hidden by effects all the time or lost in a muddy mix. I think perhaps Mikey underrates his abilities, but I think the very fine songs of this album would have benefited even more had he believed in himself to push the vocals to the front of the mix. Taking a look at some of the tracks - Suffocating really pushes boundaries, but at its heart is a catchy keyboard hook. Who…? is an instantly catchy melodic rock which is probably the most commercial track of the album and my favourite. Drunk On Emotion is more sentimental in nature and has another strong chorus. No Tomorrow follows the mood of the ballad, but picks up the tempo a little while delivering another good chorus, even if the vocals are a little too processed by effects. As One is another strong and moody ballad while the title track and Swear Blind continue the moody mid-tempo feel set by No Tomorrow. I'm not sold on Lament, but the feel good duo of Summer Daze and The End Of Time closes the album closes the album on a nice anthemic kinda feel. There are 2 hidden bonus acoustic tracks which I will leave as a surprise for those that grab the album.
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| Felony First Works | Escape Music ESM138 |
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One of the more pompous and overblown intros in recent memory will be the first thing listeners get to hear of Swiss rockers Felony. This band's sound is hard to describe, but I'll do my best. Progressive pomp melodic hard rock? European Symphonic pop/prog? Whatever the banner you choose to slot the band under, there is a lot going on within this record. Too much for some I'm sure, but to break it down, fans of light progressive with a big symphonic pomp twist will be wise to check this out. The band also features both a male and a female lead vocalist. They don't take individual songs, but rather both sing in and around each other on each track. It makes for an interesting listen, but again, won't be for everyone. Their vocals are well matched as they duet and also sing in unison through various parts of the album. The biggest problem with so much music going on and some very complicated vocal parts is getting it all into place. Wisely the band has chosen the highly regarded European producer Sascha Paeth to work magic for them – a move that pays off. Regardless of personal taste, this album sounds very well put together and mixed evenly and cleanly. Track highlights? It is a pretty consistent album to be honest. The music must suit the ears of the listener, but the title track Felony, plus My Way, Justice and the big ballad Promising Heart all deliver strong melodic moments.
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| Planet Alliance Planet Alliance | Metal Heaven 00025 |
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Planet Alliance is an apt name for this project. A stack of European melodic metal stars have formed an alliance to record this record. Stars of Cloudscape, Last Tribe, Ozzy Osbourne, Hammerfall, Freak Kitchen, Narnia, Rob Rock and more gather under the watchful eye of Magnus Karlsson (Last Tribe, Allen/Lande) to produce something similar to Karlsson's recent work such as Starbreaker, Allen/Lande and Tony O'Hora. Far from an instant album, this one takes a lot of listening to and in the end doesn't quite reach the heights that Karlsson's previous work has. It has the same style, but not the same substance. For the names involved, it could be a better album than it is, but I think that all comes down to the songs featured. Karlsson has set the bar impossibly high with his previous work and while this album features a similar style and theme, it just isn't as memorable as the aforementioned recordings. I think the album repeats itself a little and for whatever reason I am not warming to the voice of vocalist Mike Andersson (Cloudscape) as much in this context. Looking through the tracks, The Real You is a knockout opening track – the most commercial and instantly memorable song of the album, with a slight gothic overtone and a killer double kick-drum tempo. Remember Me also features a strong chorus, but it required a few listens to get into properly. Ain't No Pleasin´ You is one track I don't think works as well as intended. It doesn't flow as well and the chorus isn't the most likable. Calling My Name is better from the outset. A frantic pace and instantly cool guitar riff/song melody. A good chorus, but some killer guitar work. A Taste Of Paradise is an example of where the album begins to sound a little same-ish. The Quickening is a nice variation – a slower, moodier approach and one of the album's best tracks. Divided We Stay and It's Your Cross To Bear offer more of the same as earlier tracks, but perhaps without the standout choruses. On a brighter note, The Great Unknown and Where To Go are stronger tracks and are the best of the second half of the record.
Competition in the market place is stiff and with this release I tend to think that I have heard it before. That said, what I do hear, is mostly still very good and the sound quality is unquestionable.
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Moonstone Project Time To Take A Stand |
Majestic Rock MAJCD080 |
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This is a rather interesting release. A lot of work has gone into this, yet I remain unsure of how much the traditional melodic rock fan base will go for this.
And I'm even more unsure of how much I personally will play this once the review is completed. This is one of those records that will appeal to a specific section of the rock fanbase and not so much outside of that circle. Moonstone Project is a hard rock blues rock record based around the talents of Italian guitarist Matt Filippini, who also co-writes all but one track here – that track being a cover of Free's Fire & Water. What makes this a project is the number of guest stars and man, this record has an extensive list of names. A different vocalist handles each track and lining up are James Christian, Glenn Hughes, Kelly Keeling, Graham Bonnet, Eric Bloom, Paul Shortino and Steve Walsh. Guest musicians include Howie Simon, Ian Paice, Carmine Appice and Daniel Flores. The album is obviously a true labor of love for Fillipini. It is extremely well played, sounds sonically solid but is it likeable enough? There is an air of self indulgence here and the album can be slow paced plodding at times…but if the right fanbase are targeted; (ie traditional blues rock fans), then there is bound to be some impressed punters around. The album kicks off with a fairly laid back blues rocker Slave Of Time, featuring Kelly Keeling. I don't think it is one of the album highlights, but does set up the overall theme and style of the album for listeners. Not Dead Yet features Graham Bonnet in full raspy vocal force. The tempo is better suited to getting the momentum rolling and might have been a better album opener. Fire And Water is an average cover of the Free track featuring Italian vocalist Enrico Madidini. Rose In Hell and Where Do You Hide The Blues You've Got both feature Glenn Hughes in full blown blues mode. You know Glenn can sing this stuff in his sleep and does an admiral job here. The former rocks a little faster, the latter is a slow blues number. Beggar Of Love is an uptempo blues rocker featuring James Christian. Not a bad track, but not the usual fare for Christian. City Of Lights – featuring Steve Walsh – has an appealing chorus hook and some great vocals for fans of Steve's. Pictures Of My Lonely Days features Paul Shortino and is a pretty classy old school blues rocker with a solid hook. On The Way To Moonstone is a full blown 70s psychedelic rocker featuring Eric Bloom and Chris Catena on vocals. Again, quite an accomplished track, but not one I will play too often.
But, be warned that this is a blues project and is best suited for fans of that genre.
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| Rekuiem Time Will Tell | Majestic Rock MAJCD073 |
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Rekuiem are a British melodic metal outfit that rock like its 1983 and there's no holding them back. A couple of tunes pull the tempo back to reflect a little, but for the most part, this is an in-your-face metal outing, with tempo matched only by the flaying guitars. What I like about this album – besides the overall old school vibe – is the guitar playing. The sound is a little thin, the bass is too far back in the mix and the guitar could be chunkier, but Steve Slater can shred, no doubt. I'm also enjoying the classic metal voice of Paul Parry, who while playing tough guy throughout the album, can still deliver a good vocal melody. Highlights include the great classic metal opener Nightmare; the semi-acoustic/semi-metal ballad Time Will Tell, which transforms mid-song; a cover of the legendary Sabbath tune Paranoid; the energetic Angel Of Sin and the epic closer Sacrificial Wanderer. Diamond Head guitarist Brian Tatler guests on Warewolf with a blazing solo, which should give people another clue as to the band's direction.
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| Slamer Nowhere Land | Frontiers Records FRCD276 |
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