| StoneLake Uncharted Souls | UMP Sweden |
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StoneLake is a good album to review after Overdrive, as it is another over the top Swedish melodic metal album and in many ways a nice companion to Overdrive, especially for fans of the genre. This is the band's fourth album and singer Peter Grundstrom is still one of the more original sounding guys out there. He has a voice that isn't for everyone – a mix of Geoff Tate and Bruce Dickinson, with a raspier edge and capable of going even higher if the need dictates. On Uncharted Souls I think Peter holds it in a little more, as the last album suffered a little due to the constant high-pitch delivery. Here is spends more time in a middle-range and saves those high notes for the chorus or impact points within a song. The guitar playing of Jan Akesson is a brutal and as ferocious as ever and the album's production is again a credit to all involved. Favourite songs include the opening straight ahead metal of Uncharted Souls; the over the top (Tonight) You're Beyond The Shadows, which showcases a more melodic side; the acoustic ballad Glory Days; and the brutal riffing of Don't Leave Me Behind, which although heavy as, still contains a good melody, especially in the vocal and accompanying keyboards. Eyes Of The World is another heavy rocker with melody and Saint Or Evil is a big power metal ballad.
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| Alibi Voice Of Reason | Z Records ZR0497134 |
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I've had a lot to say about Alibi in the past and particularly guitarist Vince O'Regan's production talents and the new Alibi isn't much different. Of the debut I praised the songwriting as classy, traditional British AOR. There really were some catchy moments on the album, but it was barely listenable due to a horrid tinny production. Label Escape Music wasn't interested in releasing the follow-up, but Z Records stepped in instead. And again, the band have managed to write a section of likeable tunes that fans of British melodic rock will enjoy. Vocalist Rick Chase has warm and appealing voice and his tone is perfect for this style of music. And again, the guitar playing of Vince is not in question – he calves out some good riffs and some memorable solos. Hold On opens the album strongly in the same vein as the debut – featuring an equal mix of keyboard and guitars. Just Another Day has a certain urgency and a very good chorus that makes it an album highlight; and The Longest Day is a good ballad that you could almost picture Bob Catley singing. Need You Tonight is a little familiar, but still likeable; Tears Of The Innocent is a good moody ballad and Fire In The Sky is another classic Catley track if I ever heard one. Sadly the downside is again that tinny production. Vince's trademark guitar sound coupled with a really annoying keyboard sound just destroy any bottom end the album might have, with the rhythm section playing little part in the overall sound.
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| Bryan Adams 11 | Universal (EU, JP, AU) / WalMart (US) |
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Well, at the end of the day this isn't as bad as I first thought, but it still falls way short of expectations and even further short of my ideal Bryan Adams album. I guess fans have to be resigned to the fact that the days of Reckless, Into The Fire, Cuts Like A Knife and even Waking Up The Neighbors are so far gone, they ain't ever coming back. Once you get past that mindset and accept that Bryan Adams 2008 is a crooning balladeer, you can sit back and take in 11 for what it is – a selection of laid back pop ballads and mid-tempo adult contemporary tracks. There are a few songs here that hint at the brilliance of the songwriter responsible for so many past gems, but at the same time, there are equal number of absolute snoozers that simply don't rate at all. The biggest issue I have is the fact that Bryan recorded the last 2 albums while on tour, with his portable hotel room studio set up. Writing and demoing on the road sounds like a good idea, but why not do it with the full band and then head into the studio when ready? The way this is being done - everything is just so laid back – and I don't see the method of recording conducive to anything else. Why Bryan doesn't utilize that kick-ass band of his and get his ass into a real studio is beyond me. He just needs to kick some life into his music, which is suffering from the slow tempo blues. Track By Track: Tonight We Have The Stars and I Thought I'd Seen Everything are both decent mature mid-tempo pop/rockers, but to kick off the album at this pace suggests that its only downhill from here. I Ain't Losin' The Fight hints at the past with a more familiar edge to the guitar sound, but the lackluster pace and average chorus kill off any chance of greatness. Oxygen is ok and likeable enough for recent era Adams material. The best material is stacked towards the front of the album as it just about ends here. We Found What We Were Looking For is a boring mid-tempo ballad that doesn't do anything for me whatsoever. More mellowness with Broken Wings, which has a soulful edge and an ok chorus, but just falls flat. If only he got himself and his band into a proper studio, perhaps some of the edge could return. Somethin' To Believe In is another laid back track that has a pleasant enough chorus, but is just something I don't need or want again from Adams. I have it already. Mysterious Ways is slow, boring and without a decent chorus hook. She's Got A Way features some nice guitar work and a better chorus, but the laid back vibe is lost in amongst all the other laid back tracks. Flower Grown Wild has a country tinge to the song and again, is something I just don't need or want from Adams. A solid chorus lifts the song, but a rockier direction might have made this track a winner. The subtle and acoustic Walk On By is actually quite brilliant with it's sparse musical arrangement, but again, the impact is lost amongst a collection of similarly paced slow ballads.
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| Vertigo Takes Me Back | Renegade Sounds |
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From the Canadian office of Renegade Sounds comes another lost treasure. Vertigo stay true to the formula of Renegade's past releases in that the 80s recording sounds a little dated now and the production is as good as it could be – but the songs and the style bring back good memories of that golden age. Freedom is a real gem of a 80s melodic rocker. Go All The Way is a little cheesy for me, but Takes Me Back is a cool Bryan Adams style early 80s pop rocker. The drum sound makes things more dated than they could have been and the variable production overall is a downside. But if you have enjoyed the Renegade output thus far, this is another release that will sit alongside those others without a problem. |
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Dan Baird & Homemade Sin Fresh Out Of Georgie, Live Like A Satellite |
Secret Records CRIDE82 |
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This double live album from the former Georgia Satellites frontman was recorded in front of an enthusiastic crowd at the intimate JB's venue in the UK. The 21 track set comprises of all the tracks you'd expect to hear and some album favourites. This is as raw as it gets – the recording is a straightforward capture of the night's performance – a good recording quality and balanced mix. The performance is good also – nice and raw and just how I like my live records, spontaneous and as it happened, complete with the odd bum note and some raspy vocals. Dan sounds a little raspier now than when I saw him some 15 years ago, but that's to be expected. Special guests The Quireboys join Dan for the last 3 tracks of the night and overall I would recommend this to fans of Dan, but that's about it. |
| Alliance Road To Heaven | Escape Music ESM168 |
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Two CDs have barely left my playlist in the last 6 weeks. Brother Firetribe is one of them, Alliance is the other. It is so pleasing to get an album of this quality to feature on the site. There are great albums and then there are finely crafted works of art. This is a masterpiece! That said, Road To Heaven is an album with a subtle style and not as immediate as some releases. But therein lies the beauty…the songs work their magic each additional listen to the point where every track is considered essential. The band has recorded two albums previously and I wasn't sure we'd ever get a third. The line up of Robert Berry (Solo, 3, Hush), Gary Pihl (Boston, Sammy Hagar), David Lauser (Sammy Hagar) and Alan Fitzgerald (Night Ranger, Sammy Hagar) are all busy guys, so it is so cool to see that they have made time for this band again. I listen to all these guys individually, so it is so cool to have them on record together again. And after several years apart, they have all brought their A-Game and made this the best album of the three to date. As you would expect from these guys, there isn't a note out of place on this album and the songs featured are just perfect. This is American major label classic melodic rock at its very best. Classic in that it captures the best of what the 80s were about, yet it is not dated or even obviously retro. It is just classic rock. The song Road To Heaven is a brilliant opener and one of my favourite songs of the year to date. A killer chorus that isn't over the top, yet instantly memorable nevertheless. Further feel-good rockers appear in the form of Anything Goes, Comin' Home and the awesome Remember Those Days. The band delivers moody melodic rock like no other and I Can Breathe is another perfect example. Broken Glass is another fine example, as is the Foreigner styled Walkin' Away. Ballads are also featured and the raw emotional vocal on Make A Stand is hard to ignore. The song builds into a great power ballad. To further highlight another couple of songs, the emotion powered melodic rock anthem Nothin' Else I Can Do is utterly brilliant and the guys rock out on Not Done Till It's Done, which is another piece of melodic bliss. The guys close with the fast moving Much More Innocent, which features some classic Boston style organ and great lead vocal.
Those with the first two Alliance albums will undoubtedly find a new classic here and if this is your first Alliance album, the other two are available with bonus tracks as a digipack package from Escape Music. This is the kind of music that sums up what MelodicRock.com is all about.
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| Asia Phoenix | Frontiers Records FRCD370 |
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Asia return in full pomp and ceremony for their first release under the original line-up in many a year. I was quite a fan of the Payne lead band, so that was disappointing to see that go south, but when any band's classic line-up returns, it is hard to argue with that. This – as expected – is a perfectly produced and well thought out release, returning to the band's classic sound, lead by vocalist John Wetton, who sounds in fine form after recent health issues. Asia's return was always going to happen once Wetton joined forces with Geoff Downes in Wetton Downes and I see this release as an extension of those releases, mixed with the band's early records. There are attempts to recreate that glorious pomp sound as best demonstrated by the opening AOR anthem Never Again and the inspired closing pop sounds of An Extraordinary Life. In between we get soulful ballads, extended instrumental passages, a couple of progressive left turns and more classic Asia pomp. Nothing's Forever is another fine pop song as is the eternally happy sounding Alibis. Shadow Of A Doubt is another highlight and a throw back to the 80s pomp/pop of early Asia. Nice keyboard work here from Downes and a solid chorus. Elsewhere there is a more laid back tone to the album, especially on the two epics, both of which clock on over 8 minutes in length. Heroine is a classy big Wetton ballad, and I love the guitar work on Over And Over.
But I am betting that most fans of the band and their most acclaimed line-up will be mostly satisfied with this release. The length of the album and its varied musical content should keep those fans busy for quite a while.
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| Dokken Lightning Strikes Again | Frontiers Records FRCD349 |
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Ever since Dokken took a left turn with the hideous Shadowlife album, there have been calls for the band to return to their classic 80s sound. While recent releases have been more melodically friendly, there is one thing that is clear. Dokken will never return to the sound of Under Lock And Key until vocalist Don Dokken sings in the manner he did on those old releases and that is simply never going to happen. So we must accept the new Dokken for what it is. Don cannot sing like he used to and it is a sad fact that Don himself must be considered the weak link in this release. Don's voice is far more restrained these days and now of a lower register and if we are honest here, Don generally sounds as if he is singing within himself until he goes for a bigger note, where he then sounds as if he had to strain to get there. There are examples all over this record, but the verse vocal in Give Me A Reason is one of the worst. Jeff Scott Soto can be heard throughout adding texture to the backing vocals and at times he is responsible for lifting the choruses out of second gear for the band. The star of this album for me – without any shadow of a doubt – is guitarist Jon Levin, who has produced his very best to make this album as punchy as it can be and closest to the band's heyday sound as possible. And he achieves his goal and further's his good name in the process. Jon's authoritve riffing and the generally punchy sound of the album as a whole are the two reasons it works. His guitar is all over this record. The opening trio of rockers – Standing On The Outside, Give Me A Reason and Heart To Stone are all cool, guitar fueled old-school rockers and will keen Dokken fans happy. The even more uptempo Point Of No Return is another solid track; Judgment Day and the groove filled closer This Fire are also highlights. There are a few fillers here also though. Don slips into old habits on the modern rock influenced tone of Disease, which does nothing for me and Oasis is similar. And How I Miss Your Smile is a very bland ballad. Thankfully I Remember is a little better.
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| Chris Catena Discovery | Escape Music ESM167 |
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This is an interesting one. I was a strong supporter of Italian rocker Chris Catena's debut album Freak Out, on which he assembled a crazy list of guest stars and paid tribute to the bluesy side of hard rock. Chris is at it again with his new studio release Discovery, but this is a slightly different beast. Discovery is a concept record of sorts and another bold vision from the ambitious musician. Again there are several guest stars, such as Bobby Kimball, Earl Slick, Carmine Appice, Tony Franklin, Tommy Denander and Bruce Kulick. The bluesy musical base is retained, and Chris takes a more central role in delivering lead vocals and much of the instrumentation. But things haven't all gone to plan and what should have been isn't necessarily so. I think by and large the song quality is there and the gruffness of the lead vocal isn't always appealing, but the biggest problem is the production quality. The audio simply isn't clear enough and the muddy sound doesn't do the performances justice. I think the mix is also quite messy at times and varies throughout the record. For example, the impact of Bobby Kimball's duet lead vocal on The Chosen One isn't what it should be. Daniel Flores is producer and to be honest, I'm surprised at the result given his fantastic track record. But not all is a negative. As stated, the record is an ambitious piece of work again and Chris can be credited for aiming to impress as always. 18 tracks are listed, but several are short passages between other tracks. It makes for an interesting journey through the album. Some tracks take on a psychedelic 70's rock feel, others are more classic rock, but all have that Deep Purple-esque bluesy edge.
