| Inxs Switch | Epic 82876751892 |
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Everyone should know how the band got to this place. It was certainly one of the more publicized selections of a new frontman in memory. The 5 original members of Inxs chose new frontman Canadian singer JD Fortune on their reality TV series RockStar: Inxs. As someone who watched the show from the outset, JD stood out as the candidate who wanted it most of all. He was the most driven of all the singers gathered and despite a rocky and 'unstable' beginning; he grew in promise and emerged as the person that would be a bold choice for the band. I was always worried Inxs would choose a safer route, but the band clearly recognized that the rock edge and clear vulnerability of JD was the more interesting option. After a failed start with Noiseworks vocalist Jon Stevens provided only one very average single, I was worried the songwriting prowess of the band might have seen better days. Even the last couple of Michael Hutchence fronted albums were patchy. Could the guys come together and find new life? It seems as if they have, with this album carrying certain energy and some solid songs. Inxs are responsible for some very fine pop rock (or dance rock) tunes, but their early career was firmly planted in pub rock. With JD in the fold, I had high hopes that the band would return with more of a rock edge. This is partially true I would have liked to have heard more of a harder edge, but as many bands with long and varied careers do, the guys hedge their bets somewhat with an album of tracks that draw influences from across their career. What is surprising though is how much the band has evolved into something new and how modern this album sounds in places. Switch is an apt title, as the band switches vocalists and approach, moving more into a U2 inspired modern rock style, while still drawing influences from their classic rock style and the more high-tech pop style that brought them their biggest international success. This album mixes early influences from the likes of The Swing, through their breakthrough US hit album Kick and then on again in a more modern direction. At times one can hear Hutchence channeling his distinctive vocal style through JD, but he is no clone. What elevates him beyond a mere copycat singer is his unquestionable passion and rock n roll attitude. On a critical note, I would have liked the album to rock just a little harder and I would also have liked to seen more writing input from JD, as it's clear he has a lot to offer. I hope the band don't see this as a one album/one tour deal as the next Inxs album should be even better with JD firmly entrenched as frontman. Track By Track: Devil's Party is typical Inxs. A little brass, a big groove and a smoldering moody vocal. JD proves to be the perfect fit within 30 seconds of the album opening. I like what he brings to this party and I'm even more pleased to see his name in the writing credits. The chorus is subtle, as is most of the song, but it has a certain intensity, which is JD's trademark. At times he sounds uncannily like the late, great Michael Hutchence. Everyone should know the lead single Pretty Vegas. I love this rocking tune. The lyrics were written by JD with two of the other contestants from RockStar, but the song is JD's. He owns this track and its story. Incredibly catchy, the song is one of my favourite tunes of 2005. Afterglow is the first hint of something new for Inxs. This soft, modern rock ballad sounds like something from U2's The Joshua Tree, updated for 2005. JD proves to be a vocalist with versatility as he explores an intense, moody musical landscape which builds into an emotional climax. The track has every chance at being a hit should radio programmers (and fans) want to accept Inxs sounding this way. It's a gamble by the band and the similarities to U2 are plain to see, yet it is still a winner. Interestingly, the track is co-written by Andrew Farriss and Desmond Child. The moody, modern and sometimes uptempo pop/rocker Hot Girls is co-written by Andrew Farriss, producer Guy Chambers (Robie Williams) and The Matrix (Avril Lavigne). Once again there is a definite intensity here and I was surprised to learn that JD had no hand in writing it, as it just seemed to be a song perfectly suited to his personality. The song features some funny lyrics and is somewhat suggestive without being direct, which was a Hutchence/Inxs trademark. Perfect Stranger is another strong Inxs classic, turning back to their 80s vibe, with the modern production of the new album. Hutchence again comes to mind with the vocals of JD and the uptempo chorus is another highlight of the album. The album takes a left turn for Remember Who's Your Man. This is a different side of the band and of JD as a vocalist. Can't say I'm into this track which is an example of the band hedging their bets stylistically speaking. Suddenly I feel that I'm listing to a Richie Kotzen album! Mix in a little Lenny Kravitz and you get an interesting soul/pop song, but it is a little out of place with the rest of the material. Next up is Hungry possibly my favourite track of the album. This is a super intense brooding modern rocker that builds to an explosive chorus. The song is drenched in keyboards and is another song that defines the new Inxs and given a chance, could be a radio hit. Never Let You Go is another track that steps away from the general sound of the album, but fits for some reason. I don't love it, but I won't skip it either, just because the funky pop groove is interesting and JD gets another chance to do something different. Like It or Not is a layered, effects filled uptempo pop rocker with a strong chorus and a good beat. A mix of the old and the new, there is something very familiar about the drum sound for old fans of the band. Us is another slightly funky number with that Richie Kotzen comparisons again in place. A very pop verse leads to a strong uptempo chorus. The album closes with the very interesting mellow modern rock track God's Top Ten. Alongside JD, the song features a female lead vocal from fellow RockStar contestant Suzie McNeil. She suits the song, which is a tribute to Michael Hutchence.
Thickly layered instrumentation and some authorative lead vocals support strong (if not varied) material, which together forms a very good album. This isn't going to appeal to everyone, as it is a little diverse and not entirely aimed at the band's original core audience. It really could and should have rocked even more, but there is a lot to like about the album. A dozen listens in, I am convinced it is as good an album as we could expect and probably the best album since Kick. They got the vocalist spot on and the material just about right.
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| Night Ranger Hits, Acoustic & Rarities | iRock Records |
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Why would any band want to re-record the most treasured songs of a long, illustrious career? Many have done it over the years and you will only see it happen more and more as classic rock artists discover there is still a strong market for their music after all this time, but their back catalogue is tied up in draconian label deals that don't give access to the artists themselves. Re-recording your own hits without the original label taking all the money is a great way to sell records and get instant rewards through the songwriters publishing returns. It is also an easy way to get new music to fans without having to write a full album of new music. In the case of Night Ranger a new US record label approached them with the idea, which the guys loved. It was also a way to get new music to fans while we wait for the all new studio album due out in the first half of 2006. A new US release in stores increases a band's touring prospects as promoters like the fact a band has a new release to promote. The downside is the fact that any band doing an album such as this is messing with a long established musical legacy and the fact that it is nearly impossible to add to that legacy. These much loved tracks that have been with fans for years. In fact, some tracks here are now 23 years old. Has it really been that long? Some artists change style formats, some strip things back with an acoustic album, but in Night Ranger's case, the guys have decided for the full band approach, reprising the originals faithfully. So what is the point? Well, for long time fans, it is something cool to check out and it in this instance it shows how the band have matured and how years of touring has given these songs a slightly different shape. And for the first time, we get to hear new keyboard player Michael Lardie at work. The former Great White member replaces original keyboardist Alan Fitzgerald, who is busy working on the Bruce Springsteen tour as keyboard tech (he's formerly toured with Van Halen also). On Hits, Acoustic & Rarities the band treats their songs with faithful renditions, with a little newly added flair here and there. The production is good, albeit much less polished than the originals and has a live-in-the-studio organic feel, but the harmony vocals are still layers deep. Talking of the tracks recorded, Don't Tell Me You Love Me features a harder hitting drum sound with some extra fills and also a harder edge guitar riff. Sentimental Street is a little heavier, with a nice update on the guitar solo and Lardie's piano tone is slightly different to that of Alan Fitzgerald's. The guys change the end of the song just a little to be more in line with what they do live which I love. Four In The Morning features a rawer and more laid back vocal from Jack Blades, who has changed the phrasing of certain words a little. And Rumors in the Air sounds pretty fresh too. Lardie's keyboards make their presence felt and the guys add a little grunt to the song with some extra guitar fills. Goodbye closes out the full band re-recordings. I like this new version a lot. Kelly's voice sounds great and has a raw emotional quality. I also like the way the song closes, with some additional parts added as the song is done live. On a less positive note, the band's signature hit Sister Christian doesn't sound that great. Here Kelly Keagy is missing that raspy quality to his voice and to be honest it doesn't even sound like him in a couple of places. Sing Me Away is similar although a little better. I'm not sure what vocal effects were used, or whatever reasons the vocal is what it is, but I expect long time fans to complain about this as the result isn't too pleasing to these ears. The acoustic version of Sister Christian actually features a better, grittier vocal. The 7 minute plus Don't Tell Me You Love Me is from the band's 2003 Japanese tour and is part of an entire live album and DVD which remains unreleased. Time to get moving on that boys! The vocal harmonies throughout the album are terrific as they should be. But some of the lead vocals don't have the power of the originals. Some rawer, more emotional performances counter balance that negative.
Two small complaints to close with - the title really isn't the best - I doubt it would mean much to any potential buyer that wasn't already aware of the information behind it fan or otherwise. I also really would have loved some more tracks than just the 9 full band tracks featured. a 15 track release featuring something from the all too often ignored Big Life and Man In Motion releases would have been better value.
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The Darkness One Way Ticket To Hell...And Back |
Atlantic Records |
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There is an element of The Darkness' fanbase which proclaims the band as the all conquering saviours of rock n roll. Then there is the opposing side, which thinks the band is nothing but an over hyped one-trick pony. The truth lies somewhere in between. No one can argue the fact that the band are putting melodic rock n roll back into the charts, but little flow on effect for other artists can be expected due to the gimmicky nature of their style. That gimmick the falsetto vocals of frontman Justin Hawkins has seen them sell a truck load of records in the UK and even achieve success in the difficult to penetrate US market. But the vocal controversy alone has not sold the band to the masses. That aspect merely opened doors for them in attracting media attention and the support of a record label. At the heart of the matter, the band writes very catchy rock songs. But they do tend to overplay the importance of the vocal gimmick, making this album impossible to appreciate for those that just can't get past Justin Hawkins' unique style. The breakthrough debut Permission To Land was ok it contained a few great songs, a few which were overrun with falsetto vocals and a few fillers. This is an important album for the band as they have to prove to everyone they are capable of living up to the hype a second time around. Teaming up with legendary producer Roy Thomas Baker was the band's best move. I think the combination of some strong material and a slight change in approach has made this a better and more enjoyable album. It follows the formula of the debut, but impresses more so as I for one have had a lot of time to live with that album and better understand the band. Baker is best known for his work with Queen and as we all know, Freddy Mercury was the king of camp over the top vocals, although it certainly wasn't his only trick. Freddy had it all. But in this case, Baker has helped Justin Hawkins to better focus his talents and has helped add extra flair to the songs. He goes more over the top than ever, but in most cases when it is needed rather than all the time. And in some parts, he actually tones down the falsetto to deliver a great regular vocal. While the debut album played up to an AC/DC style of riffing hard rock, One Way Ticket To Hell And Back cashes in on Roy Thomas Baker's experience with Queen. There are so many Queen-isms within this album which will no doubt fire up debate further. Which ever side of the fence you are on - not too many British rock bands in this day and age get a worldwide simultaneous CD release. Track By Track: In typical piss-taking fashion the grand intro of the album features a short panpipe solo, before getting underway with the lead single One Way Ticket. You couldn't ask for much more from a lead single. Solid riff big chorus those vocals! Knockers is one of the examples of Justin reigning in his voice for the benefit of the song. The chorus vocal is totally over the top and features a fully fledged wail, but the verse is subtle and melodic to great effect. Is It Just Me mirrors the style of Growing On Me from the debut a big swaggering rocker with a tight groove and one of those over the top falsetto filled choruses. It's all good fun and the guitar soloing has a certain Brian May flair. Dinner Lady Arms is another example of restraint and is possibly the band's most melodic track to date. I think I actually prefer the verse, which sees Justin singing quite soulfully, over the more dramatic chorus but in any regard, the song should rate highly with fans. Seemed Like A Good Idea At The Time is the first of two big ballads and is the first where the famous Roy Thomas Baker / Queen orchestration comes into play. Flamboyant vocals throughout, the song features lush orchestral moments and should be the next single from the album. Another hit I have no doubt. Hazel Eyes probably represents everything that some people hate about this band. Subtlety be dammed! Add over the top vocals, bagpipes, guitar solos and marching drums please sir! Funny catchy, but not a song that can be played all the time. Bald is one of the band's darker and more aggressive songs to date and again plays down the vocals (just a little). It makes a nice balancing track between two quite insane tracks. Girlfriend on the other hand is totally the opposite, with those vocals all over the track, not to mention horns and a very pop style. This is where the album starts to loose me just as happened with the debut, as there is only so much over the top falsetto vocalling one can take. English Country Garden continues this trend, but of interest is the massive Queen styled harmony vocals and musical arrangement the track has. The album closes with the second big ballad. Blind Man is even more over the top than the first ballad and once again features a huge Queen styled vocal harmony. It's musically interesting even if thoroughly ripped off from Queen, but is more over the top for the sake of it than actually being a heartfelt ballad and has a lackluster ending.
The band delivers a strong sequel to the debut, but don't really take on the challenges of moving out of the pigeon hole they have been painted into. Those that loved the debut will love this and those that didn't get the band first time around still won't get them now. I suspect the debut will continue with neither side giving any ground! I must add that any album that clocks in at 35 minutes walks a very fine line. Of the tracks featured, should 1 or 2 be fillers for any reason to a particular listener, which leaves a mere 29 or so minutes of music, which is very hard to pass off as value for money.
