| 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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