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| House Of Lords Come To My Kingdom | Frontiers Records FRCD366 |
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For the first time in their long history, House Of Lords have actually made a record that matches the sound of their previous record. The band has their much loved "base" sound, but when you look back, each record has had its own feel and World Upside Down, while returning to the band's classic style, was still different enough again. Come To My Kingdom sees the band use the blueprint from World Upside Down to further enhance their reputation as a band that knows what fans want and can deliver. The new album takes the most commercial aspects of the last record and amplifies them, making it a chorus and anthem rich affair. In fact, there are so many hooks and soaring choruses on this record it can leave the listener exhausted upon completion. Fans who rejoiced at the band's return to basics on World Upside Down will find just as much to love here – if not more. Personally I rate it even higher than the last album, which is no mean feat. I just love the pace of the record and the continuous appearance of more hooks and melodies. Every single track on this record has a great chorus. Few bands can boast such a feat and few deliver such rich harmonies surrounding those choruses. And like the last album, Come To My Kingdom has a monster sound. It is not as heavy as World Upside Down – it appears even more finely polished and refined. That might be an issue with some, but there is still plenty of great guitar moments and a stand out point on this album is the monster drum sound and performance by BJ Zampa. He is really all over this record and the powerful rhythm section is the force behind these songs. Commercial and polished perhaps, this is still a very powerful record. Famous of course for their bombastic intro's Come To My Kingdom is no different, but this time the guys throw off the Giuffria influence on Purgatorio Overture n.2 to concentrate on some guitar tricks. And so goes the theme of the record. Every track on this album features another great hook and a memorable chorus, so just to highlight a few favourites - Come To My Kingdom opens the album proper with a slamming guitar riff and a darker moody rocker that is classic House Of Lords. I Need To Fly is an incredible mid-tempo soaring anthem with a chorus that is as instant as it is classic. In A Perfect World is one of the album's heavier tracks, such as there was on World Upside Down, but I wasn't always blown away by those tracks on the last album. This is much more consistent and the chorus delivers. Another Day From Heaven and The Dream are two of the softer tracks on the album, but again, a flawless James Christian vocal and great choruses make them memorable in their own right. One Foot In The Dark has a darker feel and a really smooth verse, lifting to another incredible chorus and a heavier riff. I just adore this track and things go into overdrive when it is followed by the equally fabulous and anthemic Your Every Move which features another chorus to die for. I Believe is slightly mellower but features another big chorus making this a triple dose of melodic brilliance. In The Light closes the album with another big chorus and a rocking beat. It really is a case of one great song after another.
2008 has been a great year for melodic rock and this tops the list so far.
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| White Lion Return Of The Pride | Frontiers Records FRCD367 |
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I fully expect this to be one of the more discussed albums of this year. Already the debate has covered Mike Tramp's use of the band name and now it is time for the music to speak for itself. I wonder how many people will get hung up on the name White Lion rather than the music within? Too may I fear. White Lion was one of those bands that seemed forged on a partnership between Tramp and guitarist Vito Bratta and it is regrettable that the pair couldn't find a way forward after all these years. So Mike decided to use the name of the band he formed and has been a part of since day one, and that's fair enough. So many others do the same and if people chose to get hung up on this example, then that is perhaps not entirely fair. The music sees Tramp return to the energy and direction of the old band, but I wouldn't say that it directly compares to any past White Lion record. Again, will people accept that or refuse to see past it? Rather, I see Return Of The Pride as a mixture of influences from past releases with the addition of a new spirit. What I hear most prevalently is the sound of Mike's own solo work, albeit in a harder edge style akin to that you'd expect to hear from White Lion. I also hear a little of Mike's post WL band Freak Of Nature here – especially on a couple of tracks with a more contemporary slant and of course I do hear some classic White Lion in the mix. I hear influences from Pride and also from my favourite album from the band – Mane Attraction. This is also the most varied record that Mike has delivered. The style and tempo and length of the tracks are all quite varied and perhaps the diversity is something that makes the album a grower, rather than an instant hit. Not every song is a classic and not every song worked the first time I heard it. But I have had quite a lot of time to live with this album and above and beyond all other comments – it is as catchy as it could be, with each song in it's own way offering a hook to sink your teeth into. I'm a long time fan of Mike's writing style and his records – so I see Return Of The Pride as an extension of that and can't see why other Tramp fans won't be equally as impressed. Track By Track: Sangre de Cristo is one of two epics on the record, this one closing in on 9 minutes in length and featuring a fairly progressive slant as far as time changes. I guess Lights And Thunder could be the song's distant cousin, but it stands alone with it's fast pace and choppy guitar riffs. Dream for me is almost a sequel to Mane Attraction's Love Don't Come Easy, especially in the chorus, albeit with a more contemporary guitar sound. Live Your Life is the first track I found hard to get into and probably still is my least favourite of the album. The uptempo breezy rocker has a punkish sound amplified by the thumping bass line and lead guitar sound. Sometimes I feel the chorus feels a little simple for my taste, especially after the more intense opening tracks, but it still hangs in your brain. Set Me Free is another track that features a haunting intro that builds to a hard edged guitar riff that then drives the song forward. It is Broken Heart for a new millennium and one of the more classic White Lion sounding tunes of the new record. I Will is one of my favourite tunes of the new album. A sentimental uptempo melodic rock anthem, it is something a little different from Tramp – who I am not used to hearing such breezy and uplifting fare from! Battle At Little Big Horn is the second epic of the record and is lyrically just as intense as the opening salvo. This track is a little darker, a lot heavier and is over way sooner than the 7 minute plus time frame should indicate. Never Let You Go is the first proper ballad of the album and is a classic piano lead sentimental ballad with a strong and very likable chorus. Gonna Do It My Way is another track which sounds like it could have been lifted from Pride, until the song moves on a little, then I figured it as something that sounds like it could have come from Mike's solo records. It has the mix of both influences and the simple chorus defies the intensity of some other tracks on the album. Finally See The Light is another breezy pop rocker with a chorus that sticks in your head. It is a bit of a singalong song with some 80s keyboards creating a retro feel. Let Me Be Me is another uptempo and rocking track with a mix of styles similar to Gonna Do It My Way. It's breezy, it's simple, yet it's also very catchy. Take Me Home is a European Bonus Track and sees Mike stripping it right back to an acoustic and occasional electric guitar accompanying his raw vocal. A very nice ballad with additional orchestration. A nice way to close the album.
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| Royal Hunt Paradox II - Collision Course | Frontiers Records FRCD368 |
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Royal Hunt return with another change of frontman – out goes John West and in comes (surprisingly) Mark Boals. Boals has until recently been MIA and has returned with a vengeance – but has saved his best for now. The last few Hunt albums have been very consistent, but I questioned why include instrumentals on the last album when you had such a talented singer in West on hand. Something didn't seem right about that and to prove the point, West soon departed. The band, led by keyboard maestro and song mastermind Andre Andersen began work on a new record without a vocalist in place. Collision Course is the result. Not for the faint hearted, this conceptual release is a sequel to the band's acclaimed Paradox release. On board is new singer Boals – best known for his work with Yngwie Malmsteen. A great singer and not my immediate pick for Royal Hunt, but upon reflection – perfectly suited. And he proves this with an astounding vocal performance that I rate as one of his best. I'm sure he has had more melodic songs to sing in the past – the tracks of Collision Course aren't commercial in nature, but Boals adds extra melody with his delivery. Lyrically this album is a real handful – describing "a 'collision course' of a modern Western world and a new breed, grown on Eastern religious movements." Sure – why not?! Musically it must be a challenge to create some catchy choruses around such a premise and that is the one area which this album doesn't quite hit the mark with. The record from start to finish is quite a wild ride of swirling keyboards, big guitar riffs and ear shattering double kick drum fills, not to mention the pounding bass of House Of Shakira's Per Schelander. Typical Royal Hunt in other words. Production quality here is the best I have heard from the band in years. Thoroughly intense throughout and evenly mixed to give all elements their own space. It sounds phenomenal. But again, some more memorable hooks points within the songs would have knocked this out of the park. Also joining in the fun on this epic release is Doogie White (Rainbow, Malmsteen), Ian Parry (Elegy, Consortium Project), Kenny Lubcke (Jokers Wild, Narita), Henrik Brockmann (ex-Royal Hunt, Evil Masquerade) among others. And for good measure - there are additional female vocals, violins, cellos and more added instrumentation. Yes, there is a lot of music within this release to appreciate and several listens are required to get to know the basics. My two favourite songs are the tempo setting storming rocker The First Rock and a rare let up in tempo fro the softer High Noon at the Battlefield. Elsewhere things are very consistent and do flow from one song to the next – essential in the scheme of a concept record. My favourite from the band since The Mission.
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| Crown Of Glory A Deep Breath Of Life | Metal Heaven 00047 |
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Influences from AOR to metal eh? That's quite a range to fill any album, but Swiss rockers COG are up for it. Mixed by Dennis Ward, the album sounds the goods, but I'm not quite feeling the songs as much as I should. The bio states that fans of Europe, Pretty Maids, Stratovarius, Royal Hunt and Edguy should all enjoy this, but for me, if I don't like the vocalist I have trouble appreciating the whole package. The higher range isn't a problem…perhaps it is the pitch. There are some pretty epic tracks on this album – 5 songs clock in at 6 minutes or longer. One minute the band is more straight ahead metal, then it turns symphonic and then it's back to double kick drum metal. The guys would be better adopting one style over another – in this case I prefer their efforts when going symphonic. Still, not a bad release by any stretch - just not a preferential one given a crowded marketplace. |
| Sandalinas Fly To The Sun | Metal Heaven 00046 |
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A solid melodic metal album here – strong set of songs and an above average production puts those songs in the best possible light. And I like the singer – Rick Altzi of At Vance puts in a solid performance here. He's singing, as opposed to shouting or screaming. I think he shows some good diversity between a lower range and hitting some higher notes to emphasize a lyric, hook or chorus pinnacle. This is not a heavy album – it's more hard rock than metal, but it has that European metal attitude and a good range of tempo's, from slow to double kick drum fast. Best tracks for me are the kick-drum fuelled opener Fly To The Sun; the free flowing melodic hard rock of Never Seen Before; the uptempo Double Cross; and the more melodic rocker The Wrong Side Of Me. One of the better examples of this genre for the year to date. |
| Lechery Violator | Metal Heaven 00045 |
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Can't say it is the best band name I have ever heard…but still…the band has their own style of European melodic metal and the album definitely has something to offer. I don't think the production is as sharp as some other releases around, but it still suits the style of the record. The vocalist has a pretty gruff style, but you can't argue with the riffs on offer or the fact the songs are pretty memorable. Rise With Me, Hero Of The Night and What Burns In Their Eyes are all solid metal tracks driven by big riffs. Another solid release from the consistent Metal Heaven label and of appeal to those that follow European melodic metal releases. |
| Last Autumn's Dream Hunting Shadows | Escape Music ESM166 |
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I have always had a lot of time for these guys and besides the poor LAD II release (we really must stop talking about that), the band can be credited with being perhaps the most consistent and regular suppliers of classic Scandi-AOR each and every year. Sweden's Last Autumn's Dream deliver their fifth studio album here – one which makes no obvious deviation from past records – but still sounds fresh enough to enjoy over and over again. While not their best album ever and perhaps not the strongest sounding as far as a crisp and clean production, the album still manages to deliver a few new gems to the growing LAD catalogue. Vocalist Mikael Erlandsson is in fine voice – that higher, raspy melodic range perfect for the type of AOR on offer. Guitarist Andy Maleck ensures that this collection of songs captures the pomp and ceremony of his former band Fair Warning and the Talisman rhythm section of Marcel Jacob and Jamie Borger give the band that driving uptempo beat. Highlights on this album for me include the feisty melodic rock opening Strange Operation, featuring a glorious chorus; Rainbow Sky which features some well crafted pure AOR hooks backed by a harder edge riff; the urgent uptempo rocker My Alibi rolls along at a past pace and while I didn't rate the ballads on the last album as highly as previously, the big anthem ballad here I'm Not Supposed To Love You Anymore makes up for that in style. The double dose of harder rock in the form of Lost In Moscow and R U Ready To Rock N' Roll gives the band an edge before the mood turns a little darker for Serenity and War Of The Worlds. Save Our Love and Every Beat Of My Heart both have catchy enough choruses, but perhaps not quite of the quality heard from the band before, dropping the consistency of the last quarter of the album slightly. The happy go lucky uptempo rocker Overnight Sensation ensures that things end on a positive note.
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| Last Autum's Dream Live / Best Of | Escape Music ESM165 |
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If the review of the new album Hunting Shadows sounds promising, but perhaps still doesn't convince, then maybe this release is for you. Live In Germany / The Very Best Of is a 2CD set that captures the best of this band, both from the studio and in action, live on stage. Live In Germany is a short 8 song set from last year's United Forces Of Rock show and captures the band at their raw and energetic best. The recording is bares bones to say the least and certainly is a fairly raw representation of their songs. But that's why I love it – live recordings aren't supposed to be high-gloss affairs. I think this set is full or energy and that spills through the speakers. I especially love the band's version of the Zeno cult classic Heat of Emotion, which pushes Erlandsson's vocals to the edge. There are some fluffed riffs, some broken notes and a seat-of-their-pants style delivery – but fans should enjoy this for what it is - live and in your face. The disc adds two unreleased tracks which is a cool bonus for fans – When You Love Someone and You Won't See Me Cry are both solid mellow AOR numbers. If you are already a proud owner of the band's catalogue, then the live portion of this release will be the main attraction. For new comers looking for the very best of the band's studio output, then this second disc – a 16 track walk through their catalogue – is an attractive proposition. And for fans already familiar – it is still a good compilation of the band's best tunes. It reminds me why I like these guys so much. They mix Scandi-AOR with Fair Warning, the softer side of Talisman and deliver those influences in a fresh and uptempo, yet familiar AOR style.