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| 91 Suite Times They Change | Vicious Records VIC006 |
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This, quite simply, is an instant classic. I'm a big fan of albums that grow on you as you get to know them, but sometimes you need one to jump right out of the speakers the very first spin smack you one. I can see a lot of melodic rock fans getting very excited over this album. Spain's 91 Suite made their mark with a very strong debut album, but blow it out of the water with this even more impressive affair. The guys have toughened their sound just a touch and moved away from the Journey-esque comparisons of their debut to a bigger stadium friendly sound more in line with the type of melodic Bon Jovi style hard rock perfected by Johnny Lima and Jaded Heart. And it gets even better. For fans awaiting Harem Scarem to return to the sound of their first two albums don't worry, 91 Suite do it for you. There is a strong dose of classic Harem Scarem in the guitar parts on this album. And for those who have discovered the very melodic but rocking UK band Pride - 91 Suite's sound will definitely have a familiarity to it. There is so much for fans of classic melodic rock and AOR to love about this release. The songs are well written and equally balanced between moodier melodic numbers and the more guitar driven uptempo tracks. The album sequence is such that there isn't a single weak moment and the album flows beautifully from track to track. Track By Track: The guys open up with the rocker Seal It With A Kiss, which showcases the new direction. The angst ridden track has all the passion one could hope for and reminds me of the layered melodies of Pride. I Wanna Be In Love is even better. With a touch of Harem Scarem in the guitar parts and more complex melodies, the song soars through the chorus. Tell Me Why is a more aggressive uptempo rocker, with a heavier guitar role throughout. Far Away is the first ballad of the album and is everything melodic rock fans could hope for especially those Johnny Lima and Michael Bormann fans out there. Times They Change is utterly brilliant. It features a classic chorus, Pete Lesperance guitar riffs and is nice and moody. Every Day Goes By follows on seamlessly and is another memorable song, but it is Hopes And Dreams that like the title track, blows me away. Beautiful soaring vocals, a strong guitar riff and a killer chorus. Again this reminds me of UK rockers Pride, but regardless is brilliant and is in line for song of the year. Another Reason is perhaps the most Harem Scarem like track of the album and is a definite nod to the Mood Swings album just check out the soloing! Wings Of Fire sounds like a Johnny Lima anthem another classy song with a great chorus. Stand Beside You is a slow and passionate power ballad that AOR fans will love. Hard To Forget is a straight ahead guitar fuelled rocker that will again please Lima/Jovi fans, and what a vocal performance. Will You Ever is another uptempo, but moody melodic rocker with a very catchy, very memorable AOR chorus. Remember The Good Times closes the album just as you would hope a breezy uptempo rocker with plenty of keyboards and another strong chorus.
You will of course notice a lot of comparisons drawn while reviewing the album. Times May Change is an apt title, times may change indeed, but there is not need to change a winning formula when it is done this well. Classic style melodic rock dished up in a very classy package.
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| Tony Martin Scream | MTM Music 0681-149 |
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Former Black Sabbath vocalist Tony Martin has spent the last few years drifting between various projects, but in 2005 he is finally releasing his second solo album. It has been some 13 years since his solo debut, the rather marvelous and surprisingly mellow and melodic Back Where I Belong. On the new album Scream, Tony does just that he has returned back to the sound that made him famous. There are only 9 new songs on offer here - a couple of tracks short of what should be - but the style is a fan pleasing mix of his time with Black Sabbath and that classic British metal sound. Former Sabbath member Geoff Nicholls contributes some song co-writing duties and Martin's youngest son Joe Harford provides most of the Sabbath-heavy guitar riffs. The late, great Cozy Powell appears via an old drum track on Raising Hell. Highlights include the organ drenched Rainbow style hard rocker Raising Hell, which opens the album in style; the slow and heavy Sabbath styled Bitter Sweet and Scream, which features a short, but catchy chorus, a strong vocal and what appears to be a violin solo - definitely worth a listen! Stepping outside the comfort zone, Martin slows things right down for the Zeppelinesque acoustic ballad Wherever You Go and closes the album with the epic Field Of Lies. I don't think it has the best sound quality achievable, but some varied instrumentation makes it an interesting listen. The quirky The Kids Of Today is a good example of more engaging songwriting.
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| Bad Habit Hear-say | Frontiers Records FRCD267 |
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This is another album which required a fair bit of listening to in order to best appreciate. I feel that this album is almost split into two styles with the less favorable of the two dominating the track list. The guys of Bad Habit have toughened up their sound here and as always they deliver some high-tech European AOR, but on Hear-say that sound is peppered with a stronger guitar presence and some heavy programmed beats. The sound makes for some interesting listening. I think this is a good album, but in some ways old fans of the band might find the change in sound not to their liking, while fans of heavier European melodic rock might miss this release due to the preconceived idea that the band are normally softer than what they are here. The album kicks off with one of the stronger tracks of the album. To Love You features a thumping beat and a strong chorus and a bass heavy beat, not to mention noticeably heavier guitars. The sonic bombardment continues through I Swear, Walk Of Life and Reason. The trouble is I'm finding the almost relentless heavy beats to be a bit of a turn off. On the flip side, the more melodic and commercial All That I Want is a more comfortable number for traditional Bad Habit fans as is the very good ballad I Want To Know, which is another lush fan-friendly track. I'll Be The One is another track where the beats let up and the melodic vocals and keyboards are given more of a chance to shine. The band closes the album on a high note with the feel good uptempo anthem The Air That I Breathe. This is only the fourth track of the album that features the more AOR friendly style and I must say that these four tracks stand out as the definite highlights. If only there album was more styled around these four tracks rather than the techno-heavy rhythm of the heavier tracks.
The four lush AOR tracks are brilliant, but what fans make of the rest will depend on personal taste. Overall a strong performance, but I think the album could have been even better with a slight change of approach.
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| Legs Diamond Diamonds Are Forever | AOR Heaven 00019 |
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This album took longer to digest than I anticipated. I'm not one to rush a review if I can't get an accurate feel for an album. This record is quite varied in style and I have been trying to figure out how Legs Diamond should sound in 2005, albeit with a different line-up than when we last heard from them. I think in some ways the band is trying to figure this out as well, as the contrast between tracks is quite stark and at the end of the day, I think this works against the band. The songwriting is great in places, but a little bland in other areas. Where the guys sound at best is when they are being true to their classic sound and style, whereas at other times they just sound like they are trying to be something they aren't. This is a different band than they were on Town Bad Girl or Out On Bail. Most obviously, there is a new frontman in former Wild Horses frontman John Levesque. I really like what John brings to the band. I haven't always been a fan of his, but his performance at Firefest this year was dead on (as was all the band) and having seen him live with the band, I knew he was a great fit and I have looked forward to this album ever since. John varies his vocal delivery as much as the songs vary in style and his energy is a key element in the likeability of this record. His role should not be understated and I remain a converted fan of his. Diamonds Are Forever is a long record. There's an hour of music here, comprised of songs ranging from three minutesto nearly 8 minutes in length . It is thoroughly hard rocking affair so much so that it surprised me just how heavy it is in places. The style moves from an updated classic Legs Diamond pomp rock influenced sound where the guys sound most at home, to a more straight ahead riff driven AC/DC sound and occasionally to a more heavy and contemporary sound both of which don't quite sound as comfortable a fit. Like I said, it is a quite varied record. For me the two best tracks open the album, but there are more goodies inside. Don't Turn Away is a angst filled modern heavy rocker with a pounding beat and a pleading chorus and introduces the new Legs Diamond to all. John Levesque's powerful vocals make the song. Time Will Never Change is my pick of the whole album, with a classic keyboard intro that builds tempo with the rest of the band and subtly rises in intensity to a great chorus. Over the course of six minutes the song get a little more complex and features another great lead vocal from Levesque and some complex keyboard patterns from Michael Prince. The haunting and more melodic Loneliness is another strong track for me, which I think captures the essence on Diamond's moodier rock personality. The epic 8 minute plus Will You Remember is another track long time fans should appreciate. The mid-tempo rock ballad This Time Around has a similar vibe, swathed in organ and a darker Gary Barden style vocal. As noted, the band also have a stripped down, raw AC/DC streak to their sound on this record and that is best demonstrated on the growling Good Time, Let It Go and even the darker and heavier Trouble, which itself is musically interesting, but could have used a better chorus. Funny to hear Michael Prince describe King Of Speed as a tribute to Deep Purple, as that is what I thought immediately upon hearing it for the first time. I think the classic organ and bluesy swagger gives that away still a cool song. The remaining tracks offer good support, but could be considered fillers for some. They certainly aren't the essential tracks on the album, nor the ones which show the band in their best light.
One would hope a few more live shows and a quick return to the studio will deliver the classic I know they are capable of.
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| Flagship Maiden Voyage | Metal Heaven 00011 |
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There is quite a favorable word following these guys around and I must echo that sentiment. While I think this is a very good record, I must also stipulate that it is not a record that will appeal to everyone. To be precise, its style is such that it is only going to appeal to a very set segment of the melodic rock community. Who is Flagship? The band comprises two main individuals Narnia's Linus Kεse & Christian Rivel (yes, the Tommy Denander of the prog/metal world) and several guests none bigger than Kansas' own Kerry Livgren, who plays the guitar solo on his own composition Ground Zero (originally from 1980), in a new arrangement written by Linus. This is a musically adventurous and complex record that mirrors the pomp glory days of the 70s and such masters of the game as Kansas, Queen and even early Magnum and Styx. I could type for a week and still not describe everything that is going on within this pomp-tastic release. Only 7 tracks are on offer, but the album runs some 47 minutes, so there is plenty of music on offer. Christian Rivel revels in his role as vocalist, delivering something a little different, even for him and on occasion some fine falsetto vocals. He is certainly an outstanding vocalist, not to mention versatile.
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| Terra Nova Best Of + 5 | Frontiers Records FRCD268 |
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Terra Nova close out a comeback year with a compilation gathering their 12 'best' tracks coupled with 5 previously unreleased tunes. While this release is clearly aimed at established fans, there is quite a lot on offer here for those less familiar with the European pomp/AOR outfit. The benefit of a compilation is that it trims the fat and present here is the very best the band has to offer. I have previously commented that each album from the band features a few fillers and that the guys in general play it very safe with their songwriting. There is nothing here that changes my mind in that regard, but you can't argue the fact that these are some of the bands finest songs and that makes a perfect entry point for curious melodic rock fans. The five bonus tracks are all culled from the band's 1997 recording sessions for what was to become their debut album Break Away. The band has mellowed over the years and this look back in time has unearthed a harder edge now lost. The first bonus track I Wanna Know actually opens the album and does it in fine bombastic melodic rock style. Hard to imagine why that has been left behind until now. Normally tracks remain unreleased for a reason, but these tunes hold up pretty well with the exception of Reminiscing, which does nothing for me. The unpolished Holy Water features an organ and has a nice organic feel to it.
This is a pretty straight forward compilation with 5 unreleased tracks to please long time fans and a solid collection of songs to interest newcomers.
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| Line Of Fire Line Of Fire | Tribunal Records TRB068 |
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It's difficult to put an original spin on traditional AOR, especially when your sound finds influences from one of AOR's biggest ever acts Journey, as do so many other acts. But somehow Line Of Fire manage to bring the best elements of familiarity into their music and mix it with a uniqueness that allows the band to stand out in the crowd. There are some straight ahead commercial friendly numbers featured on the band's debut, but just around the corner from those are some more intricate and complex tracks which form a nice balance across the album. The contrasts are stark, but the consistency of the album means they are not out of place. For example Faith In Fire is melodic, progressive and even features a little pomp glory. Live & Let Go is a simply fabulous commercial AOR number in the vein of Shotgun Symphony meets Journey while Fade is a dark and brooding track which requires several listens to get to know. Then you have Paradise, which builds out of the darkness of Fade into a more commercial AOR track with a glorious chorus, but still featuring a melancholy soul. The song also features some great vocals and a definite nod to Steve Perry and Neal Schon within the song. Remind Me moves away from the Journey influences, showing further diversity within the record, with the band using a more acoustic driven approach, as they also do on the big ballad Can't You See and the moodier Salvation's Edge a few tracks later. Thing get a little more technical and certainly move away from the AOR of some of the earlier tracks on Falling Down, which is a well thought out harder rocking track. And to show the depth of musical understanding these guys have, the closing rock ballad Time To Say Goodbye. The diversity of the tracks is held together by a balanced production and some fine performances, not least of which are the very AOR friendly and powerful vocals of Shawn Petula.
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| Mark Spiro Mighty Blue Ocean | Atenzia Records ATZ02038 |
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I had no idea that Mark Spiro has spent the best part of the last couple of years battling cancer. As he says himself within the lyrics of Band Of Angels he is one of the lucky ones. I love albums which deal with personal topics and show the raw angst and emotion that is life. Artists such as John Waite and Rick Springfield are masters of wrapping their emotions at the time in music and taking the listener on that journey with them. Add Mark Spiro to that list. It seems a contradiction in terms that anyone should benefit from any other persons misfortune, but Spiro turns the life altering challenge of battling a potentially fatal illness into one of his best albums to date and gives fans a record to treasure. All songs and all the music within was crafted and recorded by Spiro in a frank and honest setting both lyrically and musically. The album has that one man band feel to it, but under the circumstances that matches the mood and vibe perfectly. Spiro's lyrics have always told a story, but the 11 tracks of Mighty Blue Ocean depict a man battling the odds and coming out the other side. It's an emotional journey at times joyous and uplifting, at other times more introspective as Spiro reflects over his life. You just don't get better than the uplifting pop anthem Mighty Blue Ocean, or the guitar and piano driven melodic rock of the reflective When She Cries. Another highlight is the moody Band Of Angels, which deals both with the time of being diagnosed as well as the time of the all-clear. The acoustic The Beautiful One is as good a ballad as Spiro can write and the uptempo Bits And Pieces is classic AOR. Perfect Wave may be a little soft, but is sonically perfect and is a little more lush than the often musically sparse record. The feel good uptempo pop of My Velocity and The Life That I Live closes the album perfectly.