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| Tommy Skeoch Freak Bucket | Indie |
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I have previously had a lot of time for Tommy Skeoch and of course his band Tesla. Mechanical Resonance remains one of the very best rock n roll debut albums ever. 1987 delivered Hysteria, Whitesnake, Mechanical Resonance and Appetite For Destruction. There's 6 months of back to back playback right there alone and a shitload of history. Well, Tommy sadly came undone with substance abuse problems and didn't make it through the Tesla re-union after bailing earlier also. But here he is delivering his debut solo album. Sadly I must report that it is absolutely God-awful. I just don't know what he was thinking, but this is one of the worst albums I have heard in years. Style wise we are talking tuned down punkish retro rock with a hint of grunge and Black Label Society intensity. It was recorded over just 4 days in Florida last year, but it is not the production quality alone that kills this record. The style is not great, but even worse are the appalling lyrics which are an absolute insult to any person's intelligence. Every song is filled with expletives – it's fuck this and fuck that and motherfucker this – good grief!! It is just embarrassing to hear someone one stoop so low. And then there is Tommy's singing. That's even worse than the guitar playing and the lyrics. I always joke about Zakk Wylde's vocals, but Tommy makes Zakk sound like Steve Perry. The half shouted, half growling vocals grate in your ears worse than a bus load of Barry Manilow fan club members out on an all-singing day trip. This is just awful. Bad bad bad. Sorry Tommy, but this is just self indulgent shite. |
| Steve Lukather Ever Changing Times | Frontiers Records FRCD363 |
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Steve Lukather's solo career has almost been as varied as his work with Toto. If you exclude side projects and his Christmas instrumental release, this will be Luke's 4th proper solo record. All three previous albums have contained their own individual flair and fans of Luke will well know that his own music tastes and influences are wide ranging. Most of those influences have been featured within his records, from the blues to jazz, straight ahead pop and progressive rock. Ever Changing Times is perhaps his most focused solo album since the debut Lukather record of 1989. In terms of both style and substance, this record has terrific consistency and features a highly enjoyable set of songs that for the most part are very consistent in approach. Those that deviate with their own personality simply add texture to the overall record. On Ever Changing Times Lukather follows the path set by Toto's Falling In Between record – a heavier guitar sound and some progressive arrangements, but a solid chorus at the heart of each track. And again like Falling In Between, some old friends are at the ready to lend a hand and give the album a huge, familiar sound - songwriting partner Randy Goodrum is there (Synth, exec Producer), as is Steve MacMillan (production), Lee Skylar & John Pierce (bass) and Lenny Castro (percussion). The album has a distinct Toto feel, yet the Lukather solo diversity. This album really is a superb collection of songs that allows Luke to further showcase his incredible talent in a more diverse setting than a Toto record would allow. Ever Changing Times is a dark, heavy and mid-tempo track with an imposing feel to it. Love the chorus and the guitar work within the song. Switching tact immediately is the haunting slow ballad The Letting Go, which could have come from Falling In Between or any other Luke solo record. These are the types of ballads he could do in his sleep, yet with so much class at the same time. That said it is one of his best ballads of this nature that I can remember. I love New World. This track has a more progressive feel to it and some great alternate guitar parts. Then the chorus comes from nowhere in this big rush of energy and a flurry of guitars as the tempo lifts dramatically. Tell Me What You Want From Me is another softer track, relying on some Westcoast melodies to carry the verse before another surprise chorus launches itself, featuring some aggressive riffing and a powerful vocal. I Am is another great sentimental Westcoast/pop ballad that Luke does so well. Another strong chorus. Jammin' With Jesus is one of those 'left-turn' tracks that is typical Lukather, yet out there at the same time. This is a mood track. Some days I skip the song altogether, other days I crank it even louder and simply bask in the heavy groove and underlying rhythm and blues of the chorus. An amazing bit of music either way. Stab in the Back is another dip into the 70s rock past that Luke originated from. This is a breezy Steely Dan style Westcoast pop track with a definite groove. Never Ending Night is a big Toto friendly power ballad that again could have come from the last Toto record or even Seventh One perhaps. Another highlight for me. Ice Bound is a diverse little progressive flavored track. A simmering Totoesque verse runs through a bridge then chorus that sound fresh, yet familiar, with the guitars riffs varying throughout. How Many Zeros is perhaps the one track I'm not completely sold on in someway or another. Mid-tempo, but lacking a better chorus I feel. The Truth is a beautiful and almost theatrical instrumental track. When is someone going to hire this guy to do film scores?
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| Khymera The Greatest Wonder | Frontiers Records FRCD364 |
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This is the album that finds Kymera truly defining their own place in the world. After credible debut featuring vocalist Steve Walsh problems soon appeared forcing a switch of vocalist. The big surprise was the recruitment of Pink Cream 69 bassist and star producer Dennis Ward as vocalist. His raspy, yet sultry vocals suited the more straight ahead AOR direction of the New Promise album. That was another strong album, but it is The Greatest Wonder which I think nails the best style for these guys. This third album sees the band, with Ward again out front, deliver the best group of songs to date, as well as defining their AOR sound that little bit further. This is smoother, moodier and probably mellower than both previous albums and to my ears, the best of the three. It is great to hear some classy AOR recorded in the way it deserves – a big sound, great even mix and still powerful despite being fairly laid back in style. The 90 second intro doesn't make a lot of sense to me in the context of the rest of the album, but after that point, things are sheer melodic bliss. Keyboards swirl, guitars deliver riffs to carry the songs and the rhythm section in particular is really driving the beat behind the melodies. I haven't heard an album like this for quite some time. Without being groundbreaking, it is refreshing to hear this brand of pure, moody European AOR done so well. The album is very consistent and the strength of the songwriting makes it hard to single out particular tracks. I don't think there is a huge variation in style or tempo within the album, but in this case the strength of the songs and the manner in which they are delivered means that is a positive. However, if I was to mention personal highlights – the uptempo Borderline is really powerful European AOR and quite excellent. Burn Out is dark and heavy during the chorus, giving it a real attitude; the slow and emotional Love Has Been And Gone highlights the more sentimental side of Ward's vocals; The Greatest Wonder has a little extra punch and a cool chorus; If I Can't Be has an almost Def Leppard layered vocal style that I like and Stay Forever has another instantly memorable chorus.
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| Work Of Art Artwork | Frontiers Records FRCD364 |
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What an absolute treat it is to be able to review two outstanding AOR albums at the same time, despite both having different approaches and different appeal. The bind between them is that in this modern world dominated by melodic metal and often sub-par sounding AOR releases, they are neither. Both Khymera and Work Of Art are pure AOR of the highest quality with great production to back them up. In the case of Work Of Art, you have a young Swedish band who worships at the House Of Lukather and all things Toto. And as much as Toto is a clear influence in their music – don't think they are a one trick pony or a clone of that classic band. But for that matter – if it is done well, then what does it matter anyway? Work Of Art's debut album is simply stunning. Filled with glorious pure AOR mixed with touches of breezy high-tech Westcoast and influenced by one the very best band's in the business, it overflows with harmonies, melodies and above all, a killer production that could have seen this band on a major label back in the day. The mix offers the many layers of vocals, keyboards, harmonies and guitars plenty of room to breathe, while the silky smooth vocals of Lars Safsund glide over the top. Lars is quite something – I love this guy's voice. Mixing the best of Toto's Joseph Williams with Signal era Mark Free, every note sung contains melody. The production is fantastic – big beats and a driving rhythm that give even the softer tracks added power. And I really like that many of the tracks are quite uptempo, moving the album along at great pace. Style wise the album takes the best AOR moments of Signal's classic Loud & Clear and mixes those with the many facets of Toto – the straight ahead keyboard AOR of Seventh One and Isolation and the breezy Westcoast of Fahrenheit and Seventh One again. The music within is that kind that offers a new hook and melody with every track. The opening track sums up the whole album. Fast paced and immediate, filled with soaring vocals and swirling keyboards, it is one of my favourite tracks in recent memory. Maria brings the Toto comparisons to the forefront and again on the Seventh One styled percussion, keyboards and Lukatheresque guitar work of Camelia. And so it continues…Her Only Lie has a great chorus and driving beat; Too Late is classic Williams era Toto; Whenever You Sleep is 80s AOR overdrive; and Once In A Lifetime is a perfect Scandi AOR ballad a la Radioactive/Tommy Denander. Elsewhere on the album Peace Of Mind is again another stand out AOR song; and Cover Me is fabulous – the heaviest track of the album – it has an appealing darker and more dramatic flair.
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| Leverage Blind Fire | Frontiers Records FRCD359 |
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Finland's Leverage burst onto the world stage in 2006 with one of the best melodic metal album's of the year. Hell of way to make an entrance with what I still rate as one of the best debut albums seen within the genre. So expectations are extremely high for Blind Fire, the band's sophomore release. I think fans will be very happy with the efforts of the band second time around. There are a couple of points I will make, but to cut to the chase, the band has taken the blueprint of the debut and reproduced it again here. There are no dramatic changes to style or direction or tempo even, so those impressed by the debut will find plenty more to appreciate here. Vocalist Pekka Heino made an instant mark and is back in full force again here, with his melodic prowess matched by his sheer breathtaking power – right now in my mind, second only to Jorn Lande in this genre. The barnstorming double-kickdrum fired Shadow Of The Night opens the album with a rush, but it is King Of The Night that features the better hook and some tasty guitar soloing. The free flowing Stormchild and the slower but more brazen Sentenced continue the power onslaught of the first twenty minutes of this album. There's barely the chance to take a breath. Hellborn sounds brutal, but it is a little more melodic and has an anthemic quality to it, with Pekka's vocals designed for a stadium feel. Mister Universe has a similar feel before the band eases up for their first ballad – Don't Touch The Sun. Of course, this is not your average ballad, but rather a slower intense, emotional track that builds throughout, to a suitably powerful conclusion. Run Down The Hill takes us back to the opening moments of the album and a flurry of double-kickdrums and powerful hooks. Heart Of Darkness has some fabulous guitar soloing within and a good chorus hook, but I think the track still had some potential to be bigger and better. Learn To Live on the other hand fulfills all potential and delivers all, in being a super powerful and passionate metal ballad complete with soaring vocals and guitars. I recall an old statement about the challenges of following up a monster debut. The author eludes me at this time, but the comment went something like "a band has a lifetime to write and record their first album, but then must repeat that entire process in less than a year in order to deliver an equally good follow-up." I'm referencing that now as I feel that is somewhat the case here. I think the debut is probably the better album, but only by a narrow margin, and because it sounded fresher, due to the band having the advantage of being unknown and being able to surprise their audience. The production quality is almost as good as the sonically bombastic debut. Certainly the same approach has been taken, but the debut had a slightly crisper top end sound. Oh, and minor point to some perhaps, but the cover art is simply not good enough for a band of this stature. The debut had a simple, but really classy feel to it. This cover has little appeal aside from the band's logo.
Incidentally – that classic debut album Tides has now been re-issued by Frontiers in conjunction with this release (complete with the 2 original Japanese bonus tracks), so if you are new to this band, so not hesitate to pick up both albums at once and be prepared to be blown away.
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| Vindictiv Vindictiv | Escape Music ESM164 |
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The opening weeks of January sees these pages under a metal onslaught. There are some melodic gems coming up, but right now, we have another metal release – this time from yes…bloody Sweden again!!! They sure as hell know how to turn out some records in that country. Thankfully this is yet another classy one, with a very strong production and some catchy songs made even better by the involvement of Goran Edman, the man who can sing anything from sweet AOR to balls out metal. This reminds me (not only due to Goran's involvement) of prog-rockers Act, yet not so progressive and a little more hook-friendly. The guys still change the pace around and deliver lots of swirling keyboards and guitars, with solos and left-turns appearing at regular intervals. Whereas Act was a little too progressive for my tastes, I feel this is more driven by the hook and the rest is presented to supplement that hook and build the song. I'm also hearing a lot of soloing in the style of Yngwie Malmsteen – those moment so shred come from within the song before Goran re-appears and kicks in with a chorus or vocal line to get things rolling again. Highlights include the opening Fool's Paradise, featuring some classic Edman melodies; another good chorus on David's House; the quirky The Royal Loo and the ballad Hymn To Desdomona.
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| Saint Deamon In Shadows Lost From The Brave | Frontiers Records FRCD362 |
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The members of new comers Saint Deamon hail from both Sweden and Norway, with the guys delivering a melodic metal homage to their musical heritage. You couldn't deliver a more European sounding melodic metal album if you tried. The gruff vocals which move between lower and a higher register at times remind me of Goran Edman (without the finesse), while the musical accompaniment is comparable favorably with the likes of fellow European metallers…mmm…I have to admit I'm struggling to find comparisons here. To be perfectly honest, I'm finding it hard to come up with much to describe Saint Deamon, other than they do what they do (we've heard it before), very well. Basically it is a very good album of catchy melodic power metal, with a solid production, a big beefy sound and a vocalist that suits the style perfectly. With the question of style answered, all that is left is to question the quality of the songs and performances – and there are no worries there either. My Judas and the title track certainly get my attention of powerful metal tracks with a strong melodic hook and the slower more intense My Heart is something different again. Black Symphony is frantic and Deamons features some big harmony vocals to go with a hammering beat. Sometimes less is more and I don't feel the need to state much more about these guys.
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| Bassinvaders Hellbassbeaters | Frontiers Records FRCD360 |
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Sometimes reviewing isn't meant to be easy. It doesn't get much harder than this. I have to say that I'm not digging this release at all. There are some true legends of the bass world delivering solos on this record, but to get to those you first have to live through some truly ordinary songs that lack control and direction and feature at times some hideous growling "vocals". The bio states: "Bassinvaders has been a creation of Markus Grosskopf (Helloween) while sitting in a bar and enjoying a few drinks." Sorry, but my ears are wishing the idea remained in the bar. Billy Sheehan, Dennis ward, Rudy Sarzo, Marco Mendoza and more all deliver solos, but the vocals and lack of melody in any song drive me to hit skip before the solos ever arrive. There are no guitars on this record at all. Just bass. So yes, it is experimental, but it also has to be listenable. And the drum sound has almost no impact in the mix which I think is strange, as you'd think a bass driven record would attract a huge rhythm section sound.
Still not quite sure what this release is doing on Frontiers, but the label has been known to experiment from time to time.
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| The Poodles Sweet Trade | AFM Records |
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The Poodles stormed onto the scene along with Brother Firetribe and Wig Wam as a breath of fresh melodic air from Europe. On album number two the feedback has been mixed. I hear some don't like it as much and I hear others like it more. That's what happens when the formula of the debut is changed and that is what happened here. The band doesn't sound radically different or anything like that. But their sound has been toughened up and now sounds a little more European melodic metal than the debut album which featured a few different approaches with the song delivery. This album is tighter, more urgent and heavier…but left behind is a little of the variety and instant chorus melodies of the debut. Still, what we do have is another fine record filled with in your face uptempo melodic hard rockers as only the Scandinavian's can deliver. Something that attracted me to the band in the first place was their thumping rhythm and heavy beats and the opening three songs of Sweet Trade cash in on that again. The songs get better and better with repeat listens, but it is only seconds before the beats crash through the speakers and belt the listener about the head. Flesh And Blood and Streets Of Fire both rock with urgency, but it is the more melodic and anthemic Seven Seas which gives me chills. Other highlights are the barnstorming hard rock of the suitably titled Thunderball; the fast rocking but melodic Reach The Sky; the huge lighters-in-the-air ballad We Are One; the harmony filled melodic rock of Without You; the monstrous anthemic Band Of Brothers (brilliant and both songs more like the debut) and the balladesque anthem Shine which closes the album. Highlights as you can see are numerous and the production quality of the album is once again unquestionably great!
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| Sebastian Bach Angel Down | Caroline/EMI |
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I tried so hard to like this album – but therein lies the problem. Why should anyone that appreciates any given artist, be put in a position where they have to work at liking a new release? It should just come naturally. I'm a Sebastian Bach fan, so after so long waiting, I really hoped this would be a kick ass record. For me the debut Skid Row album is cool…but the second one Slave To The Grind was freeking phenomenal. I played that album for the best part of 12 months straight and still dig it. I thought Subhuman Race was a massive let down and Skid Row without Sebastian has been a mixed bag at best. Sebastian Bach solo isn't much better – his live album was ok, but only featured a few new tracks (which I enjoyed), then his project release The Last Hard Men was diabolically abysmal. So, with some anticipation after all the talk and the involvement of producer wiz Roy Z, I guess I was hoping for a Slave To The Grind style hard rock monster here. Not so. In fact, I was hugely disappointed in a number of areas. I think the production is adequate, but nowhere near the strength of past Roy Z efforts – for example the guitar sound here is just awful. The direction is questionable…some are going to dig the modern direction and the more pronounced metal sound, but above all other issues, I just don't find the songs to be that likable or effective. And Sebastian has one of the great voices of metal, so why all the screaming and forced tricks on this record? Track By Track: The title track Angel Down is simply down tuned guitars and a howling scream. You Don't Understand has a more traditional Bach vocal and a decent chorus too, but the vocal is buried in the mix, overtaken by a punk/metal guitar riff. Back In The Saddle is a screaming cover of the Aerosmith classic, but at track 3? The album is yet to establish itself, and already a cover is thrown into the mix. If Axl Rose wasn't guesting on this track, it would be left to close the album. Axl Rose further proves he is still alive by guesting on the two tracks that follow too. (Love Is) A Bitchslap is another downtuned punky track with a horrible guitar sound, but I like Sebastian's vocal here and at least there is some merit to the chorus. Stuck Inside is another relatively heavy track with modern influences that doesn't do a lot for me. American Metalhead should really be a classic Bach anthem given the title, but the screaming vocal and horrible guitar sound lets it down. Negative Light features an awful production sound. Metallica had a new asshole ripped for themselves for releasing something that sounds like this. Live & Die is a better metal track. I still don't like the guitar sound at all, but the song is one of the better album tracks and the chorus closer to old school Skid Row. By Your Side sees Bach singing in full power and passion for the first time on the album. A nice acoustic themed ballad that old fans should appreciate. Our Love Is A Lie is another punky metal track. Take You Down With Me and Stabbin' Daggers both have bite and metal angst and I think will be appreciated by fans. You Bring Me Down is modern metal and without a memorable chorus. Falling Into You is the second ballad of the album and nice again to hear Sebastian singing.
And there is simply too much screaming on this record. Bach shouldn't be looking to prove himself a metal icon, he is already a hard rock icon and that should be good enough for him. Now, I know I might get hate mail for this review. I wait in readiness, but before you paint me a Bach hater, remember that I rate Slave To The Grind as one of the best records of that era. We already knew Skid Row needed Sebastian Bach, now we know that Sebastian Bach needs Skid Row.
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| Northern Kings Reborn | Warner Finland |
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I really really wanted this album to work. Covers albums generally don't, but there are the rare gems. What normally works best is when an act includes on killer cover within an album of originals and fans can gather those up for their own compilations. I thought this could be one of those gems – the concept has 4 fabulous Finnish metal vocalists combining with that countries' natural affinity with dark symphonic tones – mixed with some classic pop/rock covers. But overall, this album doesn't work for me and apart from a few utterly fabulous covers within, the majority of the album just don't quite work or is downright strange. I was counting on the quirks of the Finnish metal sound to deliver some interesting twists here and that is true enough, but not always in a positive sense. Where it works – Journey's Don't Stop Believing is turned into a symphonic metal song with a searing pace and progressive base making it a real highlight. Jethro Tull's Fallen On Hard Times kind of works as a metal anthem. Peter Gabriel's Sledgehammer works as an uptempo metal song – even if it is a little all over the place. Where it doesn't – Mr. Mister's Broken Wings is sped up a bit and I don't mind that, I just found that much of the song's heart and melody are lost here. Billy Idol's Rebel Yell is slowed down to a snail's pace and given the dark metal treatment. Bizarre and imaginative, but ultimately almost unlistenable. Cutting Crew's sentimental I Just Died In Your Arms Tonight is slowed even further into an orchestral/string dominated ballad, but is just too slow and the vocal doesn't work at all for me. Same for In The Air Tonight. The gruff vocal just takes all ambience from the song. And I hate the original version of Creep anyway, so a slower, darker metal version doesn't do it for me either. And Lionel Richie's Hello? Well, there are some songs you just don't mettalize!
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| Lynn Allen And The Horse You Road In On | Escape Music ESM163 |
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American melodic rock outfit Lynn Allen's history dates back to 1984, but this is their first album in a decade, in what is somewhat of a surprise return. Lynn Allen has picked up where they left off – in the mid-90s as if grunge never happened. The Horse You Rode In On is a very simplistic album. The vibe is relaxed and the recording appears simple. Straight forward in nature, a true live in the studio kind of feel, featuring a set of very easy listening melodic rock tracks. My first listen I didn't give much value to the production, but there is nothing wrong with it at all, the direction is simply…well, uncomplicated! This isn't a hard album to like. It's very pleasant. The music as already stated is easy listening American AOR, with a strong 80s pop/rock feel and some memorable choruses. Nothing is over the top here – the vocals are largely laid back and never forced, despite the tempo moving along at a reasonable pace. Highlights include the opening track I Will If You Will, a very likable 80s FM style number that Billy Squier or Sammy Hagar might have released in 1982. Enough To Make Me Sober has a laid back riff and an instant chorus; I like the raspy vocal of Michelle and Would It Hurt You is also pretty instant.
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| Steve Grimmett Personal Crisis | Metal Heaven 00042 |
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Grim Reaper/Lionsheart vocalist Steve Grimmett steps out with his own band for this new project, which I think will find him fresh acclaim and the smiling faces of long time fans as he delivers everything expected. His new band has power and this album is traditional British heavy metal in every way. Grimmett's vocals remain on song; the raspy warmth still offers a lot of melody. Highlights from the album for me include the powerful and fast moving, yet very melodic Wait For Ever; the heavy opening rocker Karma and the venomous Afterglow; the slower, but still intense Promises; and the hooky Strength (great vocal). The album is very consistent and for the most part remains close to full paced and full spirited throughout. There is no real break in tempo or energy and I think fans will regard it as a very strong melodic metal record.
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Sircle Of Silence Sircle Of Silence/Suicide Candyman |
Escape Music ESM160 |
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Long out of print in Japan, I remain unsure if there is actually any real demand for these records to be re-issued. Made in the mid-90s, both Sircle of Silence records came at a time when grunge had wiped out good music and those left high and dry from the media betrayal were looking to reinvent themselves to get back on the bus. The band features David Reece (vocals), Jay Schellen (drums) and Larry Farkas (guitars). The debut was a super heavy and grunge inflected slice of hard rock, with a distinctly modern groove. It was hailed at the time as a credible and contemporary release after several other bands tried and failed with similar direction changes. Suicide Candyman however is just plain awful. What was established on the first album is amplified here to the point where all melody is lost and the album is simply a misguided tuned-down Seattle love fest without any redeeming song hooks. I presume this re-issue came to be after Reece joined Escape Music singing Gypsy Rose. I look forward to hearing David singing with his natural flair, but this grunge inspired effort left me cold then and continues to do so now. |
| Mind's Eye A Gentleman's Hurricane | Lion Music |
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I will simply echo the sentiments of most other reviews I have read about this new Mind's Eye release and that is – for a progressive rock concept album, you won't find much better anywhere. I love the sound these guys have. The power a trio can exuberate is incredible and the powerful but melodic vocals of Andreas Novak always get my attention. 75 minutes of absorbing music here and a powerful storyline, not to mention all the key changes along the way. The only thing I will state is that the last album featured better set of choruses. This album is meticulously constructed with noting out of place, but a few more choruses to latch onto would have sent it over the top for me. |
| Stereo Fallout The Other Side | Hilltop Partners HP82307 |
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Marvellous album this, and typical of guitarist/vocalist Steve Brown's post-Trixter output. Following on from Throwan Rocks/40ft Ringo comes this new power pop/modern rock influenced outfit. As always Steve has top notch songs in play, making the album very catchy and very likable. Stepping away from the punky pop flavor of 40ft Ringo, Stereo Fallout is more straight forward modern melodic rock, with some tracks venturing into hard rock territory and others veering towards commercial radio friendly territory. Production quality is great as always and the fans of Brown and Trixter are going to walk away happy. Best tracks include the moody modern rock of End Of The Girl, the ballad Brand New Me, the catchy as hell Go (from MRCD3) and the anthemic Coming Home. I still prefer the 40ft Ringo album - that was a killer - but this is another great slice of modern rock. |
| Ken Hensley Blood On The Highway | Universal |
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Any other time and this would get a full featured review (as would all the titles here), but I must press on so I can get to the 2007 MelRock Awards. Uriah Heep's Henlsey has created a really solid classic rock styled album here that to my ears is more commercial than I anticipated, considering the involvement of Jorn Lande, Glenn Hughes and John Lawton (all as guest lead vocalists). It is always great to hear Lande singing, the man is a genius, but here is even sweeter as he gets to do things a little differently – more relaxed and in a straight ahead rock mode, rather than all-out hard rock or metal. The opening rocker Just The Beginning contains a wonderful vocal melody and it is a joy to hear Jorn sing each time. Hensley and Jorn join to both sing we're On Our Way, which again is very commercial and catchy. In fact Jorn takes the first 4 tracks and returns for an additional track later in the album. Glenn Hughes delivers a smooth vocal on the laid back What You Gonna Do and again on the closing classic organ drenched rocker The Last Dance. A very classy and enjoyable record and an essential one for fans of Hensely/Heep/Hughes and Lande. |
| Rick Springfield Christmas With You | Gomer Records 4812042 |
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I really didn't expect to like this album, so for me there is nothing really lost from the experience aside from the fact I long for a new studio album. I love Rick Springfield (no secret there), but Christmas albums are generally regarded as another rung down from the already lowly esteem covers albums are held in, and Rick just did one of those too. I don't think I am alone in starting to get anxious about the lack of new rock material, but hopefully 2008 will solve that issue. But right now we have this seasonal release to tide fans over. I guess if Steve Lukather can make a Christmas album work, then such a thing as a cool Christmas album is possible after all! Rick and Luke must have been talking...as this is a record with considerable class. The album features one new Springfield composition – a track Rick has played live previously when the occasion required. The song – Christmas With You – is a sweet acoustic style ballad with a country twang. It sets up the record and suits the style of the remaining tracks. Speaking of which – the songs here are mostly traditional of origin and laid back in nature, driven primarily by acoustic guitar, piano and a soft vocals. No liberties have been taken with the material here. Rick is true to the traditional originals, which will delight certain portions of his fanbase, who I will imagine will play this album 24/7 until December 26 before shelving it until December 1 next year. No real deviation from the script comes into play until the bluesy jazz of I'll Be Home For Christmas (a style Rick handles with ease) and the surf culture inspired rockabilly of and instrumental Deck The Halls (with Boughs Of Longboards). This record will be cool for some. Rick is a smart businessman and he knows where the money is. I have absolutely no doubt that many of his adoring female fans will already be crooning along with Rick to this one and in that regard he has hit the spot totally. It is perfectly played, performed and produced – as we all expect from Rick. I can't see as many of Rick's male fans grooving to this…we'll have to continue waiting patiently to see what comes next. Meanwhile…my wife really digs this! |