But what it lacks sonically it makes up for ten fold in heart and soul. This is how you write lyrics folks. Credit to Spiro for being so open and forthcoming, He may be one of the lucky ones, but with this record now available, so are his fans.
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| Divinefire Hero | Metal Heaven 00013 |
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Divinefire are perhaps a little outside the scope normally covered on this site and are not something I would normally listen to if I didn't have to.
Divinefire is a power metal trio comprising the ever versatile singer extraordinaire Christian Rivel teaming with another member of his Narnia project, this time bassist Andreas Olsson with wiz guitarist Patrik Gardberg. I think the guys tread the fine line between delivering something amazing and going right over the top and becoming a parody of themselves. I say that, as at times it does get a bit much on here there are only two speeds used to deliver these 10 tunes flat out and faster! Divinefire have that whole symphonic speed metal thing down pat, with some furious flaying of guitars, constant double kick-drums and wailing high pitched vocals mixed with gruff death metal style growling added almost it seems to act as a counter balance. It's an interesting album and if you love everything turned up to 11 and delivered at super sonic speeds, this album should appeal. Of notable interest is the last track, which is a cover of the Queen classic The Show Must Go On. This track is also delivered at almost top speed and features Swedish pop singer Maria Radsen on duet vocals alongside Thomas Vikstrom.
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| Green Of Love And Soul | Ivory Gates / Frontiers |
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To remind folks, Green is an Italian progressive hard rock outfit that released their debut album Life in 2003. Two years later they are back with a new bassist, a second guitarist and a different, updated sound for the sophomore release Of Love And Soul. To be honest, the debut was ok, but largely forgettable among the vast competition in the market place especially looking back 2 years later. But I'm definitely more impressed with this release and think the guys have chosen a better style for themselves. Life was far too scattered and featured too many styles, where as this album is far more focused. Of Love And Soul sees the band toughening up their sound. It is heavier, less progressive and features a strong modern rock edge. The guys have their own style, but you can hear a little Nickelback mixing with some Queen-esque pomp/prog elements, which is an interesting mix. Check out the potential radio hit Fight For Truth and the orchest backed Do It Now. he guys don't give up totally on their prog base, with some songs like There's No Wind featuring some good musical twists and there is no escaping the near 10 minute epic title track Of Love Or Soul which closes the album. But elsewhere, it is more or less straight ahead modern rock with melodies playing a vital role. I still think they will appeal more to European fans over American fans, as the guys do have a certain European style and some strongly accented vocals that will appeal more to people within that region.
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| Rox Diamond Powerdrive | Rockjock Music 0553-60014-2 |
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I wasn't at all taken with this first listen, but third time in and I'm converted. There are some glorious melodic pomp rock moments here that will definitely find some fans out there. However, there are some areas where the album could have been even better, but one can be forgiving knowing that there were challenges for the band in getting this album completed. Vocalist Paul Daniels sounds at times like Karo frontman and solo artist Dan Lucas and at other times a little like Survivor's Jimi Jamison. Those that enjoyed Dan's 2000 CD will find some comforting vocal similarities here. The opening track Powerdrive sounds just as it should powerful, big and over the top and gets the album off to a powerful start. The best tracks I think run from the guitar driven Heartbeat Away through Innocence Of Yesterday. Here the listener gets treated to some fine 80s style melodic pomp rock songs. Just Can't Wait sounds like Jimi Jamison meets Magnum and is a superfine piece of songwriting. Joann is filled with layers of 80s keyboards and AOR vocals that will delight traditional fans. Innocence Of Yesterday is one of the finer keyboard ballads I have heard this year and sees vocalist Paul Daniels stretched to breaking point (to great effect). The House Of Lords style keyboards and children's vocal choir further adds to the mood. Unfortunately for the listener, this is where the album stops to impress. Where the first 6 tracks were all brand new studio recordings, the last 4 tracks are polished demos included to fill the album. Like I said earlier, there were numerous record label hassles involved in getting the 6 tracks completed. So much so the band ended up walking away from the label and releasing this themselves. So the last 4 tracks will appeal to die-hard fans only.
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The Click Five Greetings From Imrie House |
Lava Records |
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Without sighting them, I would have classed The Click Five as just another nu-breed act with some classy songs, looking to break into a market that just doesn't appear to be developing in size in relation to the number of bands in the market place. But check them out they have a great look and they are actually very young a definite chance of breaking through to the youth market and perhaps the fickle MTV audience (if anyone actually watches that channel for music anymore ). Of note to those reading this review these guys have killer songs. This is one of the catchiest power pop album's I have heard in a long long time. They are almost the power pop equivalent to Waltham. Their harmonies are lush and even better - their choruses glorious! Mixing the sweet harmonies of BB Mak, Nelson and the modern pop attitude of Taxiride, plus the slick retro pop of The Cars and Rick Springfield's Working Class Dog opus, these guys have a great attitude and you can't help but get caught up in the free flowing album. This has a definite 80s pop vibe, although the production and setting is very contemporary. The Cars guitarist Elliot Easton even pops up for a cameo guest role. I also love the pure pop keyboards that just fit into the background. This is not for all nu-breed fans regardless, but rather those that love it pink and fluffy, but still with a little firepower. The sound is a little thin inplaces, but as stated, this is a power pop record, as in p-o-p!
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| Urs Somebody New | Contante & Sonate CSCD-0105 |
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Swiss songwriter and producer Urs Wiesendanger has gathered some of the best names of the Westcoast scene to present a high-class album to those who love it soft, mellow and sentimental. This album is the very definition of Westcoast, mixed with elements of pop, jazz and R&B, not to mention a little orchestral support. The vocals for the album are handled by an array of guests such as Thierry Condor, Frank Εdahl, Michael Sembello, Warren Wiebe and Urs himself on a few tracks. Musical guests include Robbie Buchanan, John Robinson, Jay Graydon, James Harrah and more. The album is super smooth and very much set in an adult contemporary zone. While some Westcoast albums border on, or include a taste of AOR, this does not. This is strictly soft soulful jazzy pop and for that reason is recommended only for those whose tastes fit the theme. I am an AOR fan first and foremost, but I do appreciate some Westcoast and softer pop. Jay Miles and David Pack have already delivered fine albums for this genre in 2005. I think this is a superbly written, recorded and performed album there is not a single note out of place and the production is flawless. However it is just that little bit too soft and nice for my ears. There is no grit here whatsoever. In fact, it is so nice it makes Peter Cetera sound like Dave Mustaine.
This is a limited edition release of only 1000 copies, so if it does sound like you, be sure to order quickly.
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| Pleasure Maker Love On The Rocks | Indie AM012004 |
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Everything about Pleasure Maker shouts old school attitude. The band was created in 2001 out of the ashes of a Bon Jovi covers band. Just as they were originally paying tribute to one of the great hard rock acts ever, now they pay tribute to the genre as a whole, with some flashy good time rock songs promoting girls, fast cars and bad boys. The band is Brazilian, fronted by C. Marshall, who has a great voice for the material a mix of Firehouse's CJ Snare, Robert Plant and Bonham's Daniel MacMaster. My biggest compliment would be for the guitar work from Alex Meister, which is filled with old school riffs, tricks and blazing solos. Those riffs are mixed with 80s keyboards akin to early Bon Jovi and the rock n roll attitude matches that of Ted Poley era Danger Danger. The uptempo feel good Just Thinkin' About U is the lead single and to my ears stands out as an obvious choice. But there is more to the album, with plenty of great hairspray inspired rockers such as Bad Reputation, Out Of Control and the 80s-radio friendly Only A Dream all highlights. For slower ballads you might want to look elsewhere as these guys rock! The band offers the classy Stay With Me as the only ballad, with the majority of the songs all uptempo guitar driven rockers. The sound is pretty good for an indie release. While it won't match the quality of the bigger boys, the band has managed the capture the essence of the times without sounding too dated.
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| XYZ Forbidden Demos 1985-1991 | XYZ Music |
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Earlier this year a CD titled Rainy Days under the XYZ moniker was released. It was put together by former XYZ guitarist Bobby Pieper, who was with the band in the very early days before their Enigma debut. The Rainy Days release featured original demos from before that debut and even a couple of early versions of songs that made that album. Sadly, the sound quality of the release reduced its appeal. Not only that, but the release wasn't sanctioned by the band, or its frontman Terry Ilous. To counter that release which really didn't add any value to the XYZ name, Ilous searched his own vaults for better quality versions of those released and turned up a whole lot more. Forbidden Demos is the result and overall is a much more impressive release. The sound quality is infinitely better, but must still be treated with the understanding that they are archived demos and not regular sonic quality. The contents are also far more impressive, with 17 tracks spanning from 1985 to 1991 including several with Pieper. There are a few more of the original demos that would make the band's debut and a few never previously heard tracks.
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| Shannon Noll Lift | SonyBMG Australia |
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Shannon Noll will forever be linked with Australian Idol he was the runner up for the show's first year here. I said of Shannon's debut that it was very good, but very slick and wasn't necessarily a reflection of who he wanted to be as a performer. He only wrote one song for the album and the biggest hit from the release was written by and sounded like Bryan Adams. Noll's back with album number 2, which to his credit features him as co-writer on all but one track. To my surprise, the album follows straight on from the super slick modern pop/rock of his debut. So this is his sound it seems .but I can't help but think that it is not an overly original sound, nor one that can't be found on a number of other releases. It is however, a very engaging sound which a number of people will find appealing. Noll doesn't have the strongest voice, but it seems to be getting better and he certainly has charisma. And there is no doubting the quality of the songs on offer here. The title track Lift is quite superb and the lyrical depth of Now I Run (about his father) is a credit to his growth as an artist. From the Matthew Gerrard (Von Groove) written lead single Shine; to the other feel good anthem of the album All I Want Is More; to the grittier Let It All Fall Down and the super-slick ballads, this is a very smooth modern melodic rock record. The sound utilizes all the modern production techniques and tricks and surrounds Noll's voice in a very lush musically dense sound. Style wise it's a mix of modern pop and grittier melodic rock. For those that like it slick, polished and flawless .backed with enjoyable and memorable pop/rock songs Noll has a surprise winner here. |
| Paul Black's LA Guns Black Lies | Black City Records |
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Archive releases are really only ever aimed at a band's established fans base and in the case of LA Guns, there are a lot of fans spread over some 20 years in the business. As with many bands before the big breakthrough there was an original line-up, or original demos - such as the (also reviewed) XYZ release. Pre-fame LA Guns was fronted not by Phil Lewis, but by Paul Black. Paul's vocals aren't a world away from Phil's, perhaps a little grittier, with a little Richard Black (Shark Island) mixed in. Making up the band was guitarist Tracii Guns, Mick Cripps, Robert Stoddard and Nickey Alexander. Black List is an 18 track compilation of original demos and alternative originals to tracks that would later find their way to LA Guns official releases. Check out such original demos as One More Reason To Die, Show No Mercy and Love & Hate (later turned into Sex Action) a great insight to where these tracks came from and funnily enough, the lyrical content is a lot darker and more revealing than they way they ended up. The remaining songs all fit into the vibe of the band's debut, if not a little rawer and certainly darker. The sound quality is akin to other releases of its ilk those featuring unreleased demos and archived material, but is easy enough on the ears for die-hard fans to truly appreciate. |
| VTR Cinema | VTR Music |
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VTR is none other than Ross Valory, Stevie Roseman and George Tickner. The trio started work on this album in the mid-80s, but it wasn't completed until this year. Only timeless music can last such a journey (no pun intended) and this instrumental album is worth the wait for fans. The album is a short 9 tracks and 39 minutes, but during that time it takes the listener on a voyage not unsimilar to such a path a cinematographer would take a viewer on with a vast landscape documentary. In fact, this music is everything a movie soundtrack normally is. Its haunting passages tell a story, even without lyrics and as you wind through the various tracks the moods and surrounding change, yet the basic message remains the same. This is a very laid back instrumental release, yet it remains engaging to the listener and above all else, features some very fine musical performances by the frontline trio and many equally accredited guests. |
| MTM Music Rock Ballads Volume 6 | MTM Music 0681-145 |
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There are some fine ballads compiled for this new release the 6th in the MTM series, culling the softest tracks from their recent releases. I still can't say I'm a huge fan of TNT's What A Wonderful World, which kicks off this release, but Harnell sounds great. What I do really like from this set of songs are the tracks from Radioactive, Dare, Martie Peters, Heartplay, Novak and Edge Of Forever. It's a nice compilation for sitting back and relaxing to and if you can pick it up cheaply, then do so, as it does feature some great songs. If you already own the albums featured on this compilation, sadly only 1 track featured here is otherwise unreleased the Chris Antblad track - and I couldn't say that was worth the price alone. |