| Rick Springfield CD Re-Issues | RCA/BMG Japan |
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Rick Springfield fans that can afford to order the new Japanese remasters should immediately do so. BMG Japan have released limited edition 24 Bit remasters of the classic RCA releases Working Class Dog, Success Hasn't Spoilt Me Yet, Living In Oz, Hard To Hold, Tao and Rock Of Life. The WCD release is the same master as the SonyBMG release of last year, but the remaining releases are all fresh masters and oh, boy! Do these sound amazing!! I haven't heard Rick ever sound so good and the added clarity and vibrancy of these masters gives these classic albums a new lease of life. And I have never heard the high-tech production of Tao sound so alive, nor the crisp million dollar style of Rock Of Life sound so electric. Tear It All Down and World Start Turning simply leap through the speakers with the raw emotion of Rick's convictions carried in every note. Each of these albums has in their own way sounded ahead of their time when originally released. Name another album out there from 1983 that sounds anywhere near as good as Living In Oz! But now, 20 and 25 years later, these albums sound as fresh, vibrant and important today as they did on the day they were released. Classic stuff indeed. |
| Rick Springfield The Early Sound City Sessions | SonicPast Music |
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There are two pieces of the Rick Springfield recording portfolio still missing. There were more gaps, but Sahara Snow and Rick's own Special Edition releases have offered some missing rarities. What remains in studio vault limbo, awaiting official release is the Springfield 74 album (itself another fine slice of 70s pop) and the original session recordings of what was to be known as the Beautiful Feelings release. Originally recorded for release in 1978, Beautiful Feelings was Rick's second shot at US stardom after 1976's brilliant Wait For Night album was curtailed by label troubles. Sadly, this set of recordings was besieged by problems of a different nature. The album never got released and after Rick finally broke through in 1981, the owners of the studio masters took it upon themselves to use Rick's lead vocals and had the entire album re-recorded with new musicians. The result was an "unauthorized" solo release in 1984. Until now the original recordings have remained buried. So, fans that own everything Rick and have Beautiful Feelings will recognize the track list (still in the exact sequence) and also the lead vocal. What they won't have heard is the original music Rick intended to accompany his vocal. This is a nice little collector's piece and I'm pleased to say the audio quality is very good indeed considering the age of the material. For the uninitiated, the material is 70s pop, with a traditional Springfield emotional edge and a little pizzazz. Point of interest – the track Spanish Eyes would later evolve into Don't Talk To Strangers. Even though the album was recorded two years after Wait For Night, I find the latter album far more appealing and emotionally charged. This is a nice archive piece, but curious onlookers might get a better history lesson from the legendary pop perfection of Wait For Night. |
| StoneLake World Entry | Metal Heaven 00037 |
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I like these guys – the Swedish outfit delivers powerful and intense metal, but still melodic at all times, no matter how brutal the riffing. I would say that they are probably an acquired taste, as everything to do with this band is turned to 10. The rockers are in your face and the big ballad Words Are Not Enough is simply metal intensity that reminds me a little of the Steelheart debut just heavier. The higher pitch vocals, delivered at all times with maximum volume can at times be a little too much (City Of Illusion for example), but the riffs flow easily and the tempo barely slips aside from the big ballad. Rest My Eyes On You would be heralded as brilliant was it delivered by Iron Maiden, so give these guys a listen. |
| Cinder Road Superhuman | Caroline/EMI 09463430123 |
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After stints with SR-71 and his own band Plunge (Atenzia Records), guitarist/vocalist Mike Ruocco strikes gold at last with Cinder Road and a major label deal. The high energy nu-breed rockers are gaining attention and so they should with a quality modern rock album of power pop/punk songs, filled with guitar riffs and soaring vocals. This is absolutely one for fans of the aforementioned bands. The song quality is better than Plunge and the collaboration with producer Marti Frederiksen, who along with Mike is involved in every aspect of this release has guaranteed a monster sound for fans. |
| Night Ranger Extended Versions | SonyBMG A704455 |
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I hate these cheap ass Extended Versions packages. I love the releases, but for an extra 12 cents, the label could actually print a stand alone cover and actually announce the releases via a press release! But no, they just turn up whenever and fans tend to pick them up by chance – exactly the way I found this. Night Ranger's Extended Versions is in fact the long touted Live in Japan 2003 release, with the band's standard 10 hit tracks (wouldn't cost the label a cent more to add extra tracks and value) performed with their usual flair and good humor. The mix is perfect and aside from a rough vocal to kick-off the album (Sing Me Away), the rest of the set is more essential stuff for Night Ranger fans. It may look generic, but it sounds great. Only thing....it's too short. |
| Endeverafter Kiss Or Kill | Rzor & Tie |
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These American rockers have taken the best part of 2 years to get this album released and are now hitting the campaign trail trying to sell it. Something tells me they will win some fans along the way – me included – but is it simply too good for the general American modern rock audiences? The opening two tracks have a real dirty retro rock n roll spirit and there is no doubt the band has chops. But track 3 Gotta Get Out sees the guys ease up a little and slip into a Waltham style modern melodic rock vibe that I really appreciate. And the ballad Next Best Thing is almost classic melodic rock from the early 90s. There are riffs galore and plenty of soloing. The guys are pretty young, so it is refreshing to see them playing a retro theme that isn't along the lines of Jet and Wolfmother. There's a little of that 70s rock theme in the music, but more a glam/good time feel such as Thin Lizzy or such plus 80s and nu-breed influences. All Night is another classic Waltham styled fell-good melodic rocker. Check this one out if retro/nu-breed appeals. |
| Crazy Lixx Loud Minority | SwedMetal Records |
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More classic sleaze hard rock from Sweden. Those guys have it all don't they? Crashdiet, Dirty Rhythm and 80s glam metal such as LA Guns are all part of the influence, with the guys delivering a true style old-school hard rock release here. The opening track sets it up, but Dr Hollywood grabs your attention with some great melodies and huge vocals a la 1988 – classic Sunset Strip. The band may be new, but their attitude is old-school all the way and the high-octane delivery of these tunes will gain the attention of many classic hard rock fans. Perhaps good enough to be mentioned alongside the hallowed name of Wig Wam, these guys really put a smile on my face. I hear at times a lot of Jamie Rowe in lead vocalist DC Danny's voice, so expect a little glammed up Adriangale here too (Want It the best example). The chorus of Want It is pure Wig Wam gloriousness and Love On The Run proves the singer has pipes. They slow it down for Make Ends Meet, but then Death Row is so good LA Guns could only wish they came up with the riff. And there's more, but I'll let you guys discover this. Good, good fun with a big production, even bigger vocals and great hooks. What more could you wish for in 2007? Safe to say that it is a highly recommended release for fans of old-school rock n roll attitude. |
| The Click Five Modern Minds And Pastimes | Atlantic 168508-2 |
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I really enjoyed the debut Click Five release – pure power pop with some huge harmonies. The departure of a lead vocalist would perhaps normally been seen as a death knell, but the band simply replaced him and moved on. The new album has a slightly different sound and there will be some that won't adapt, but personally, I think this is almost as good as the killer debut, just a little more focused on the lighter side. What remains the same is the band's forte of quirky power pop songs filled with huge choruses and layered harmonies is the foundation of the album. More diverse than the debut and more influenced by 80s pop such as The Cars, the guys really know how to craft a catchy song. Stuff like Flipside, Jenny and the monster modern rock ballad I'm Getting Over You are simply undeniably catchy and pure class. So cool to hear a real singer fronting a modern outfit. |
| Yellowcard Paper Walls | Capitol |
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The band's previous breakthrough album was good…but this record surpasses that in every way. Energy in performance, production and song likeability. This is a terrific straight ahead commercial modern rock record. The band rocks, they have a half decent singer and they manage to include a chorus in every song! There's a little pop/punk, but the majority of the album is just really well crafted modern rock. There is also a definite maturity shown by the band here, crafting songs rather than just belting them out. Keeper and Shadows And Regrets best highlight that. Mind you, The Takedown and Five Becomes Four are as heavy and as frantic as the band has ever been. This record features a nice balance of material. Th eband's best to date. |
| Ann Wilson Hope & Glory | Zoe Records |
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We all know she is a wonderful singer and the voice of Heart, but this doesn't really work for me. I have been a Heart fan since the comeback breakthrough Heart album in 1985 and have followed virtually everything since. There has been some classic material over the years, but also some misses and I think while this album is very well recorded and beautifully sung, it just isn't interesting enough to capture the attention of the majority. All covers, except for the closing track, I just can't get excited about a largely laid back and eclectic collection of tracks - some featuring guest vocalists such as Alison Krauss, Gretchen Wilson, Wynonna and Shawn Colvin. Kind of sad to see Immigrant Song again featured here too – hasn't Ann Wilson done enough Led Zeppelin already? Laid back and obscure…not a winning combination. |
| Ted Nugent Love Grenade | Eagle ER 20119-2 |
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This doesn't even need a review really…it is a Ted Nugent record. You know what is coming, you know what is inside and you know what the songs are about! And sure enough…it is what it is. Nugent fans will debate the album's merits in comparison the classic era vs the 80s and his recent output, but for the casual listener, it is just plain and simple – a Ted Nugent record. On this particular Ted Nugent record, Damn Yankees partner Jack Blades takes over production and plays bass on a few tracks. Barry Sparks features on the remainder and drummer Tommy Clufetos rounds out the line-up. Tommy Shaw and Eric Martin provide backing vocals, so if that all isn't enough to convince you, perhaps songs like Love Grenade, Funk U, Bridge Over Troubled Daughters and Spirit Of The Buffalo will? All in all, this is a high-octane, guitar fueled rock n roll frenzy, with no prisoners taken and no apologies made. Classic Nugent and slickly produced without taking out the Nugent danger. |
| Action Action | Frontiers Records FRCD 358 |
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Action's debut comes after 20+ years of history between the members and as one might expect, sounds like a throw back to the glorious mid-80s commercial melodic rock/AOR days. This album is a real blast from the past. Despite being recorded over the last year or so, this album has both feet firmly planted in the mid-80s. There may be nothing new or original about the sound or style here, but the fresh production and the nature of the songs – catchy commercial pop/rockers – within means that it stands out as a quality release and of definite appeal to readers of this site. The primary members of Action are acclaimed guitarist / songwriter David Ramos of Mars Hill fame and Mars Hill lead vocalist Jack Marques. This is a different beast from the nu-breed influenced sound of Mars Hill though – this is nothing but pure 80s through and through. The big harmonies and the sweet happy go lucky feel of the songs reminds me of several notable acts such as Nelson, Boston, Ted Poley and maybe some Def Leppard riffing for good measure. I didn't think Without Your Love was the strongest way to start the album, but the sweet sugary harmonies and higher pitch vocal of Someday is pure melodic bliss (in that very familiar way). The harder rocking Here In My Heart would have been a crowd pleaser live in 1988 and Destiny is pure American FM-blend AOR. Forever will make you want to sing along; Loveless has an Extreme like groove and Heaven Tonight features some nice guitar play but for me the highlight of the album is the keyboard driven early 80s pop rock of Cinderella. A real trip back in time. Feel The Fire is another big on harmonies track worth checking out.
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| Lana Lane Red Planet Boulevard | Frontiers Records FRCD355 |
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Red Planet Boulevard is one of those albums that will receive almost uniformly positive reviews because of the qualities it has, but will likely still leave outsiders wondering what the fuss is about. That is said with the greatest respect for Lana Lane – she's a rare talent and together with husband and musical partner Erik Norlander – always delivers the goods. But the symphonic rock of Lana Lane is not for everyone and those not yet converted will not find anything likely to cause an epiphany here. Red Planet Boulevard is a well-produced, well-executed slice of melodic and symphonic hard rock/metal, with soaring female lead vocals riding over a set of 12 complex, lengthy songs that fans are going to eat up. The album carries on the established sound and delivers more great performances over an hour of intense music. I love the mood of Into The Fire and the chugging pace of Capture The Sun. The hard rock ballad Jessica is also impressive, with a softer more soulful vocal in play. From there it isn't until Save The World that another song gets my attention, although long time fans may disagree. For me personally the album plods a little, in that the majority of tracks retain the same tempo and the sheer length of the album makes that element a negative. The closing title track (nearly 8 minutes) is another favourite as it retraces the path the rest of the album took.
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| Seven Tears In Every Frozen Tear | Frontiers Records FRCD357 |
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I had no real expectations here, but based on history, Frontiers Records doesn't generally sign newcomers unless they have something to offer. I think that holds true here, as yet another Swedish outfit makes good. The band was described as Evergrey meets Journey. Well, I like one of those comparisons – there is definitely a taste of the power meets progressive style of Evergrey. I think the Journey reference is a little simplistic, it has been used I think to emphasize the point that the band integrates a lot of melodic into their music, despite being primarily a melodic metal outfit. Vocalist Zoran is far too gruff to ever be considered a Perry/Journey style, but I still like his chops. This is a heavy record, but keyboards still figure prominently in the music here, adding both a progressive twist and a somewhat retro feel to a more contemporary guitar sound. I get the feeling these guys are well seasoned live performers, as the structure of the songs is such that it sounds like it could be taken out of a studio and into a venue without any major changes. This is album of minimal overdubs and a fairly no frills approach. But thankfully, a decent production gives the album a big sound. Highlights for me as far as best tracks include the melodic rock of Faded Memory; the faster tempo of Reflections; the straight forward title track and the rocking duo of The Story Unfolds and Dream Of Insanity.
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| Indigo Dying Indigo Dying | Frontiers Records FRCD356 |
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Indigo Dying is another of these "project" releases where you never really know if there will be another or if this is a one-off release. This project features the vocal talents of Chilean born singer Gisa Vatcky – her credits include such luminaries as Andrea Bocelli to Enrique Iglesias, Placido Domingo, Melissa Etherige, Luis Miguel, Perry Farrell, Meat Loaf and more. Front and center of this project is once again Fabrizio Grossi. He handles bass, programming, orchestration and yes…production. And yes, this album features that questionable Grossi sound that has become synonymous with his work since initially delivering some high class work for Frontiers a few years back. The guitar sound largely horrible (Mordechai Hauser supplies the riffs) but the rhythm section is a little better than the last few Grossi produced outings. The star of the album is Gisa – this girl can sing! And even better – she has the songs to back that talent. For all my comments about the sound, Indigo Dying still has a lot to offer. The melodic metal/hard rock record has a definite dramatic flair in the delivery of the songs – a touch of symphonic rock that suits the songs and the singer. Some songs are contemporary melodic metal (Better, Hear Me, Fair Enough); some more anthemic hard rock (All I Ever Wanted, Island, Shattered Life); and others take on that orchestral flair (Breathe In Water, Superman). Real Life Fairytale is pure melodic rock with a sentimental twist and a highlight of the album and Go is an acoustic driven track which closes the album on a reflective note. Making life a little more interesting again is the participation of Michael Kiske (Breathe In Water) and Mark Boals (Far Enough, Superman) – turning three tracks into spirited duets.
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| Empire Chasing Shadows | Metal Heaven 00043 |
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It's that voice again! Yes, the British soulman of melodic metal Doogie White has another notch in his bedpost, this time teaming with Empire following the departure of vocalist Tony Martin. White becomes the third singer in four albums for the band, formed by guitarist Rolf Monkes and featuring the powerhouse rhythm section of Mike Terrana (Drums) and Neil Murray (Bass). Doogie rules on this album – he is in such tremendous form and his voice matches the design of the album perfectly. This could perhaps be the best Empire release yet – the production is as sharp as I have heard from the guys and the rhythm section really packs a wallop. Rolf Monkes provides some fine riffing and tasteful soloing, but the basis to any strong album is a set of songs that appeals. Chasing Shadows has just that – with 10 songs that all feature a defined structure, delivering some strong choruses. Highlights include the moody opener Chasing Shadows; the busier Rainbowesque The Alter; the more melodic Mother Father Holy Ghost (great lead vocal); the slower Child Of The Light and Angel And The Gambler. My only critique would be one that other albums of this ilk tend to suffer from – the plodding tempo of having several songs in the same mid-tempo range. Slow it down and speed it up a little folks!
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| Goodbye Thrill Goodbye Thrill | Kivel Records |
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US melodic rockers Goodbye Thrill were a last minute addition to my first ever concert event MelodicRockFest. I wish I had time on the day to watch them, as all reports were favorable on the day. The band is fronted by a person who is no stranger to MelodicRock.com – Marc Ferreira (vocals/guitar). I have long been a fan of Marc's nu-breed influenced pop/rock solo work (a considerable catalogue of songs!) and he also made an appearance on MRCD2 with a song coincidently that also kicks off this album! The spirited melodic rocker Super Perfect World is a great kick-off and is full of energy. Marc's solo albums Fallen Heroes (2002) and Balance also impressed. I it is from these albums that some of the Goodbye Thrill material comes from. Previously Marc has played all instruments himself, and that is where the only weak point of his material was. In Goodbye Thrill we have a band to help him on his quest to be a melodic rock idol. This debut album sees fresh recordings of these past songs in a full band format as well as brand new material. Marc seems to step away from some of the Def Leppard production influences of the earlier solo recordings, slipping into a more straight ahead Harem Scarem/Firehouse brand of melodic rock, but always with that slight contemporary approach and those Leppardesque harmonies. Dean Cramer from Funny Money adds guitar muscle and Firehouse bassist Dario Seixas brings further experience to the line-up. All in all, Goodbye Thrill is a thoroughly enjoyable slice of 2007 styled melodic rock with some instantly catchy songs entwined around others that take a little time to become as familiar. Marc's South American heritage shines through in places where an accent in the vocals changes the emphasis on certain words (Rainy Days most obviously), but to me in this instance, it adds character to the songs. Highlights for this album for me include the moody melody of Rainy Days; the uptempo but sentimentally themed Give You Away; The Def Leppard AOR of Dead To Me; old favourite Fallen Heroes and the layered melodies of It's Got To Be. The album closes with a couple of tracks that don't work as well for me, but the majority make for a very enjoyable album.
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| Soul Doctor Blood Runs Cold | Metal Heaven 00040 |
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I think this is the band's forth album now – amazing how time flies. Good news for fans that are yet to pick this up – what are you waiting for? This CD is possibly their best yet, I like the attitude of Blood Runs Cold and think the songs gathered here are very consistent and thoroughly enjoyable. From the high-energy Blood Runs Cold to the Led Zeppelin rip off For A Fist Full Of Dollars to the acoustic ballad The Ocean. Production is generally pretty solid. It varies a little through the album, but at its best it rocks the speakers. Vocalist Tommy Heart has carved out his own individual sound for this band away from Fair Warning and I think the guys now know what they are doing and are comfortable in their own skin. |
| Terry Ilous Here And Gone | Fyko Records |
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Terry is a great singer…I have always appreciated his voice and from the debut XYZ to the JK Northrup releases, I have everything in-between. I do feel a little frustration that such a great singer isn't making more records than he is. I hope that can be rectified soon enough! This compilation is a collection of XYZ demos and solo cuts that haven't seen the light of day previously (such as the cover of Foreigner's Waiting For A Girl Like You). Ok, so this is for die-hard fans only and is a mixed of songs and sound quality, but considering the various sources and age of the material, together it sounds ok and figuring throughout of course is the unquestionable talent of Mr. Ilous himself. One classy singer… |
| Shade One Way Line | Rockcliffe Records / NL Distribution RR0906CD |
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Guitarist Andrew and keyboardist Simon (both from Dare) breakaway for a side project featuring female vocalist Emma Shade. Hence the name I guess! This is something a little different – so it won't be for all ears, but it does have an air of class about it and there is no doubting the catchiness of some of the songs on offer. It's Alright is a great contemporary pop/rocker and Lean On Me is a fairly traditional melodic rocker. Both songs are great and they are not alone. The album does flip flop back and forth between these contemporary pop rockers and mellower, more organic acoustic ballads with a strong country vibe. I know what style I prefer and my guess is fans of this site will agree. But for those with a broader taste than the standard fare, this album does offer something soft and soothing. |
| Bruce Springsteen Magic | Columbia 88697 17060 2 |
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Well done Brucey…there is nothing like a great rock record with Bruce plugging the guitar in again and enlisting the help of the E Street Band. Unlike The Rising, this album features a more collaborative sound and more consistently likeable songs. The Rising had some classics, but Magic spreads consistency across the whole record, from the opening rawness of Radio Nowhere, to the Born In The USA styled Livin In The Future; the feel good Girls In Their Summer Clothes and Human Touch styled rocker Long Walk Home. Highlights are plenty and spirits are high. My favourite Bruce album since Human Touch.
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| Duran Duran Red Carpet Massacre | Epic |
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This album will forever define pop icons Duran Duran. It will define them as a band unable to create anything remotely worthy of attention without star guitarist Andy Taylor and I believe it will ultimately prove to be their tombstone. This kind of a release is a career killer. I doubt anyone will care enough to see another studio album from the band after this. And if they do – it won't be for this record label. They will be dropped – guaranteed. Andy Taylor gave this band the edge they needed – and ultimately their best material is that which features his input. Duran's early days saw them create some timeless pop masterpieces. The band then floundered without him and now after one very credible comeback album Taylor departs again, leaving the band to falsely believe this programmed synth dance-pop is actually what fans want? Absolutely not. Even in terms of synth pop, these songs are utterly horrendous - forgettable and without a decent chorus or hook. Beyond disappointing - considering what could have been. And what's with that artwork? |
| Loverboy Just Getting Started | Rock Star Music Corp. 206692 |
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A lot of bands try and modernize. It's hard not to when the core of one's career is centered around the early 80s and just about everyone has moved on since then. Of the bands that have updated their sound – some work, some don't. Few have nailed it. Who out there would have put money on Canada's Loverboy recording the most credible contemporary album from any 80s act in recent memory? Vocalist Mike Reno stated early in the piece that the band would be taking their time on this new studio release. I love hearing that from an artist. The last time I did we got Toto's Falling In Between. The time before that – Journey's Arrival. True to form, the guys took their time and have totally nailed it. This is Loverboy's finest release since the early 80s. So good in fact I might even give it the nod ahead of another favourite of mine, the 1987 release Wildside. I might do so as this album returns to the band's core sound even ore than that release did. This is Loverboy's Get Lucky for the new millennium. The band is giving others a lesson on how to update your sound while retaining the core integrity of the band's classic style. The opening lines of Just Getting Started borrows' from the band's classic Working For The Weekend to deliver the opening lines of this album, but the guitar sound is darker and heavier than we are used to and the production style mirrors the contemporary style now blasting across today's radio. But the chorus – that's nothing but classic Loverboy – uptempo, anthemic and full of joy. This is what it's all about folks. And doesn't Mike Reno sound a million bucks? His voice soars across this album like his life depends on it. Interestingly the band decides to cut to a ballad to follow the opening rocker. And so a pattern of rocker/ballad/rocker is formed throughout the album. Such a move normally gets on my nerves, as it can kill the flow or momentum of an album. But not so in this case as the ballads are not all slow numbers, they also have life and spirit in them and to be honest, when every track is brilliant, there is no downside to what comes next. The album flows beautifully and even now after several weeks of play time, I still look forward to every track that follows. So Fade To Black is the ballad in question, a pleasant and enjoyable ballad with another strong chorus. The rocker One Of Them Days is more in keeping with old-school Loverboy and features that familiar Paul Dean riff we all love. A less obvious chorus than elsewhere on the album, this dirty rocker is needed to rough up some of the smoother moments. Interestingly, this is Paul's only co-write of the entire album! The whole album was penned by Mike Reno in collaboration with a team of outside writers. The ballad Back For More is simply brilliant. Heartfelt and emotion filled thanks to a key vocal from Mike Reno, the song has all the hallmarks of a Loverboy classic, yet retains a contemporary enough approach to see it on radio today. And what a wonderful inspiring chorus! Lost With You features some production effects that brings this uptempo rocker into the new millennium, but again, what an amazing classic Loverboy chorus. Great vocals and when the anthemic chorus bursts through its fists in the air time. I Would Die For You is a more acoustic driven ballad and slows the pace down a little after the frantic previous track. The Real Thing sounds like it might be another ballad, given the slow and acoustic intro, but as the song builds, so do the feel good endorphins. The chorus reaches mid-tempo, but is instantly burnt into the brain. Another winner. The One That Got Away is nothing short of astounding. This is Loverboy at their very emotional best and is one of the best ballads I have heard in years. This is a true power ballad – an art form that I thought has been forgotten. Commercial radio beckons and had this been released in 1990 it would have been a million seller. Time to rock things up again with the feel good pop rocker As Good As It Gets. Another smooth vocal leads into a Def Leppard styled chorus that again appeals instantly. Stranded is yet another ballad that closes the album, another classy anthemic rock ballad that any band would be proud to call their own. Could one band have the 2 best ballads of the year on one album? That's the album folks…a very short, but thoroughly brilliant release that doesn't have a dull minute on it. A special bonus download is available – another new song called Alive – recorded live in concert sometime last year. This track could have also made the album, as it is in the same league as the rest of the tracks, but it is cool to get it in any format.
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| The Codex The Codex | Frontiers FRCD353 |
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The Codex marks a welcome return for former Yngwie Malmsteen and Ring Of Fire vocalist Mark Boals, who disappeared without explanation from the scene a few years ago. He's back….for good we hope…and launching his return is this collaboration with the melodic metal master from Sweden – Magnus Karlsson. If you know of, or are already a fan of Karlsson's work – Allen/Lande being the stand out, but also Starbreaker (with Tony Harnell); Tony O'Hora (Escape Into The Sun) and his own band Last Tribe – then you know the sound and style of this record. That is, uptempo commercial melodic metal with plenty of guitar riffs and solos, but also a booming production quality that is amongst the most consistent in this business. Karlsson also writes the material and he a killer ability to bring out the best in the vocalists he works with. Mark Boals sounds in top form as expected. Neither he nor Karlsson deviate from what might be expected of them both, so fans should have no hesitation in taking up this release. Musically speaking, The Codex sits a little between Starbreaker and the Tony O'Hora release. I rate it better than Escape Into The Sun, but perhaps not quite as strong as Starbreaker. But that said – Karlsson is yet to deliver anything that isn't amazing, so just rack this one up as another jewel in his ever expanding crown. The opening track Beyond The Dark has a Allen/Lande vibe to it – the traditional opening track requirements all ticked. But it is the faster paced and bigger melodies of Raise Your Hands and Toxic Kiss that get things really rolling for me. The middle of the album rolls through a couple of more traditional metal themed songs which Boals handles with his usual flair. Dream Makers and Whole Again slow things down in a moodier vein, the latter being the pick of the two – a great melodic metal ballad. Mistress Of Death features an aggressive edge while Mystery is a very melodic rocker mixing things up a little late in the album. Prisoner gets my pick of one of the best tracks on the album – dramatic and a hooky chorus that is pretty much instantly likeable, over some of the other material which takes more listening to appreciate. The near 7 minute progressive rocker Garden Of Grief closes off this epic album in epic style.