| Gary Schutt Dramatically Acoustic | Indie SUP019 |
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I'm a long time fan of Gary Schutt the musician and the person. He is one of the good guys in this business and deserves as much success as possible. Musically speaking, he has a unique sound while still remaining true to the classic melodic rock genre. Gary also has an amazing knack of lyric writing. He writes from the heart and his inner most thoughts often get cast into his songs, albeit in a unique twisted way. It makes listening to his records ever more enjoyable, as they are lyrically deeper than most. Gary has served up two new releases both a little left of center. Dramatically Acoustic is exactly that dark, melancholy, brooding and lyrically twisted as expected. It serves up some of his best songs in a stripped back format - just Gary and a guitar. But this acoustic release doesn't stick to the one tempo throughout. There are some raw, honest and totally acoustic tracks (She's Letting Go, Psycho Bitch) and there are others that benefit from extra instrumentation (Enemy Lines and Stranded feature extra percussion and bongos), while others such as the cover of the Queen classic I'm In Love With My Car have Gary singing with a more aggressive, angst ridden vocal. It makes for a very satisfying listen and is one for both Gary Schutt fans and those taken with passionate songs and acoustic performances. |
| Gary Schutt B-Sides Myself | Indie SUP019 |
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On B-Sides Myself Gary delivers some tracks that didn't make any of his previous studio releases. A fully electric release, this album sees Gary work without the confines of set album limitations and deliver some experimental tracks which showcase another side of the rocker. A couple of alternative versions and a couple of original demos are added to another Queen cover (Death On Two Legs) and 5 other unreleased tracks. At times these tracks are heavier and feature a more contemporary modern rock sound which definitely pushes some alternative rock boundaries. One special mention of the track Without You, which is a modern hard rock version of the Air Supply ballad. Not for all ears, but something which highlights Gary's unique take on the world and his ability to deliver something original. |
| Toyz House Of Cards | Escape Music ESM107 |
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French rockers Toys released this album late last year
I got the CD very late and didn't review it at the time, but it is worth a mention now. I don't rate the opening track at all, but there is promise elsewhere on the disc. The high-pitch vocals aren't as strong as they could be, but the music will appeal to fans of European 80s AOR mixed with a Hammond friendly Deep Purple sound. Plenty of pleasant melodies can be found throughout the album with the best tracks She's A Star and the heavier Anything To Prove. A healthy dose of Hammond comes into play during That's My Heart for example. The guys have most things in order, but lacking is perhaps some better choruses and a harder hitting lead vocal. I'd be interested to see where they go from here and don't doubt that a second record will be much stronger. A lot of promise that's for sure. |
| Black Majesty Silent Company | Limb Music |
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Black Majesty is one of Australia's finest melodic metal acts and offers plenty for fans of the genre to enjoy with their new album. The band have turned in a truly impressive album for all fans of metal, especially Iron Maiden and Bruce Dickinson fans, who I think will particularly appreciate Black Majesty's style and sound. Not one weak track and a supersonic sound place these guys among the forefront of band in the melodic metal scene. Of particular enjoyment on Silent Company were the tracks Silent Company, New Horizons and Never Surrender. Special mention for the brilliant cover of the classic Aussie 70s pop ballad Six Ribbons (Jon English), which is intensified and metallized here. One to definitely check out for metal fans! |
| Vulpine Channels | Brutal One Records |
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Vulpine have the potential to be everything to some and nothing to others. They are incredibly good at what they do which is deliver commercial American modern heavy rock. For an indie act the guys have recorded a very good sounding record with everything for an assault on modern rock radio in place. If Nickleback and 3 Doors Down can dominate the airwaves, then Vulpine have a shot. The modern rock ballad Persona is probably the band's most commercial number and best shot at breaking through. For AOR or traditional melodic rock fans, nothing here for you move along please! A little heavier than the likes of Anberlin and Ra, but very much in the same vein and recommended to fans of those two bands. A short review, but definitely an album well worth of investigation for fans of commercial modern rock. |
| No Nation Illumine | Illumine Records |
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No Nation is one ambitious recording. The band features the basic line up of Stevie Roseman (keyboards), Ed Ulibarri (vocals), Ross Valory (bass), Stef Burns (guitars) and John Hernandez (drums). This 7 track, 46 minute release is a rock opera honoring religions from all over the world. It is an epic piece of music that has been finely crafted and written and deftly performed. Both subtle and grandiose, Illumine runs the gauntlet from Styx like pomp to long passages of percussion and synthesizers, from acoustic passages to heavier Kansas inspired classic rock. While most of the album features a reflective soulful tone, there are times where it bursts into something a little heavier. The sound is sharp and the performances flawless. If progressive pop/pomp appeals, this is a record that will challenge listeners. |
| Shakra Fall | AFM Records |
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All Shakra's albums have impressed, even if the band aren't offering anything new or original. The Swiss rockers have their sound down to a fine art and know how to deliver a no bullshit melodic hard rock. The guys have moved to a new record label for their new album Fall. For whatever reason, this move has coincided with a fall in quality. No pun on the album title intended. I can hear the guys trying something new here, toughening up the vocals to a more metal direction, with some contemporary overtones thrown in. Although on a bigger label, I think the sound quality on this album is worse than their previous efforts. I don't like the change in the guitar tone and I hate the way Mark Fox's vocals are delivered. Mid-album tracks All Or Nothing and How It Feels show promise of old, but the sound still sounds too hollow. I've really been a fan of their earlier work, but I'm not sold on this at all. They may have changed their sound to step aside from being compared to others, but they haven't provided strong enough songs to go with such a move. |
| Bright Horizon Oneiric Reality | Indie |
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Italy's Bright Horizon have a lot of musical promise. This 9 track progressive melodic rock album features a lot of music packed into a 43 minute release. The guys clearly have a lot of ideas and do not hold back when trying to fit all those ideas into each and every song. There's a lot of music to digest here and fans of European progressive rock will find some interesting songs here. The album features tracks running from under three minutes to over 9 minutes. What would make these a little easier to listen to is more structured arrangements at times I think there is a little too much going on. Secondly, the production doesn't give the music the powerful backing deserves. It doesn't quite come together, especially with the rhythm section. But as I said, the guys have a lot of ideas and a label might be wise to pay them some attention and help get the best out of them. |
| Teenage Casket Co. Dial It Up | Trash Pit Records TRASHCD01 |
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Teenage Casket Company are a British rock outfit that are part nu-breed, part punk and part glam. Their debut album is an independent affair, but has a decent sound for the budget and is a lot of fun to listen to. The style of music is such that it won't appeal to all, but those into the modern movement and variations on the more predictable 80s sound will find something interesting here. Down On Luck contains a nice melodic chorus as does the more punk fueled Mirrors & Wires. The other track that really needs mentioning is the anthem ballad Beautiful, which is a layered melodic track with a great hook. I imagine these guys put on an energetic concert I hope they can break out of the underground scene and catch the attention of bigger fish. They definitely have something to offer. |
| Daize Shayne Live Your Dreams | New Game Media |
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Daize is a world champion surfer by day and a guitar playing rock chic by night. She's a champion at one thing and she's trying hard at the other. This is a varied album, from straight up Go Go's style melodic pop/rock to sample filled modern rock, all with a nice pleasant vocal and some tasteful guitar playing. The album sounds great thanks to the nob twiddling of Ken Tamplin, and the songs themselves are very good. Everything I have said here is a compliment, but ultimately the album lacks a knockout punch. It's competent and enjoyable, but doesn't contain anything that constitutes a wow-factor, which is a definite drawn back in this very competitive scene. On the plus side, tracks like Movin' On, Reach and So Addicting are great little commercial rockers that could find themselves at home on radio. Enjoyable melodic rock with a modern pop twist, but best recommended to those with a taste for female lead vocals and modern melodic pop/rock music. |
| Radioactive Taken | MTM Music 0681-150/151 |
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Tommy Denander surely the busiest man in melodic rock is back with his third Radioactive release and his third full album release of 2005, following his production and musical work on the Philip Bardowell and Sha-Boom albums. As is the case with all Tommy's work, Taken features that very distinct production sound and the expected mixed of guitar chops and AOR keyboards. You know what to except with a Denander release and established fans won't be disappointed or surprised with this release. One does not need to talk a lot about the sound, as stated, no surprises here a pleasant mix of Toto-esque guitars and lush keyboards in a setting that traditional fans of the AOR genre will love. While the AOR scene has its roots in the 80s, Tommy's updated production techniques help avoid any claims of a dated sound, but at the same time his style appeals to fans of that classic era. The biggest differences in Tommy's work is the actual songs themselves and the vocalists used to deliver the message. As is always the case with Radioactive, an all-star cast of melodic rock singers has been used to great effect. The songs this time around are a little more melodic than the last album Yeah and I will state that Tommy has definitely achieved his desire to make a classic AOR sounding record. The choruses of Taken are some of the best to appear to date on any Denander release. Track By Track: The album opens with C.O.W, a snappy little guitar solo which falls away before the first full length track Taken bursts to life. That distinct, unmistakable guitar/keyboard blend that is Tommy Denander's sound floods the speakers and we are away. Taken features the great Bobby Kimball at the helm - belting out a loud, aggressive vocal. The vocal suits the urgency of the song, which is one that gets better as time goes on. I love the vocal and the track itself, while perhaps a little busy, is still a winner. Stronger Than Yesterday is quite the opposite. Sung by Andreas Carlsson, this is a super smooth AOR track with a more restrained sound and a rather excellent verse melody and a very catchy prominent chorus which has all the hallmarks of the Denander sound. Toto alumni Steve Porcaro and Greg Phillinganes guest on keyboards and the late, great Jeff Porcaro supplies the drumming from a session recorded before his untimely death. Hit Her Where It Hurts is a curious track indeed as it is a pure AOR anthem featuring Gary Barden on lead vocals. I say curious, as Gary is not normally noted for his AOR work more bluesy and hard rock, yet he sounds right at home here and the song is further boosted by one of the strongest choruses of the album. Next is another coup for Denander. Easy's Getting Harder features the very first duet between husband and wife duo James Christian and Robin Beck. The songs itself is a very smooth, easy going Westcoast/AOR number and is perfectly suited to the guys, who put in great performances. Why haven't they done this before?! The greatest Swedish vocalist Mikael Erlandsson makes his first appearance for the big sentimental ballad This I Promise You. His raspy, passionate vocals are made for power ballads and he doesn't disappoint here. Forgiveness is a very Westcoast/AOR track with a high-tech Rick Springfield/Richard Marx/King Of Hearts feel. Norwegian vocalist Christian Ingebrigtsen takes the lead vocal for this mid-tempo ballad which also features Bruce Gaitsch on acoustic guitars. Now you know why the song has a strong Marx/King Of Hearts feel. 2005 saw Tommy team with Unruly Child vocalist Philip Bardowell for an album and Bardowell reprises that role here. It is good to hear the album take a slightly tougher, heavier feel at this point, after three relatively soft tracks. The song Shattered features a nice long instrumental break and a typically furious Yngwie Malmsteen solo. Tommy also spent time in 2005 working on his upcoming album with Fergie Frederiksen. Fergie guests on a lead vocal here, as he has done on all three Radioactive albums. Thomas Vikstrφm also joins with a lead & backing vocal appearance. The guys sound pretty good together and I like the musical direction of this uptempo melodic rocker. Premonition is a musically intense rocker, which features some cool programming and a good strong chorus. Following on, Carry On is a much more relaxed AOR tune, but featuring an equally intense chorus. It was advertised that Kelly Keagy was the featured lead vocalist, but rather it is Mikael Erlandsson, with Keagy providing a few lead vocals lines during the song and chorus. The line-up of guests on this track includes Tom Keane (keyboards), Neal Schon (talk box intro) and Michael Landau, Michael Thompson and Frederic Slama (guitars). Although, with so much going on here, it is a little hard to deterine individual parts Love Is On Your Mind features some cool guitar riffs and a sound reminiscent of Denander's early work. The uptempo melodic rocker features Thomas Vikstrφm on lead & backing vocals and one of the album's best choruses. The song was written with the Spin Gallery project in mind and does remind me of that, although it is that little bit heavier. Sinner features a lead vocal by Jaded Heart's new boy Johan Fahlberg. It's an ok track, but perhaps it doesn't stand out enough next to some of the other tracks. Never Gonna Let Her Go is a soft and slow Westcoast instrumental to close the album. The track features a dream-team Westcoast line up of Michael Landau, Steve Lukather and Peter Friestedt (guitars) and Vinnie Colaiuta (drums), plus David Diggs (keyboards) and a little Sax from Tom Saviano.
All three Radioactive albums have a slightly different feel and preferences may depend on personal tastes and day to day moods. Either way, it is a very fine AOR album and yet another notch on Denander's belt. Together with the Philip Bardowell album, Tommy has delivered two highlights for 2005.
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| Khymera A New Promise | Frontiers Records FRCD248 |
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Italian musician Daniele Liverani is back with his second Khymera opus. As with the first release, a selection of obscure AOR songs has been gathered to be recorded under a new moniker. But there are a few changes here since the first Steve Walsh lead project. Gone is the grumpy lead singer, to be replaced with the much acclaimed Pink Cream 69 bass player Dennis Ward. The previously unheard of Tommy Ermolli comes in on guitars and provides some very tasteful AOR friendly licks and Liverani covers keyboards and bass. Liverani's musician partner Dario Ciccioni continues his role as drummer. Ward is a much better fit for this kind of material than Walsh and really does his reputation no harm with his vocal debut. His raspy and determined tones remind me a little of Jeff Scott Soto, but with that European edge. He further enhances the record by contributing some fine harmony vocals, which are mixed perfectly into the album (by the man himself). The songs are gathered from various sources, the most unusual being a cover of the Unruly Child track Damage Is Done, with several others supplied by the ex-Sugartown duo of Tom and James Martin. Track By Track: A short, bombastic instrumental opens proceedings, but being that it doesn't have anything to do with the rest of the album as such, could perhaps have been left off. Alone is the first vocal track and our first taste of Dennis Ward the vocalist! Where has he been all this time? He sounds great and his voice has a warm familiarity that suits this genre of uptempo AOR. The feel good vibe of this anthemic melodic rocker is the perfect start to the album, mixing plenty of keyboards with Tommy Ermolli's guitar riffs. The material that comprises A New Promise is largely collected from the archives and the 80s vibe of the opening track and the uptempo Let It Burn shines through. A fresh production and strong lead vocal updates things, but 80s AOR fans will be the ones getting the most from this album. Looking For You is a brilliant song. Some may be familiar with it, as part of the unreleased, but leaked Don Barnes solo album from the early 90s. It's nice to hear it done again here and the roots of the song shine through, the keyboard parts and Dennis' vocal have 38 Special written all over them. The rock ballad All That I Have is enjoyable, giving Dennis Ward a chance to change his delivery a little, showcasing a grittier side of his voice. Unruly Child's The Damage Is Done is an interesting choice of song. I love the song itself and this is a pretty strong version, but I can't say that it totally fits the album as easily as some of the other tracks. The song has a tougher vibe than the other material featured here and stylistically doesn't quite fit. After The Way is another track from the Don Barnes solo album and again sounds just like it was intended (by Barnes). It's an ok track, but certainly isn't a highlight. You Can't Take Me (Away From You) is an unreleased Jeff Scott Soto track and his signature is all over this track. Dennis' own vocal style, with its raspy edge, isn't too far removed from Jeff and as stated, you will hear comparisons to him throughout the album. This is a classic Soto AOR tune and sounds great here. The classy rock ballad Tomorrow Never Comes is another Soto sounding tune and follows on from the last track perfectly. A well timed chance of pace. Fields of Fire sees the album back to the rocking style of the first couple of tracks and features a good strong chorus. One of the better tracks on the album in my mind and another strong track giving the second half of the album a lead over the first half. If You Dare To Dream is a Judith Randall song and one can imagine Mark Free's vocals at home here. Dennis struggles a little with the range required by the song I think, but otherwise enjoyable. Give In To The World is a moody, keyboard heavy mid-tempo track, but not one of the stronger tracks featured. It does feature some nice guitar work in the background. All Is Gone follows on from the mood set from the previous track, but works a little better due to some increased intensity. It is not a track that will be loved by all and one that requires a little more listening to than some of the other more instant tracks on the album. I do think that after a run of strong tracks, the album closes on a slightly less positive note, but it is all still very good.
There are plenty of modern rock and metal releases to keep fans of those genre's happy this one is for fans of old school, feel good melodic rock and AOR.
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John Farnham I Remember When I Was Young |
SongBMG 82876743732 |
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John Farnam is one of Australia's greatest ever vocalists. He has a stunning range and had he broke out of local fame, could have been a world-renowned vocalist. He's also one of the good guys of the Australian industry everybody likes him as he is just so genuine. Now in his mid-50s, he still posses a voice that will send shivers up your spine. So why do his records bore the absolute shit out of me? As a live performer, his stage presence, charisma and vocal abilities keep you glues to his every move. On record he is everything he is not on stage. Flaccid, dull, boring and for the majority of the tunes, he struggles to get the pace out of first gear. I Remember When I Was Young - Songs From The Great Australian Songbook is a copy of the format used by Rod Stewart and his Great American Songbook series. This is what looks like a starting point for more volumes to follow, but all involved will have to liven the pace up if they are to warrant any future interest. Why turn these rock classics into pop ballads? Where is has his passion gone? The blame must squarely fall on long time producer Ross Fraser and manager Glenn Weatley. They are content on selling Farnham to the blue-rinse brigade, the half-senile older generation that still remembers him fondly as little Johnny Farnham back in the early 70s. Commercial radio may have abandoned him, but fuck them .they have abandoned most good artists and continue to concentrate on manufactured dross. John Farnham the performer could still teach the kids of today a few tricks take a look at the lifeless contestants on Australian Idol. Forget about a hammed up Elvis night how about a John Farnham night where he participates and teaches these kids a little about how it is really done. So on this new album John Farnham dips into Australian rock folklore, to re-run some tried and true classics. Farnham has long used the songs of others, but this time, rather than borrowing more obscure tracks, he has honed in on some of the best known Aussie songs available. It may be cleaver ploy to regain radio interest, or it might just be an attempt to target his perceived audience, but either way, there is just no life within this record. The songs chosen are an interesting and lively lot and one had great hopes that John would finally get back to what he does best. It was also stated that much of the record was played and record in just one take that is even more reason for this record to be crackling along. But it doesn't. For whatever reason, the life is just sucked out of these tunes even the uptempo ones are stripped down and the pace softened to a crawl. One Perfect Day a very fine pop ballad by Little Heroes should be perfect for John, but here is perhaps half the tempo of the original. The legendary coming of age soft rock classic by Mondo Rock Come Said The Boy is reduced to a withered reggae style pop tune enough to make you want to cry. Downhearted, the Australian Crawl, feel-good summer anthem and equally legendary classic has several moments of vocal glory, not to mention a snappy pace, but here Farnham avoids that aspect and slows it right down. Why stifle such an amazing voice into utter blandness? Men At Work's political statement Overkill is made to sound like a happy go lucky jazz number and Cold Chisel's gutsy Forever Now has none of the original passion. The frustration continues through every track. The days of LRB and You're The Voice are sadly and obviously long, long gone.
I am so utterly disappointed at this release I will state that it will be the last I ever buy from him. He has a truly kick as band that includes Brett Garsed (Nelson), Angus Birchill and Stuart Fraser (Noiseworks) where are they on this record! Farnham turns a selection of Aussie rock classics into laid back jazzy pop ballads and to be honest, it doesn't get any drearier than this. Coming to a department store elevator near you
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| Soul Doctor For A Fistful Of Dollars | Frontiers Records FRCD266 |
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I reviewed this a little while back for the Japanese release, but now it's on wider European release, I thought I would expand my thoughts a little.
I like Tommy Heart's voice and I think Fair Warning have released some fine albums. I have previously been somewhat less that enamored with Tommy's side project Soul Doctor. With little fanfare the guys are now up to album number 3 with For A Fistful Of Dollars and I think they have finally hit upon the right songwriting formula. Soul Doctor has a more straight ahead hard rock sound than the more flamboyant Fair Warning. Drawing on influences from AC/DC to Aerosmith, Soul Doctor present their blusey brand of melodic hard rock with a kick-ass in your face guitar driven sound. I think the band has a little more energy on this record compared to the first two and it's plain to see the songwriting quality is far better. Classic rock meets a modern edge with a Bon Jovi twist on Eatin' On Me and Best Way To Fade is simply a great hard rock song. The bluesy rock ballad Remember adds some cool piano parts and Ten Seconds Of Love adds an interesting twist with a brass section. The swagger of She's Mine adds further variety and the album closes with an acoustic Aerosmith style blues number Cheap, Down N Nasty. Vocalist Tommy Heart sounds in great form, with his voice dominating this record.
The album still holds up strong some 2 months after it's Japanese release - that's a great sign.
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| Paganini Resurrection | PazouZou Records CD666 |
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Vocalist Marco Paganini fronted Viva and Paganini and recorded 5 albums between 1980 and 1990. The European melodic metal / hard rock outfits made a small splash on the scene, with Paganini's debut still much sought after today. Resurrection is another case of 'let's re-record the best songs of the past', with the album an equal mix of Viva and Paganini classics. But bloody hell... I don't recall Paganini ever sounding like this. No wonder this is an indie release, as no record label in their right mind would sign up for this release. Marco's voice has certainly seen better days he is a gruff, tough and as rough as hell here. On the ballads he sings low and hides a lack of passion with vocal filters and on the metal tunes he just shouts. But that's not the worst of it the songs are basically updated with a bass heavy modern punk friendly style that does absolutely nothing for me and I dare say the majority of old school metal fans. If further insult to the ears is needed, the production is raw and messy and is at times is difficult to listen to. Stick to the originals unless you really are desperate for something different to listen to. 47 minutes of noise. |
| Cherone Need I Say More | Indie |
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One of the great challenges any artist faces, is moving in a new direction and convincing fans to follow. Gary Cherone is best known for his energetic fronting of two great American bands Extreme and a short lived stint with Van Halen. But he is so much more than just a rock frontman, having worked extensively in theater and also carries a very diverse personal taste for all forms of music. This brand new 4 track EP demonstrates those tastes very clearly. To get the most from this release, fans will need to adopt a similar broad range in taste as this is as far from rock n roll as it gets. The EP features 3 jazzy pop tracks and a more subtle ballad. The ballad is the title track Need I Say More, which I have to say, is a thoroughly impressive and haunting pop ballad with a soulful vocal and great hook. The other three tracks feature instruments such as flute, sax, organ and trumpet, as well as the usual bass, guitar and drums. They flesh out a new direction for Gary, which some fans will find hard to accept, but there is no doubting the musical integrity or quality. Whether Gary will continue down this path remains to be seen. Those that have an ear for the jazzier side of pop should find this quite a revelation, but it won't be for everyone. |
| Aerosmith Rockin' The Joint | Sony 97800 |
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There is no denying Aerosmith's greatness. Their most recent body of work may not be as strong as their past, but few bands get to experience what Aerosmith have that is two defined career hotspots, both in the 70's and then again in the late 80s-early 90s. In recent times they have come off the boil somewhat, but in concert they are still a force to be reckoned with. This new live release was recorded on the band's 2002 US tour. It is not the quality of the release that is in question here, nor the strength of the songs included although the track list isn't the most obvious selection. It is more a question of why? What really is the point of this release? Clearly only an edited highlights release after all the set included here is only about half of what was played each night and the songs that made the cut don't really define a specific theme in the band's evolution. So one must sadly conclude this is a mere record label cash-in to remind fans the band is still alive and contrary to their under-performing blues covers album, they really do still rock. Yes, they rock, but this is 3 years old already. Classic band, great performers, but this is a mostly pointless and rather crappy excuse for a release. |
| Bruce Turgon Outside Looking In | Frontiers Records FRCD255 |
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In 1991 an album featuring Lou Gramm, Kevin Valentine, Vivian Campbell and Bruce Turgon was released. Shadow King would become a cult favourite loved by many, but sadly ignored by the record label and under-promoted. Still years later the band become the subject of regular conversations on message boards and debate over the merits of the release would start anew. The one-off release was originally slated to be the third Lou Gramm solo album, but the heavier sound of the project coupled with the band feel between the members led it to be released as a new band. Bruce Turgon was a long time collaborator with Lou Gramm so much so that he would follow Lou back into the Foreigner line up a couple of years later. I've long regretted that there wasn't a second album, but during the middle-to-late 90's, Bruce Turgon demoed a selection of tunes for himself. It is now finally in 2005 that some of those songs finally see the light of day on Bruce's debut solo album. Outside Looking In features several of those original songs and several new ones, all recorded especially for this album. The Shadow King project was possibly the toughest rocking affair Gramm had ever been involved in. It's not until now that one realizes just how much influence Turgon had over the band's sound. To my great surprise, this album is essentially the long awaited sequel to the debut Shadow King album! Bruce Turgon not only sings and sounds like Lou Gramm, but he also adds most of the bass, guitar and keyboard parts. Helping Bruce out on this epic record is a powerful line up of Denny Carmassi on drums and Lou Gramm, Ricky Phillips, Tom Gimbel and Diana Mills on backing vocals, plus guitar solos by Rocket Ritchitte, Scott McKinstry and Ronnie Montrose! Shadow King featured a complex set of songs which some still don't get today. Outside Looking In is much the same. This isn't melodic rock or AOR by numbers it's intense, moody and powerful and takes several spins to get to know. This is American melodic hard rock with a sound perfect for stadiums. The album opens with the moody and attitude filled uptempo rocker Living A Lie. Turgon has a fine voice, which is a style similar to Lou Gramm, but grittier and raspier. The Shadow King comparisons are evident from the start, but this song and the album in general isn't as polished as the super-tight SK material was. Any Other Time tempers the tempo a little, showcasing a moodier side of the album. But the chorus kicks things up a couple of notches and is one of the best on the album. Outside Looking In has a very distinct Lou Gramm style vocal. Although memorable, I rate it as one of the weaker album tracks, which is proof of the overall quality of the album. I love the moody intensity of the bombastic rocker Walk Thru Fire, which is followed perfectly by the slower, but equally emotional Faith. Pleasure Dome and Weapons Of Love both just flat out rock, but it is These Tears Must Fall which really captures my attention. This is an amazing, powerful and emotional melodic rocker with a monster chorus. A definite contender for song of the year. On A Wing And A Prayer has a similar vibe and this is one of the few times I have heard anyone come close to the brilliance of Lou Gramm as far as capturing raw emotion within a song. Heart So Strong continues a mid-album emotional burst. The Last Time turns back to rocking and makes a nice tempo change from the moodier tracks surrounding it. Just as the Shadow King album closed with an emotional and moody rock track, so does Outside Looking In. Where Do We Go From Here is subtle, but effective and a perfect finish to a very enjoyable album. I might add that it's nice to see the record label president listed as the album's executive producer. Hands on involvement at the highest level.