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| Airtime Liberty Manifesto | Escape Music ESM162 |
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Airtime is the long awaited project featuring former Triumph guitarist/vocalist Rik Emmett and fellow Cannuck, Von Groove's own Mike Shotton, who handles all drums, percussion, keyboards and backing vocals. Emmett also handles bass duties. First and foremost, it is just bloody magnificent to hear Rik plug in and sing loud again! For some time now he has dabbled in instrumental and light jazz releases, diversifying further into blues. The man can play anything, but his legacy was built around being a rocker, so it is rewarding to long time fans such as myself to hear him back in the rock groove. However, we can't let the fact Rik is rocking again be the single fact in assessing this new release. Expectations might lead us to conclude that perhaps Airtime might recapture the glory of Triumph or even the AOR friendly style of Rik's early solo records. It does neither – instead he again breaks new ground with a more classic retro rock feel that touches on 70s rock and perhaps a more progressive edge a la Rush. It took some time to both understand and appreciate this release. The rewards are there as it is a solid release – just something a little different. I will restate that the best thing about this release is to hear Rik Emmett rocking again, with some of the heaviest riffs I have heard emanate from his guitar playing. Edge Of Your Mind is a fast moving progressive rock number with a melodic vocal and some fine harmonies – perhaps the closest thing to Triumph you might hear on the album, if it wasn't for that frantic riffing. Midnight Black & Blue is the heaviest thing I have heard Rik associated with - tough, in your face and featuring a modern hard rock riff and a similarly uncompromising chorus. Liberty features that familiar mix of acoustic and electric guitars that were used in Triumph and Rik's own solo work. The 6 minute track features a lot of guitar work, a couple of tempo changes and a sort, but catchy and dramatic chorus. Elsewhere on the album, the uptempo River Runs Deep is the most traditional and AOR styled anthem on the record and is a definite highlight. I'd love to hear more like this. Find Your Way carries a moody edge, but could have used a more polished production. Addicted is similar in sound, this time carrying a groovy blues based riff. Code 9 touches on the jazzy side of Rik's musical personality, but I'm not sure it works on this record. I share similar feelings about the acoustic ballad Moving Day, but the rocking Rise is more fitting. The dramatic instrumental Transmutation is ok and Cryin' Shame is a bar room rocker to close the album.
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Richie Kotzen Return Of The Mother Head's Family Reunion |
Frontiers Records FRCD351 |
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Richie Kotzen just keeps making records! Finishes one and starts another. He is consistent in releasing a new record every year and amazingly, they are all very consistent in maintaining a high quality. The last couple of records (which Richie played entirely by himself) are truly great, so new music is always anticipated. Something a little different this time around – for the first time in several years Richie has used a full band to record 12 new compositions. The style isn't far from what Richie has delivered over the last few records – blues based melodic rock with a funk and soul influences. Once again he delivers the goods, with long time fans destined to be satisfied once again. I'm not sure this matches the output of the last 2 solo albums in particular, but that's a minor point as I thought those to be outstanding, and this still isn't far behind. I think collectively the songs here don't stand out as much as individual tracks. Highlights include the bluesy and very soulful but melodic Fooled Again, which runs at 8 minutes in length without ever sounding too long; the soft ballad Bad Things is very cool; Do It To Yourself has a definite groove and a strong chorus; the soulful AOR of You're Crazy is also cool, proving the mid-section of this album to be the strongest. Can You Feel It is simple, but rocking and you can't help but dig the vibe Kotzen is sending out.
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| Gary John Barden Love And War | Escape Music ESM161 |
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Former MSG vocalist Gary Barden is back with another solo album, quickly following up the well received Agony and the Xtasy and Past & Present. Barden knows when he is onto a good thing, so Love And War features the very same team as the last couple of records, including the production and musical guidance of Michael Voss. This record is so tight and so slick…it really has a monster sound and the work of Voss just gets better and better. Creatures Of The Night is as good as Barden has delivered in his recent releases. Unchain Me is slower, but just as solid. The Last Samurai rocks along at a good pace – perhaps a bigger chorus would have been even better. Dragon's Fire has that chorus…a nice melodic vocal over a driving beat. Love Lost is another stand out – a more earthy feel and some well placed organ. The other highlight is the closing ballad In Love & War – nice to see Barden in a more sentimental light. I haven't said much about the other tracks as they are all solid and enjoyable. This is a very consistent record as are Barden's other recent releases. The only thing I would state is that maybe the overall songwriting on this record doesn't quite match the intensity of the last album. There is a tendency among the songs to sound a little bit the same. More variation in tempo and approach on 2 or 3 songs might have broken the record up a little more and added some needed spice.
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| Dogpound III | Lion Music LMC213 |
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Sweden's Dogpound get better and heavier with each release. The debut was ok, the band's second and last album saw them add a real AOR edge to their sound, but on the new album III it is time to rock hard baby! The gruff, yet melodic vocals of singer Henrik Andersson are something to get used to perhaps, but I'm a converted fan already. The band storm through this album with a massive wall of sound that I didn't anticipate. The massive guitar riffs of My Own Sin are enough to cause ear bleeding…just fantastic…and the chorus hook is enough to grab your attention first time around. Less urgent, but just as heavy, Glass Jar has another cool chorus, even though it is somewhat buried beneath that wall of guitars (not a bad thing!) The album rocks from start to finish, but highlights among the 14 tracks include the attitude filled Human Hologram which features a catchy fast paced chorus; the smoother and more melodic anthem Dead And Gone; and the absolutely massive guitar fuelled anthem Blind, which is right up there for rocker of the year. There is a ballad of sorts – the slower and passionate One, but it still rocks. In A Life is about the only time the album shifts to a softer gear. The album comes to a big finale with a sentimental piano ballad. Perfect to close the album as it wouldn't fit anywhere within the album.
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| Toto Falling In Between Live | Eagle Records EDGCD361 |
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On the back of the masterpiece Falling In Between comes the never ending world tour, which unlike some acts out there – really and truly has been a world tour, seeing the band cover the USA, Europe, UK, Asia, Japan, Indonesia and even Australia. And they are still going and going round for more. Having seen the band on this tour I know how tight they are and the revised set list is probably the best they have ever taken out on tour. I always enjoy a Toto live release – there is just something about the energy within this band and their music that lives through the speakers. But often I find myself wishing the track list was a little different and more representative of just how much this band can rock. Falling In Between Live finally fills that void and makes for the perfect companion piece for the studio album. It is great to see several of the new tracks given a run at the top of the set before the band dive into their unmatchable catalogue of hits and album favourites. Of course, the classics are delivered in a few different ways. Given the changes in vocalists over the years things have to be a little different live, plus the fact founding members Mike Porcaro (bass) and David Paich (Keyboards) are off the road. New keys man Greg Phillinganes has more than made himself at home and legendary bassist Lee Skylar fills his guest roll with aplomb. So Phillinganes takes lead in place of Paich, second guitarist Tony Spinner sings on a couple of Joseph Williams era tracks and Bobby Kimball and Steve Lukather provide the heart and soul of this band's sound as they always have. It may not be the classic Toto line-up, but it is a classic line-up nevertheless. The talent on this stage is simply phenomenal and all the Toto classics are delivered with class and appropriate respect. What I like best about this release is the fact it is a 2CD set encompassing the whole set list. There are three solos among the 23 tracks and a few abridged versions to fill the set with as many of the Toto classics as the guys can. The energy of tracks like Hold The Line, Rosanna, Stop Loving You and recent tracks King Of The World and the abridged Taint Your World is awesome. And three tracks from the underrated Kingdom Of Desire album? Perfect! Closing the set the way the band does on Africa was amazing to watch. The seamless way the guys leave the stage one by one is one of the best concert conclusions I have ever seen, so it's great to hear that again here.
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| Axel Rudi Pell Diamonds Unlocked | SPV 80001166 |
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We have all heard the lines about how all of Axel Rudi Pell's albums sound the same. The last 4 especially have all featured the same number of tracks, the same format and even the same location within the album for the epics, rockers and ballads. When you think you are on a winning formula, don't change a thing! I do think the pairing of Pell with Hardline vocalist Johnny Gioeli is perfect and I always enjoy their output. Despite the overkill of covers albums these past few years, the news that Axel was to do his own featuring some less obvious tracks was met with some enthusiasm by me as I figured this was the ideal chance to do something different. Not so! Well, to a point anyway. I'm still not sure whether to classify it as genius or absurd, but this all-covers affair sounds just like every other ARP album of the last 5 years. Axel has tweaked the songs covered to fit his usual format, stylistically as well as sonically, to the point where a few songs are more ARP songs than they are covers. Case in point U2's Beautiful Day. As usual we get the extended instrumental intro, then an all-out rocker (Riot's Warrior), a rocking anthem (U2) a slower more epic track (Chris Rea's Stone) and the obligatory ballad. Interestingly Axel has turned Kiss' Love Gun anthem into a slow acoustic ballad to fit his usual format. It makes for one of the more interesting tweaks on the album. Highlights among the album for me are the straight ahead rocker Fools Game (Michael Bolton); Rock The Nation (Montrose) and the epic In The Air Tonight (Phil Collins). The album is undoubtly well recorded and sounds a million bucks and Johnny Gioeli lays down a world class vocal yet again. At the end of the day this is another Axel Rudi Pell album. Same format, same sound…new tracks (this time covers of classic rock songs). This I suppose will be of comfort to those that don't want any changes, but a little strange for those other fans that were looking for something fresh. My main question is how come Johnny Gioeli can continually record vocals for Axel, but not for his own Hardline release? |
| Eddie Money Wanna Go Back | Big Deal 02097 01162 |
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Eddie Money is one of my all-time idols. So much so he was the very first interview I ever did as a journalist. I adore his music and the passion and emotion his voice carries – few can match him. Past albums Can't Hold Back, Right Here and Ready Eddie remain in constant rotation on my personal playlist. As much as I love any artist, I am not afraid to hold the opinion that they got it wrong. I said as much for my all-time #1 Rick Springfield and his average covers album from last year. But this is at least 2 steps further below that. I'm not big on covers album to stat with – few have worked perfectly. Strike one. Strike two – I hate the 60s. A decade filled with God awful disposable pop that has been covered to death in the decades since. Strike three – Eddie is taking his performance on this album absolutely seriously. Each song is faithfully reproduced in the same spirit it was recorded in the 60s. No rocking out here. Of all the crap songs of the 60s, Ain't No Mountain High Enough remains at the top of the heap – could this song possibly be butchered in any more feel good Disney movies?? Close behind that song comes Mockingbird. I know this song is part of US folklore, but…Eddie, what were you thinking? Build Me Up Buttercup? Ok, so it worked in There's Something About Mary, but that was a one time deal. Sorry Eddie, this is for your very oldest fans that have since lost their nerve and can't rock any longer. Perhaps their hearing is such that soft crooning songs is all they can take. This may be where Eddie started out all those years ago, but it isn't where the vast majority of his fans want him to be today. Me? I still wanna rock. I "wanna go back" to the very best this iconic artist can deliver. |
| Ted Poley Smile | Frontiers Records FRCD350 |
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Vocalist Ted Poley has been keeping himself very busy in recent years and I like the fact that there is something available for fans to appreciate at regular intervals. 2008 will see a new Danger Danger release, the long awaited Pleasure Dome project and a new Poley/Rivera record. But back to the now – following on from Ted's Collateral Damage record of last year – the singer has decided to break away from his partner for that record (Vic Rivera) and create their own side project for future releases. For his solo career proper, Ted made a great decision to (on this occasion) work with guitarist/producer Jeff Northrup. The result is an album that will be very familiar for Poley fans, yet sonically a little different, which is important as there is nothing worse than having everything you release sound the same. Jeff's guitar work gives this a nice edge and his production work makes this (I think) the best sounding record Ted has released on his own. Stylistically is where the familiarity comes in – as this is purely and simply – a typical Ted Poley release. That's going to please long time fans, but possibly leave those that are yet to get the Poley charm still wondering what they are missing. But for established fans, Smile is Ted at his best. Melodic in every note he sings and passionate about the subject matter – love, life and relationships. While a few songs take the lead and rock harder than expected, the remaining tracks are in typical Poley style – oozing melodies and mid-tempo AOR passion. I initially questioned the vocal in the opening rocker Waiting Line – the chorus sees Ted adopting a hard edge than I heard in a long time. The verse reminds me of Danger Danger, so thumbs up on this one. Of the harder edge tracks, Smile and Luv On Me are old school Poley and the uptempo Why Can't We Pretend That Its Over? is very tongue in cheek and not to be taken seriously. There are a couple of songs that sound as if they came from the Poley/Rivera song hand-book – Will Ya being the most obviously influenced. On the more melodic side - Going Blind is a wonderful AOR track with a passionate chorus and heartfelt chorus. What If She Knew is all class and another great lyric (not to mention catchy as hell chorus). If I Can't Change Your Heart sees Ted really putting it all on the line with a powerful vocal that really gets your attention and is wonderfully used as a reprise to close the album – in even more haunting style. Other ballads include the acoustic More Than Goodbye and the old-school passion filled Where It Ends. One of my favourite Poley ballads right here.