The sound is not as polished or as big budget as the debut Shadow King album. This is a pretty raw and honest affair, but still sounds great. It is the strength of the songs and the intensity in which they are delivered, plus those great lead vocals and in your face guitars that makes this record great. That, plus the fact that just about every track has an instantly memorable hook. So many albums are released and reviewed, yet this one stands out as something a little different and something a little special. 2005 has been a year for the lesser known names and the surprise releases. Add this to that list. A mix of Shadow King, the style of Foreigner's Mr. Moonlight and classic moody melodic rock.
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| The Mob The Mob | Frontiers Records FRCD264 |
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This is a difficult title to review. I envisage more than your average fan debate on this. Just 40 seconds into the debut album it will become plain and clear why this release will find some melodic rock fans raving about the marvels within and others struggling to accept why this release isn't what it could have been. What's all the fuss? Vocalist Doug Pinnick. Let's come back to that. This is an album of contrasts. Different styles, an interrupted flow, and some less than perfect vocals mix with some cracking performances and some truly memorable songs. The Mob is a project featuring a rather impressive line-up of talent. Winger and Whitesnake guitarist Reb Beach; Night Ranger drummer and vocalist Kelly Keagy; Whitesnake's Timothy Drury and Kip Winger on bass, backing vocals and production duties. Kings X frontman Doug Pinnick lends his distinctive vocals to the whole affair, aside from one track where Kelly Keagy takes the reins. The Mob is a very groovy release. It features some amazing performances and the songs for the most part are very good examples of challenging, intelligent and original melodic hard rock. Winger meets Kings X? Sure but there's more to it than that. There are so many positives, but the driving force behind any commercial melodic rock album is the vocals. And Doug Pinnick's vocals are not the easiest to absorb. While his appearance will draw in many fans, it might also drive some away. But I do hope that people will give this album time to mature, as it is far from instant and gets better the more time you invest in it. The album opens with a couple of groove filled rockers and the third track features Kelly Keagy on a very fine commercial rock ballad The Magic. Fans of Night Ranger and Kelly solo will love this track, but it does stand out as being quite different from the rest of the material. It sounds like it has been brought in from the writing sessions for Kelly's next solo album. Buying the album on the strength of this great track might not be wise. The highlight for me is the mid-album run of Never Get Enough through No Reason Why. These are some of the best melodic rock tunes currently being aired. Pinnick's vocals are best when surrounded by the harmonies of the rest of the band and for those that aren't partial to his delivery; there are plenty of harmonies to help. This album is drenched in harmonies, both during the chorus and the verse. Perhaps that was an intentional move to help the album's appeal. As stated earlier, the album has a distinct groove and takes some listening to in order to appreciate what's going on. Guitar Solo only runs one minute, but it still seems a little odd to include this track when there is already another full length instrumental. That track - Spaghetti Western - is a snappy (and groovy) song, but on an album where 3 lead vocalists appear in the line-up, is there really a need for an instrumental? Highlights for me are the moody melodic groove of I Will Follow and from Never Get Enough onwards the album gets stronger and more consistent. Looking over the album, a big issue for me - that ultimately knocks a few points off - is the track running order. The flow of the album is a little disjointed, with 2 instrumental breaks and a change of lead vocalist for track 3. A revised running order with the instrumentals grouped together and Kelly Keagy's lead vocal closing the album might have given the material a better flow.
That said, Pinnick was a bold choice and there is no doubt that Kings X have a large fan base which should be drawn to this release by their vocalists' involvement. I have no doubt that some would have preferred to hear Kip Winger on lead vocals or perhaps more from Kelly Keagy. I'm probably one of those people, but that doesn't change the fact there are some really fine songs featured on this release. If anything, it stands out in the cluster of melodic rock releases in 2005 for having its own identity. But not everything falls into place perfectly.
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| Change Of Heart Truth Or Dare | Escape Music ESM122 |
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British AOR group Change Of Heart don't do anything we haven't already heard before, but it has been sometime since I have heard an album of really good British styled AOR such as this and that fact, coupled with some strong songwriting makes this an album well worth owning. This is pure British AOR in the vein of Heartland and FM. It doesn't pretend to be anything other than a slice of old school 80's melodic rock and I think fans of this genre will welcome such a release in a year dominated by metal. Although driven by a retro 80s sound, the production is in keeping with what we expect of today's releases. For me the album really kicks into gear with the third track of the album, which funnily enough, is a super ballad. That's not to take anything away from the heavier than usual sound of the opening rocker Burned, or the urgent tempo of Farlands. I just think that everything the sound and song quality falls into place perfectly for the big ballad Desperate Heart. A tighter sound, a huge chorus and an emotional punch that really connects greets the listener and from here on, it only gets better. The uptempo feel good rocker Hold On is one of the band's best tracks to date; Truth Or Dare has a further touch of urgency in its delivery; Taking My Time is reminiscent of Chris Ousey and Keep On Believing is a very pleasant melodic rocker with a prominent piano role. The album closes with an uptempo rock ballad, helped by a passionate delivery and some classy guitar and piano passages. At least, I thought the album closed with that last track! One final unlisted track (Higher Than Love) stands out as an album highlight and will I imagine be a favourite among fans. On occasion a repetitive symbol sound raises its head, but that is only a small complaint. The addition of FM's Pete Jupp on drums and Steve Overland on backing vocals is a winning formula that can only place this release further up the must purchase lists.
The harmonies throughout are superb and the equal mix of keyboards and guitars, coupled with some passionate vocals make this album a winner for lovers of traditional AOR.
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| Johnny Lima Version 1.2 | Escape Music ESM123 |
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Johnny Lima is one of the good guys of melodic rock. He's also a portrayer of one of the very purest forms of the genre. Johnny is melodic rock and his Jovi-esque style has won him a lot of fans. With a new album only coming every couple of years or so, one could understand some frustration from fans that Johnny's new album is a re-recording of his out of print 1996 self-titled debut. But Version 1.2 is quite an improvement on the original (to say the least) and having heard the result I can understand Johnny's perfectionist tendencies nagging at him to correct the errors he saw in that original album. The hair might be a lot shorter now, but the attitude and the energy is every bit as good as the 1996 release. Sonically speaking, Version 1.2 is miles ahead of the original. The clarity is much clearer, the vocals are more powerful, and the sound of the instruments is so crisp and clear compared with the sometimes muddy debut. Johnny has not updated the style in any way; this is still an album of classic anthemic melodic rock n roll in that trademark Lima / classic Bon Jovi vibe. The guitars have a better tone, the vocals are stronger and the mix is more even. There are a couple of differences here the track listing is slightly altered and track Speak Of The Devil has been removed and two brand new tracks Drift Away and Fire Of Love have been included. Drift Away is an acoustic driven melodic rocker that comes alive with a huge chorus hook that all fans of Lima will love. Classic! Fire Of Love is another anthemic rocker with some nice guitar licks and a Slippery When Wet Jovi vibe. Both tracks stay true to the sentiment and style of the original album and are a welcome addition. For those Lima fans not familiar with the debut, or at least only familiar with its cult status, this is an essential purchase. You just can't go past the melodic rock bliss of tracks like Little Runaway, Never Gonna Let U Go and the magnificent Into Your Arms. Fans of power ballads are catered for with the extended Here For You and Another Lonely Day.
Few artists get the chance to go back and correct or update their past and I can understand both sides of the argument for doing it or alternatively, leaving history as is. Generally I would side with letting it be, but this album remains very faithful to the original tracks and vibe. The sentiment may be a little dated in places, but it just sounds 100% better now!
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Various Artists Metal Mania Stripped Vol. 2 - The Anthems |
Sidewinder Music |
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The concept behind Metal Mania is strong everyone loves to hear their old favourites re-arranged and the unplugged style is certainly something that lends itself favourably to this genre. However, the first Mania release was a little lazy, culling the majority of tracks from already released titles. It also left a lot to desire as far as the arrangement. Mania 2 The Anthems is a far better and more enjoyable release, but it still has a couple of flaws. On the positives this compilation features a few more exclusive new tracks a total of 8 brand new versions. Those 8 new tracks are the shining lights within the compilation - most obviously because they haven't previously been heard. That brings us to the main negative with the release. The remaining tracks are from live titles released by the bands themselves. Again, that is ok, but the arrangement of these songs on this compilation (like the first) is relatively poor. Swapping from a live atmosphere to a new studio performance kills the flow of the record and in a couple of places the live tracks are poorly edited. For example, Bret Michaels' rap to the crowd at the end of Talk Dirty To Me has no relevance in this setting. A little more care is needed there and it would have benefited the record a great deal to have the live tracks grouped together on the second half of the album, allowing the new tracks to have their rightful place at the front and center of this release. I'm going to talk about the new tracks on here. Those not mentioned are from other past releases. The first of the new tracks is possibly the best especially for myself a long time Night Ranger fan. Don't Tell Me You Love Me was the bands launch song and one that has since embedded itself in melodic rock folklore. This is an extremely cool version, stripped back to the basics but still in a full band mode with a new bluesy swagger to it, but still featuring all the energy of the original. The guys add a killer acoustic solo mid-way through and Jack Blades sounds fantastic. It's always great to hear any new from Tom Keifer and this new version of their big hit Shake Me is very laid back bluesy version and features only vocal, guitar and a little percussion from Fred Coury. Jani Lane reprises the Warrant breakthrough hit Cherry Pie with acoustic guitar and percussion. Its ok, but I do think the new lead vocal is somewhat rougher and gruffer than the vocal quality Jani used to posses. Round And Round the Ratt classic is performed by band vocalist Stephen Pearcy. This is another ok version, stripped right back to one acoustic guitar, but with a little venom injected and like Jani, a raspier vocal. Madalaine was always a pretty cool anthem from Winger and Kip Winger handles this new version in the same manner as Night Ranger. Punchy, lush with guitars and energetic. Kip Winger surely is the king of acoustic performances. Smooth Up In Ya by Bullet Boys is very rough, but so was the band. I'm not sure the lead vocals of Marq have held up that well, but it's an attitude filled song. Nelson has turned in a few acoustic versions of classics already all quite sensational, so it's no surprise to hear (Can't Live Without Your) Love And Affection handled perfectly. Of some surprise is a lack of duel harmonies I did expect that and missed them a little bit. The new line-up of L.A. Guns rounds out the new tracks with a ripping version of Sex Action. Time hasn't dulled this tune and the new version sounds fresh and enjoyable.
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| Seventh Key Live In Atlanta | Frontiers Records FRCD263 |
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For me the involvement of the fabulous Mike Slamer is the biggest draw card for this release and also my biggest worry. Slamer is a perfectionist, so it was a concern that the high-tech style of the studio albums would be translated into a live performance that required after-the-fact overdubs to satisfy sound requirements. That in turn delivers a release lacking the energy and rawer vibe a live performance would normally feature. I can't tell if overdubs have been added to this - perhaps not - but the performances here are flawless. I look forward to viewing the event on the accompanying DVD when it arrives. I think the guys are fine musicians and have the knowledge of how to set up their equipment in a way that would ensure an error free performance. It sounds like nothing here has been left to chance and the recording itself sounds a million bucks. But in some ways, that dangerous edge is not present as I cannot hear a single duff note or fluffed intro. Sometimes that is nice to hear in a live recording. It proves legends are human. Billy Greer is in fine voice here and the extra harmonies from Terry Brock are a perfect fit for the band. The audience gathered is minimal, so the intensity of a regular live show is not there this is a special showcase for the band and it works in the way that it highlights some great melodic rock songs, but not in the usual live show format. Standout tracks include the acoustic ballad Forsaken, where the band is joined by Robby Steinhardt on violins and vocals and Johnny Greer on mandolin and vocals. The lush harmonies are fabulous and the raw emotion of the track shines through. The Sun Will Rise sounds note for note perfect and one can't help but love that pounding rhythm. The 6 minute plus You Cross The Line is also quite tasty, with some extra guitar licks and an extended solo included. And the moody It Should Have Been You is a stand out track in any configuration. The album adds three bonus studio cuts, two of which were previously Japanese bonus tracks for the bands first two albums (Love Train and The Storm Rages On). Remember You Well is previously unreleased and to be honest should have remained that way. The song itself is fine, but the sound quality is well below the other two bonus tracks and the live concert.
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| Primal Fear Seven Seals | Nuclear Blast |
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Primal Fear has often taken a back seat to Mat Sinner's main project Sinner. But they have always produced memorable records this is already studio album number six! Their last album Devil's Ground was good, but this is great. For me, Seven Seals is the best record from the band to date. It is the combination of a superior sound, some great songs and as always - great performances. All the necessary elements have aligned to make this another must buy for fans of European melodic metal. What a year it has been for metal fans. Seven Seals features a monster sound produced by the band themselves, but mixed to perfection by the legendary Mike Fraser. He actually commenced mixing this the day after completing work on Journey's Generations record. The band seems more energized than ever and backed with some very strong songs have made a record that will sit high upon the best of the year metal charts. Demons & Angels is a furiously paced introduction to the album, with a menacing vocal driven by that unmistakable double kick drum fury. But it gets better Rollercoaster is even more gritty, with a huge crunching guitar riff Masterplan fans will love. The speed and mood changes for the super intense mid-tempo Seven Seals which features one of the best lead vocals and best choruses I have heard from the guys. Other highlights include the epic and somewhat progressive Diabolus; the anthemic hard rocker All For One and the metal brilliance of Question Of Honour. Another highlight is the closing track, with sees the band slow it down a little, but up the intensity with added orchestration for a mid-tempo metal ballad In Memory.
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| Majestic Vanguard Beyond The Moon | Metal Heaven 00012 |
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This is another very solid title for fans of melodic metal and/or power hard rock. These Swedish lads have a lot of talent and this album is a showcase for that and also their Christian beliefs. That side of things is not too in your face, but the guitars certainly are. There are enough rips and shreds here to please most fans of Yngwie Malmsteen and a pounding rhythm section to rival Metallica. This is a seriously heavy, yet melodic release, with a very clear lead vocal making it extremely accessible. Comparisons can be made to Narnia, Balance Of Power and perhaps at times Royal Hunt. This is European melodic metal with a twist of neo classical and progressive influences. The Great Eternity is only 4 and a half minutes long but seems to have the twists and turns of an epic. Don't Want To Be An Actor is an outstanding slice of melodic metal, complete with crushing riff and swirling keyboards. A definite highlight! Take Me Home is one of two 8 minute tracks and features some tasteful acoustic passages before turning bombastic and the closer Mystic Eye is something Dream Theater would be proud of.
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| Dogpound A Night In The Gutter | Lion Music LMC154 |
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Dogpound's 2003 debut album established the band as another new band to watch in the Swedish rock music scene. A Night In The Gutter might see the band widen their fan base internationally. The debut was solid, but this new release is better in several areas, most importantly in the song writing department. Basically this is a kick ass melodic hard rock release with a strong Scandi sound and some major vocal harmonies. The twist is that the band have a truly hard rocking base, driven by an almost metallic guitar onslaught, but angelic Steve Perry like AOR vocals. Vocalist Henrik 'Hea' Andersson really puts in a great performance here, adding his melodic twist to the powerhouse backing provided by the rest of the guys. This is a melodic hard rock album with a twist of Journey thanks to the vocals of Andersson and the chorus hooks, yet at others times I got the vibe of the type of approach Rush use strong melodies, but more technical arrangements. The opening track Captain Hook & Jesus is a great example of this. One the other side is the more straight forward melodic bliss of 5 Seconds Away and Still My Heart is another very strong song. More strong melodic hooks shine through on Not By Choice and In Another Lifetime, both which up the power and the intensity of the album, yet contain brilliant choruses. The band slows it down slightly in a couple of places. The hard rock ballad Sail On is glorious and Worries Of Yesterday sees the band strip it back for an acoustic ballad. One has to mention the guitar sound it's dark, heavy and has a hollow tone and wouldn't normally be the suspected partner of some very melodic vocals. But these guys have their own style and the overall sound of the album is great and it certainly rocks from start to finish.
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| Charlie Sexton Cruel And Gentle Things | Back Porch Records 72438-60398-2 |
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This is a very classy release and on several levels it is a profound collection of intelligent songs, performed by someone who knows his craft inside and out. But at the same time I knew in some ways going into this that I would be disappointed. I grew up with Charlie Sexton's first two releases. I lived on Pictures For Pleasure and Charlie Sexton. You won't find two finer high-tech melodic rock albums that to this day they are still years ahead of their time. Charlie was 17 at the time of his debut and it is no surprise to see him grow up and move on from what those two albums represented. That's where my disappointment stems from. We are never going to hear another album like those two. I have to accept that! It has been more than 10 years since Charlie's last album Under The Wishing Tree. Since that time he cut his teeth as guitarist for David Bowie and Bob Dylan amongst other things. Begrudging the ticking of time aside, any record from Charlie is welcomed and I did fear that this album would be extremely laid back and set in middle of the road territory. The opening track suggested I was right, but the tempo does pick up in various places throughout the album and it is a little more varied than I anticipated. Sexton is a stunning songwriter. The warmth of his subtle vocals and the rich orchestration of the songs are perfect partners and given the chance, the music carries the listener away on a journey. Highlights on the album include the Dylan-esque soul laid bare of Gospel; the Arc Angels styled southern rock of Burn; the country tinged I Do The Same For You and the haunting orchestration of the title track Cruel And Gentle Things and Just Like Love. I'm also very partial to the uptempo Keith Urban like Bring It Home Again and Regular Grind. All songs are written by Charlie alone, with the exception of Dillingham Lane, where fellow southern rocker Steve Earl joins Charlie to co-write and brother Will Sexton helps out on Regular Grind.
I'm still having trouble accepting that times have changed and Charlie doesn't want to make records like he did when he was 20, but many reading this site prefer to live in a time bubble. Admit it!
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Crystal Pistol Everybody Hates You... |
Bad Reputation |
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This is a pretty interesting release from France's Bad Reputation label. These guys feature a rather an updated retro vibe that bands like Jet have cashed in on. The guys have a dirty attitude driven rock n roll sound that reminds me of a whole array of artists. Think Guns N Roses / early LA Guns meets The Damned, Demolition 23 and Neurotic Outsiders. Add in a little Rolling Stones and even a little of The Almighty. It is a wildly varied record with 11 tracks fitting into a mere 36 minutes. It's hard rock with attitude a ton of attitude. It's loose, raw and gets the feet tapping with definite ease. The band's debut album is very consistent throughout, yet on the down side a little same-ish at the same time and I'm not sold on the vocalist. Worth investigation for fans of old school attitude with an updated style. |
| Mother Superior Mother Superior | Bad Reputation |
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French rock label Bad Reputation continue to alternate between some classic re-issues and a range of new singings that lean towards a more contemporary sound. Mother Superior remind me a little of Kings X a retro rock sound mixed with a contemporary groove and some distinct raspy vocals. The guys have a bluesy edge and funky swagger, so are not something I would recommend to AOR fans. More so they might appeal to fans of Kings X or The Black Crowes. At one stage the guys backed Henry Rollins, so you know this is not your standard melodic rock release. There is no formula in place here or a predestined structure to many of the songs. The guys have their own style and a distinct sound. It is going to appeal to some out there, but not others. It is a love it or hate it release. For what it is, I have no complaints quality wise the guys can write a good tune, but it's not something I would listen to with any regularity. |
| Edhels Universal | Mals MALS053 |
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This is easily one of the worst releases I have heard in recent times and perhaps in the time I have been running this site. It is released by a Russian rock label called Mals. I'm not one who derives pleasure in delivering bad news, but I can't in any good conscience recommend this release to anyone. This is a somewhat experimental rock release, from a French act featuring a little pop and a little Toto styled jazz mixed with some progressive elements. I have no idea where any of the songs are going. Some tracks run 3 mins, others run 8 and 10. But none of them go anywhere or have a musical point. The album sounds like it was recorded in a garden shed and the lead vocals are some of the worst I have heard. I really can't add anything more. |
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Jeremy & Progressor The Pearl Of Great Price |
Mals MALS035 |
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I have no idea why one of these dudes calls himself Progressor, but he does. His partner is Jeremy (who would have guessed?) and together the guy shave recorded an album of experimental instrumental synth rock. This is another release on the rather 'interesting' Mals label. The songs are limited only 7, but the album runs near 70 minutes in length. Not for the fainthearted, this is basically 70 minutes of synth programmed doodles and atmospheric new wave beats. It just unfortunately sounds so out of date, like a 1982 Vangelis demo and moves far too slowly. Sadly it rarely gets to any point. The performances become more interesting when an occasional guitar or bass part actually gets to fit in. It is far too dominated by bloated synth passages and overall I would have to say it is a mostly boring and far too convoluted affair. |
| Flight 09 Human Nature | Mals MALS046 |
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Flight 09 is a Russian outfit and the third release reviewed here for the Mals label. I hope they get some domestic sales, as this label is not going to compete with any other European rock label on the basis of their output featured here. Flight 09 are at least a little closer to what a rock music fan might be interested in, but the music on offer is at least 10 years behind everyone else and even rates behind the awful stuff Long Island Records issued in their short lifespan during the 90s. These guys have a bad case of the plods everything here is slow to mid-tempo. It's also pretty poor sound in comparison to what else is on the market and their gruff Alice Cooper like vocalist is doing them no favours at all. They also need to get some advice on how to arrange a song. A few tracks here needlessly fly all over the place. Better than the other two Mals releases, but still so far behind the 8-ball as far as this scene is concerned. |
| TNT All The Way To The Sun | MTM Music 0681-147 |
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I loved TNT's last album My Religion from the word go and it only got better. I still rate it as an absolute classic. But in some ways I have really struggled with All The Way To The Sun. It has taken a lot more time to really appreciate this album and while I still rate it as another great TNT release, for me it doesn't quite match the warmth or the brilliance of My Religion. After much thought and contemplation I must put my reservations down to the songs themselves, as the style is not far removed from the last album. All The Way To The Sun is a little more contemporary than My Religion, but it does carry the sound and production style of that record over especially in the guitar sound, which is emphasized further. The songs of this album are definitely harder to digest on initial playback. It's not until you really get to know the record that they fully reveal themselves and even then, I think a few choruses are a little weak. What I really loved about My Religion was being hammered over the head with classic chorus after classic chorus, with each track really driven by a big hook. All The Way To The Sun features songs that are more complex without being overly intricate. The album is also a little more aggressive in nature, which some will definitely find appealing. That said this album still features some classic songs and I'm sure TNT fans will all walk away happy with the result. It was always going to be near impossible to follow up the classic My Religion and please everyone, so I think all in all, the guys have done a very credible job. TNT has moved on without abandoning the style and culture of My Religion, but has managed to avoid repeating themselves or standing still. The guitars and vocals are the most prominent element of the album's sound with the rhythm section featuring a little lower in the mix. It has to be said that Tony's vocal performance is among his best ever and caps a year that included the amazing Starbreaker release. Track By Track: All The Way To The Sun kicks off in a more aggressive fashion than My Religion with the rocker A Fix. Double kick drum fuels the track which features a commanding lead vocal, but a less domineering guitar riff. The chorus is very simple and for most of the song features only the lead vocal. A prominent feature of this album is simpler choruses. Too Late features a stronger guitar riff and a smoother more restrained vocal. The chorus is fairly simple again, maintaining the even flow of the song. Ronnie let's fly with a nice solo mid-song. Driving comes to life with a more intricate and melodic guitar riff, with Tony's vocals matching the mood. The chorus is upon you before you realize and is gone just as quickly. It is a catchy and intelligent little number with a definite pop vibe. I love the guitar riff and the chorus becomes easier to like each listen. Me and I is a very cool track. Something a little different is on offer from TNT here. A moody vocal is backed by a heard edged guitar riff and the chorus is huge. All the while the tempo stays pretty relaxed. It features a nice guitar solo and a great lead vocal and takes some listening to, but is one of the album's gems. Sometimes is the lead single and a clear pick at that. Another gem from the album, with another great chorus - this is one of TNT's most commercial and catchy songs in a long time and given the chance could fit into radio playlists. But what are the chances of that happening? All The Way To The Sun is a heavier, darker and more aggressive song that follows the lighter more melodic tones of the last two tracks perfectly. This track has a monster guitar riff and a groove to match. Tony's vocals are right in your face and very aggressive. Great to hear more guitar solos in music and Ronnie again lays it on. The song's chorus is short, but memorable and matches the style of the album as a whole. Next up a somewhat bizarre selection. A cover of the Louis Armstrong classic What A Wonderful World. While the song features what is an amazing vocal - smooth, soulful and controlled it remains out of place amongst the more aggressive material here. The Letter returns to the style and sound of the opening two tracks. Short sharp guitar riffs and a prominent vocal. The song misses a bigger chorus though. The simple change in flow to accommodate a brief chorus could have been more pronounced. I will say that Tony's vocal on this track is incredible. Mastic Pines is a short instrumental piece which for me ends a mid-album run of tracks that could have been stronger. The short, but effective Black Butterfly gets things back on track. This is an aggressive and hard hitting little rocker that features some cool guitar work but again could have been even better with a bigger chorus. Save Your Love is a little more relaxed and more melodic, even with a forceful vocal. The chorus is definitely a more instant hook and the song balances the aggression of the past few tracks. Closing the new album is Ready to Fly a highlight for the album and once again, something a little different for the band. The song features a strong chorus, without being immediate and has a contemporary feel but remains true to the overall TNT sound.
The album is a change from My Religion and I think the nature of it will see some fans claiming it to be an even better release than the last album, with other fans possibly disappointed in the end result. It takes time to get to know and appreciate, so give it that time before casting judgment. I think it is another great TNT album, but in my opinion not quite the classic My Religion was.
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| Deep Purple Rapture Of The Deep | Edel |
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Purple without Blackmore really are chugging along aren't they? This is their 4th album with Steve Morse at the helm and second in relatively quick time, following 2003's Bananas. The band has also constantly toured, keeping the legacy alive, even without a couple of original members. I loved their first album with Morse Perpendicular it was a unique album and a slight change in sound. The following two left me disappointed or somewhat nonchalant. I'm not sure I can pinpoint the reason it has to be the songs I guess but Rapture Of The Deep has me excited again. This album follows the sound established by this line up and does require several listens to really get into the groove, but it does reward listeners. I found that Bananas didn't. This is a really loose and groovy record! It has a little attitude and as stated, takes some time to get to know. But I think the songs gathered make for a great listen. Money Talks and Girls Like That form a great one-two punch to get the album rolling along and for the most part are classic Purple rockers. This is a long record for 10 tracks at least. A true groove filled record. There is a lot of music going on here and a lot of different musical parts to get to know. Take the title track Rapture Of The Deep drenched in Hammond, with Gillan's authorative vocals guiding it, while Morse adds a quirky guitar riff to hook the listener. Through the song is at least 3 different changes in flow. It makes for an interesting song. A personal favourite is the subtle mood of the ballad Clearly Quite Absurd. I love the lead vocal here and this was the first track I went back to after playing the album for the first time. Other highlights are the swagger and boogie of Don't Let Go, the uptempo rocker Kiss Tomorrow Goodbye and the 6 minute plus closer Before Time Began.