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| Jaded Heart Sinister Mind | Frontiers Records FRCD348 |
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German rockers Jaded Heart survived the loss of one of their integral members in lead vocalist/songwriter Michael Bormann and still delivered a very good album in Helluva Time. Swede Johan Fahlberg proved to be a smart choice as replacement. The challenge this time around was just as hard, with long time guitarist Barish Kepic departing. So the Jaded Heart sound was now missing the original lead vocalist and long time guitarist. Sinister Mind proves that life continues on with the band as they deliver a kick ass record that seems them update their sound for an even harder hitting approach. I will state that with the departure of Bormann and Kepic, some of that classic Jaded Heart sound has now disappeared. This is more or less a new outfit with traditional links to the old sound, but also a band that presents a new fresh sound more in line with the hunger for heavier approach. The sound of this album is brilliant. Produced by the band with Chris Laussman and Michael Voss, the sound is attacking, crunchy and riff fueled. Melody still plays an important part – as the harmonies and layered choruses still remain, but guitars dominate this record like no other before it. The opening rockers Hero and Justice Is Deserved make clear the band's intentions. Great attitude and heavy guitar riffs that only give way for strong chorus melodies. Sinister Mind has an even heavier riff, but is balanced by a change of pace. The double kick-drum fired See The Light impresses, as does Open Your Eyes and Always On My Mind, which is one of few tracks to use keyboards more prominently. Heavenly Devotion is a little slow to get started but has a cool chorus. Not every song is a total winner. I found Going Under, My Eager's Red and a couple more tracks all to be plentiful on riffs, but short on chorus quality. I had a similar complaint about the last record. Bormann has that ability to turn every line into a hook and that is what the band is still missing.
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| House Of Shakira Retoxed | Lion Music LMC216 |
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Swedish rockers House Of Shakira are one of my all-time favourite Scandinavian bands. This is their 5th studio album in the 10 years since their incredible debut. When considering their output, one must give credit to a band that has been very consistent in delivering high quality melodic rock with that quirky edge the guys are famous for. The debut is obviously an all-time classic and the album III was also filled with memorable moments. I wasn't so mesmerized by the band's second release – the On The Verge record, but the band's last album First Class was exactly that, so there was a great deal of anticipation for this release. Unfortunately, for whatever reason, I find myself struggling with this record, working harder than I would otherwise expect in order to get into the songs. The band has updated their sound just a little again, tweaking as they do with each record. Retoxed is a heavier and somewhat more direct record than some of the band's earlier more pompous efforts, and perhaps the old doesn't mix with the new as well as it should. Something doesn't quite gel here and it isn't one thing I can single out easily. In part it is the updated style and in part it comes down to the songs themselves. While I wouldn't like to fault the quality of the production on the album – as the record sounds as sharp and snappy as ever – there is something missing there also. The rawer and harder sound is fine, but at times a few songs feel as if they are half a step behind the tempo they should be. Some of the pizzazz – or the aura if you like – the magic that drives this band is missing. To my ears at least. After a brief acapella intro, the band gets off to a flyer with the fairly traditional HOS pomp anthem that is Small Town. The classic elements of layered choruses and big vocals will remind fans of the best parts of the debut and their career since. Third song in No Faith signals a left turn and for it to come so early in the album points to a change of thinking from the guys. The heavier, crunchier and dare I say more contemporary number has a big sound and big riff, but leaves me cold come chorus time. Crazy But No Fool is far more familiar fare for the band, but again, there just seems as if there is something missing. I love the chorus though…it just could have been even bigger. Life And Death has a familiar chorus vibe and you have to love those harmonies, but the verse leaves me cold. Same goes for Gabon Viper and even worse with High Above, which I think plods along and delivers a totally forgettable chorus. The acoustic flavoured Red Alert is much better. The chorus is certainly a high point for the album and this song seems to retain the best elements of the band I love. Bloodline has another layered chorus full of harmonies but the pace is again fairly laid back and I don't overly like the Zeppelin inspired verse. I don't like the verse within Angel Dancer either. The slightly alternative vibe doesn't work for me and the chorus is….well, bizarrely annoying and infectiously catchy at the same time. The slower and darker Turkish Nights closes out the album. A nice rock ballad with plenty of layers, with the overall tempo matching that of the rest of the album.
I adore 3 of the band's 5 studio albums…I will have to stick to that, as on this occasion I must admit to being disappointed, despite the intelligent use of varied instrumentation and the band's always unique style. This scene needs bands like House Of Shakira – we need diversity within the ranks, but I don't think the right decisions have been made this time around and I don't think the song quality is as strong as on past efforts.
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| Gary Hughes Veritas | Frontiers Records FRCD354 |
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It is amazing how many times I preface a review by stating that I am a fan of the artist in question. But that's why I am here still taking about music – I am a fan and of so many of these great artists. That's why writing some of these reviews is so hard. I know the efforts and the talent that goes into making a record. It is not an easy task and now one that no longer really carries any financial reward for the artists. I guess it is a labor of love for them also. Many don't get British AOR mainstay Gary Hughes, but I do. It was in fact his last solo album Precious Ones that finally converted me. In that I album I heard the passion and warmth that some stated his work with Ten was missing. I loved that record and remained a Ten fan from that point onwards. And I remain a fan despite the very sub-par re-recorded Ten 'best of' release that caused a great deal of fuss among the fanbase and the fact we have to wait so long between releases. Veritas unfortunately suffers from the same problems addressed in recent Ten reviews. It suffers from varied sound quality, which ranges from average to downright muddy and nearly unlistenable and then there is the issue over song quality, which is also quite varied. And despite the player credits on the sleeve, I get the feeling much of the record is of Gary's own doing, including a lot of drum programming – something that was heavily criticized on the Ten re-recordings. The style of this record is not as closely aligned the AOR/ballad friendly work on Precious Ones, but rather a more uptempo mix of that record and the music of early Ten records. You get the classic Gary Hughes layered AOR of Veritas, See Love Through My Eyes, All I Want Is You and the lush ballad Wide Awake In Dreamland, which is one of the better sounding tracks. In My Head is very moody but equally muddy, so impact is lost and Time To Pray is unlistenable. The song is a complete mess - the mix is shabby and the structure is almost non-existent. I Know It's Time isn't much better despite featuring a cool pop hook. You also get a couple of truly strange moments intertwined throughout the record. For some reason Gary thinks he can be Billy Idol singing a pop ballad on I Pray For You and then there is the strange melody of Synchronicity. It has a decent verse, a strange verse/melody and is way too long in over 8 minutes in length. Strange features an awful bit of programming an even worse chorus and continues on with the muddy sound.
Outside help can be used to great effect and with little (if any) extra cost if some of these artists so chose.
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| Road To Ruin Road To Ruin | Metal Heaven 00041 |
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Matti Alfonzetti is one of the most underrated vocalists within the European melodic rock scene. A diverse performer with a wonderful tone, his two Alfonzetti albums are highly regarded by myself, but sadly the modern direction taken by the sophomore release killed off the momentum garnered by the debut which featured a more anthemic AOR style. The former Jagged Edge frontman hasn't made nearly enough records, so a new project is always met with enthusiasm from me. Road To Ruin is Matti's current project, together with Lion's Share guitarist Lars Chriss. A promised move back towards classic hard rock is delivered – this record has a solid sound and a more traditional approach paying tribute to the classic rock sound of the 70s and some great vocals (as expected). I'm still not sold on the record as a whole, despite mostly positive sentiments coming from the fan base so far. While I am really digging 4 or 5 tunes, a few others lack a better chorus and the overall pacing of the album is a little too similar. The record features only 9 tracks so there is no room for fillers. The majority of these songs are all of a very similar pace. The opening rocker The Only One gets things off to a flying start and is my pick for best track on the album. Things are looking up. But the plodding Led Zeppelin inspired pace of the second track Pale Rider, and the lack of a big chorus gave me cause for concern. Only 2 tracks feature a different tempo – the opening track and the frantic rocker Walk The Line, which is another highlight. Other highlights are Pleasure And Pain and the slow retro groove of the closing track Until I See The Sun.
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| Winger Live | Frontiers Records FRCD352 |
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Live records are all about catering for fans, so it is only the quality of the record which is of any importance to report on, as fans already know the tunes and let's face it – few outsiders in this day and age start off by purchasing a live record from any given band. Winger fans will be pleased to hear that the imaginatively titled Live record is a good tribute to the American band's catalogue and represents all facets of their career well here, including the recent album IV. Covering 15 tracks over 2 CDs with a couple of solos (guitar and drum) for the absolute die-hards, the album features all the favourites including Easy Come Easy Go, Madalaine, Can't Get Enough, Miles Away and Headed For A Heartbreak from the early years and Blind Revolution Mad, Down Incognito and Who's The One from the classic Pull record. The new album is well represented, although the song Generica is still a strange one to hear live. Your Great Escape works well as does Right Up Ahead. At times I think the band digs playing the newer material more than the classic, but there is no doubt all songs are paid respect. The sound of the four guys playing together really fills up the CD. These four particular guys sound like 6 in any other band and you don't necessarily miss the extra overdubs and keyboards of the studio versions.
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| Human Zoo Over The Horizon | AOR Heaven 000032 |
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Not expecting anything leads me to be pleasantly surprised by this German melodic hard rock outfit. Produced by Dennis Ward, it is the sharp and even mix and the punchy Gotthard like sound that first gets your attention, followed shortly thereafter by the raspy melodic tone of vocalist Thomas Seeburger. As we have learnt, production and style doesn't make a winning album alone, so it is pleasing to witness an album of fairly strong songwriting in place. I can't say every track blows me away, but opening rocker Cryin' and Communicate both offer plenty to like and some strong choruses that bands with a lot more experience haven't done as well. There is a definite Gotthard vibe to them – I guess any European band of this style with a raspy lead vocal will draw similar comparisons now that the Swiss rockers are the band to beat. I can hear some early Jaded Heart too – or is that just the German rock sound? The band dive into big ballad territory very successfully with Be The One, which reminds me this time of of Bad Habit. The crunchy by clichéd Rock Your Town and Hit The Rock both work as does the keyboard fused Creatures Of The Night. The acoustic ballad (a la Scorpions) Endless Road closes the album in a satisfactory way.
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| Vengeance Same/Same...But Different - Alive | Metal Heaven 00044 |
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Repeat what I said about live albums from the Winger review. This time it is Vengeance fans that are being catered for. This is a somewhat rawer and rougher live record and sounds as if it could be straight off the mixing desk. I don't particularily like the drum sound on this recording, but overall, the band delivers a set with attitude and energy and that's about all you could ask for. The 10 track set isn't long enough for a full price release – so consideration for some extra bonus material might have been beneficial to sales. I do like the band's cover of the classic Rose Tattoo track Bad Boy For Love, but otherwise it is fans only for this one.
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| Primal Fear New Religion | Frontiers Records FRCD346 |
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There has been quite a bit of hype for the new Primal Fear album in advance of its release. The reason why was evident after one listen. This is a very fine European melodic metal release and among the best heavy releases of 2007. The band has been going since 1998, but this album seems to be a rebirth for the guys. The direction change is subtle, with most of the new style coming via more intense musical arrangements, a blockbuster production sound and shift towards a more dramatic symphonic influenced sound. If I recall correctly, Primal Fear was a side project started by bassist/producer/songwriter Mat Sinner, outside from his band Sinner. But the band increased its fanbase with each release and it is now clear that Primal Fear kick Sinner's ass – especially when comparing each band's most recent releases. This is a really intense and moody metal record and I love it. It really surprised me – there are some quality songs featured here that are good enough and commercial enough to have an impact on radio and elsewhere given the chance. Opening the album is a fairly traditional sounding Primal Fear song, Sign Of Fear. The biting energy and the lead vocal that is a rasp-turn-scream ensures things start with a bang. The tempo increases as does the intensity for the blistering and ferocious Face The Emptiness, which features a really melodic lead vocal and vast musical depth. A moody ballad comes next in Everytime It Rains. Again there is a symphonic quality to the song and depth in the layers of instrumentation and another very powerful vocal. The song is a duet with Simone Simons (Epica) and delivers big time. A potential commercial hit song which could go places. New Religion reverts back to the traditional metal scream of the opening track and gives fans the best of both worlds. Another strong chorus too. Fighting The Darkness is simply magnificent. Not only one of the very best metal tunes of 2007 so far, one of the best songs of the year…period. This super intense ballad plays out over 3 parts and nearly 9 minutes. Soaring vocals, powerful symphonic keyboards swirling around as well as heavy guitar riffs and even piano. Perfect! Blood On Your Hands is another straight forward screamer and The Curse Of Sharon sounds little Maiden-esque. Too Much Time has a frantic double kick drum beat but a surprisingly melodic and catchy chorus. Psycho catches my attention each and every time. A driving riff and a gruff vocal guide the song through a steady pace before a melodic bridge kicks in followed by a classic 80s wailing vocal for the chorus. World On Fire is another of the more traditional sounding songs on the album, but yet again it features a driving beat, but a set of very melodic vocals and hooks. The Man (That I Don't Know) is a slow to mid-tempo metal ballad to round out the album. Another very fine vocal and within the song is more swirling keyb |