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| LA Guns Tales From The Strip | Shrapnel |
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LA Guns' output in recent years has been mixed, with the pendulum swinging back in favor of the band with their excellent last album Waking The Dead release. Sadly since then the revolving door line-up saw guitarist Tracii Guns leave and with him went some of the band's momentum. Tales From The Strip is an attempt by vocalist Phil Lewis to take the band back to their early roots with new guitarist Stacey Blades reflecting on the band's golden era as one of LA's Sunset Strip bands an era that saw Motley Crue, Shark Island and Guns N Roses also at their peak. In its own way, this album has a retro vibe that mirrors the sound of the band's first three records, primarily mixing the vibe of the self-titled debut and Hollywood Vampires. However, just has been the case with other bands attempting a similar step backwards, the guys have taken a step backwards with production quality. This is one of LA Guns roughest and rawest efforts to date and it is a long way from their hard hitting best displayed on Waking The Dead and my personal favourite, 1994's Vicious Circle. I say it time and time again - you don't have to sacrifice a decent sound to achieve a retro vibe. Andy Johns is producer again here, as he was for Waking The Dead, but sonically the two have little in common. I'm really surprised at the quality of Johns' recent production work. On the upside, the songs of Tales From The Strip for the most part are pretty memorable and have that classic LA Guns attitude. I like the dirty rock n roll of the opening track It Don't Mean Nothing and the Hollywood Vampires vibe of Electric Neon Sunset. And the autobiographical Vampire is a moody walk through the past with a cool chorus and is perhaps the album's highlight. But on the other side of the coin you have Hollywood's Burning a track that is just too rough and raw and doesn't sonically match the better sounding numbers. And there simply is no point to 6.9 Earthshaker a forgettable mid-album drum solo instrumental. The punk rock of Crazy Motorcycle and the heavy rock of Skin almost work, but neither track has the venom produced on the Vicious Circle album. And the album closes with a double disappointment - another instrumental in the form of Amanecer leads into the closing track (Can't Give You) Anything Better Than Love which is just sonically messy. The drum and guitar sound on this album is really sub-par and isn't close to the major label quality of Waking The Dead. Kudos to new guitarist Stacey Blades, who does a great job replacing the big personality that is Tracii Guns. The Lewis/Guns chemistry is probably impossible to replicate, but Blades does put his own stamp on these proceedings.
Yes, the production should have been better and the album doesn't close as strongly as it opens, but the album is strong enough to see the band continue on.
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| Brides Of Destruction Runaway Brides | Shrapnel Records |
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There is definitely something wrong when the 1 minute album intro is one of the best tracks of the album. I wasn't sold on the band's debut album, but even this follow up is a long way from that. My biggest bugbear is the quality of the recording this is simply not good enough for a band claiming to be one of the frontrunner's in rock n roll. This is a very rough quality sound and while it may not be as bad as some indie rock releases - nor it should be. The guys have a sizable budget behind them but it just does not show here. The mix is muddy and the tone is murky. On this point alone the album would fail to make a passable grade. All the more surprising that mega-producer Andy Johns is behind the wheel here. This is a long long way from his best. With the average sound of LA Guns album still fresh in my mind I must question his otherwise unblemished record. Production aside, it gets worse when you take a look at the songs. This is a more alternative sound - more garage punk and further removed from the melodic hard rock legacy guitarist Tracii Guns has left behind. Sure Tracii can play that's never been disputed, he is a guitar wizard, but these songs just don't go anywhere and there remains a very evident lack of decent hook or memorable riff to wrap your ears around. The song quality is simply bad. I can't find any redeeming features about this album. I struggled to find positives with the band's debut, but I know they won a lot of fans with their attitude. Attitude may be one thing, but you have to back it up with songs. I don't hear a lot on offer here for readers of this site. I was never a fan of lead singer London Legrand. This album only confirms and reinforces that, but alongside that fact is the musical path the band has chosen. Deadman's Ruin is the album's best track it a modern foot stomping punk rocker. White Trash shows some promise, as does Never Say Never and perhaps Porcelain Queen. But elsewhere it is a mess. The opening track Lords of the Mind so long a cornerstone of any release is nothing short of awful and I just imagine that the modern alternative of Criminal is far from what fans of the debut album want to hear. Tracii describes this as the album the band always wanted to make. I wonder how many fans of the debut will agree?
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| Beautiful Creatures Deuce | Spitfire Records SPT 15260-2 |
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The wait for this album to be released got longer when guitarist Alex Grossi had to be replaced and his parts re-recorded by new guy Mark Simpson. The Japanese got the original release, but the rest of the world, gets this slightly altered version. Joe Leste and Anthony Focx the backbone of both Beautiful Creatures and Bang Tango have put a lot of energy into this release and the result should please fans of the band. Deuce is even more aggressive, more contemporary and heavier than their debut album. And it is more focused and consistent than last year's Bang Tango release. Heavier and more enshrined in modern rock than Bang Tango, Beautiful Creatures run through 12 tracks (and one short instrumental passage) which seriously rock. You can't fault the energy, the big in your face production, or the band's conviction. One thing to note for some though the album isn't overly melodic. The vocals are gruff and the guitars are more riff than solo driven. Highlights are definitely Superfly, Freedom and the rather short Anyone. I wouldn't describe this as a modern rock album by any means, but as far as American heavy rock goes, it has that very contemporary guitar sound and production which tunes down the guitars to achieve a more hard hitting sound. Another highlight is the moody Empty, which slows the tempo a little, but not the intensity. The opening onslaught of the first five tracks is hard to fault, but I think the album falls away towards the end, suffering from a slight lack of variation. With Deuce, Beautiful Creatures are now more comparable to Stone Temple Pilots or Black Label Society.
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| Ric Ocasek Nexterday | Sanctuary Records |
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It happens more or less out of the blue. I can't explain it, but for whatever reason, sometimes an artist just hooks onto a winning combination of songs and album concept and without prior expectation, a classic is born. Ric Ocasek has an amazing legacy as a performer both with The Cars and as a solo performer and indeed, even as an industry player. Perhaps you could expect his best to be behind him, as it is with so many veteran performers. Not so! His solo career is in the spotlight again with the release of his 6th solo album Nexterday. I still rate his second album This Side Of Paradise as a personal favourite and think this album now sits alongside that as his second best release. Nexterday is classic Ocasek. It is an album that captures that Ocasek sound and mixes past influences with his love of modern technology and production effects. Where some solo albums have taken a heavier path, Nexterday returns to the experimental/new wave pop of The Cars. It is an album heavily influenced by electronic pop, mixed with the more traditional sound of guitars, drums and bass, all wrapped up in some very melodic and memorable songs. It is a formula that made The Cars superstars and I think any fan of the band and of Ocasek as a solo performer are going to love this release. This record has a real retro feel, touching on the early experimental work by The Cars as well as the later, more power pop of Ocasek's solo career. The record is largely mid-to-up tempo, and keeps things interesting throughout with some varied styles. The uptempo feel good pop/rock of Bottom Dollar is pure genius, while the more guitar driven rocker Don't Lose Me is typical of mid-80's Cars. The moody synth styled In A Little Bit is more typical of Ocasek's solo sound, showcasing the varied influences drawn into the record. Come On is pure pop and another classic Cars sounding track. Mood comes into play with the mellower I'm Thinking and the 80's retro of It Gets Crazy.
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| Cornerstone In Concert | Massacre Records MASCD0484 |
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Cornerstone is one of the classiest melodic hard rock bands in Europe right now and I don't think they can be far behind breaking out into a wider sphere. Featuring British vocalist Doogie White and former Royal Hunt bassist Steen Mogensen, the band has managed to get 3 studio albums out and is working on their 4th. In Concert is a CD and DVD release, although this review will concentrate on the CD/Audio as I have not yet seen the DVD. This release features a 'greatest hits' set recorded on tour in January and February 2005. 17 tracks (incl. a guitar solo and an intro track) are included, plus a video clip of highlights set to the music of Scream. The songs featured are of course, some of the band's best, including Unchosen One, Welcome To Forever, Some People Fly and Wounded Land. Also featured is a track from Doogie's time with Rainbow Black Masquerade. The performances are flawless and the music wholly enjoyable for any fan of the band. The sound quality and overall mix is crisp, sharp and clear. The only criticism of the album could be the flipside to the compliments just handed out. Being that the album sounds so flawless, the edge has been taken off the raw, rock n roll attitude of the band and the fact it is a live show where some flaws should naturally be expected. There is little interaction between the band and the crowd, which could be a product of the album being recorded over the tour, rather than on just one night.
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| Tramps White Lion Rocking The USA | Frontiers Records FRCD265 |
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Tramps White Lion was formed by White Lion vocalist Mike Tramp to give him an outlet to perform White Lion material outside his solo career. Increasingly moving in a different direction as a solo artist, Mike was somewhat frustrated at having to include White Lion tracks in his set list and then hearing complaints when he altered them to fit his solo style. With a White Lion re-union all but grounded due to guitarist Vito Bratta's lack of enthusiasm for returning to the music industry, a line up of unknown, but professional musicians was put together and Tramps White Lion was born. Rocking The USA is a double live album recorded over various nights on the group's first tour. This release mirror's Mike's own double solo live release of not too long ago. Some of the tracks are repeated, but obviously this is all White Lion material and a new line-up. But the vibe is the same the raw, no fuss live recording is perfect quality without sounding polished and has been expertly mixed by Michael Wagener. This isn't recorded from one gig (a personal preference), but doesn't sound disjointed either. The band puts in a solid performance, but this remains Mike Tramp's show. His voice is in perfect form throughout. A couple of small criticisms though no matter who emulates him, there is only one Vito Bratta and at times this is glaringly obvious, no matter how good his replacement. The other thing is despite a promise to perform the songs as honest renditions of the originals some of Tramp's solo influences can't help but creep in. For the most part these versions are great, but two personal favourites from the utterly essential Mane Attraction album Love Don't Come Easy and You're All That I Need are well short of their original grandeur. A couple of other tracks are similar Wait and Broken Heart for example but I refer back to the fact no one can emulate the great Vito Bratta. The rest of the album is very enjoyable and it's great to hear these classic songs performed with some passion. Hungry, Little Fighter, Lonely Nights, Tell Me and a monster 12 minute plus Radar Love all go down a storm with the crowd.
I don't think any fan of Tramp or White Lion will be disappointed with this release and one is only left wishing for a new studio album with the original band.
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| S.I.N. Equilibrium | Metal Heaven 00010 |
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It seems S.I.N. have received a kick in the ass. Their debut was solid, but the new album is a major step forward and should see them make further strides into being an important player in the European hard rock / melodic metal scene. Two major improvements for the band are immediate the song quality is better and the production quality is superb. You need great songs, but you also need a great sound to do those songs justice and Equilibrium features both elements. This is a very energetic album that features some melodic, yet ass kicking heavy rock and a couple of strong ballads. The band has refined their sound to align themselves more with the likes of Cornerstone and fellow label-mates and countrymen Saidian. The band is German, but features a British singer Jason Marks. No accented vocals here, but all the power of European hard rock. Marks has a voice that stays in the higher register for a lot of the time and can at times get a little much. Nail It To The Wall, One Small Voice are a couple of pounding rockers to open the album and It's Forever is a more melodic rocker, with Walk Away being a lush ballad with an orchestral touch. The Reason is heavy, but melodic again and Johnny's Running is another big hard rocker. For Getting Over Us changes the pace again, stripping things back with a mainly acoustic driven ballad. Winding Road finishes the album on a high, being the heaviest and hardest hitting song of the album.
The band have done what all should improve on various areas of the debut and grow with fan expectation. Anyone who owns the debut must check this out and I would think the band will pick up further new fans too.
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| Hotshot Hotshot | Split Finger Records SF-LD11804 |
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The backbone of Hotshot is vocalist, songwriter and producer Mike Pont. Bad luck and bad timing prevented talk of Hotshot becoming the next big thing becoming a reality, but with the underground hard rock scene as it is, there is always room for another archival release should it feature quality music. And for fans of early 90's American melodic hard rock, there's definitely some good music on offer here. Vocally, Pont compares with Shark Island's Richard Black and has that same raspy American hard rock delivery. There are 14 tracks and a spoken word intro (a phone message from Nikki Sixx), so there are a couple of fillers among the tracks and also a little variation in the sound quality. Recorded between 1986 and 1990, the material holds up pretty well more so if you are a die-hard fan of the Jersey scene that featured bands like Danger Danger and Arti Tisi. I'm sure I don't have to describe the style here guitar driven melodic hard rock in the vein of the bands just mentioned and drenched in layers of harmony vocals and some fist in the air choruses. In fact, this fits the musical scope of the unreleased but classic Arti Tisi album so if you liked that there is plenty more here to enjoy. The album featuring songs written by Pont with Al Pitrelli and Danger Danger's Steve West and Bruno Ravel; and performed by Pont with guests such as Pitrelli, West and Ravel, plus George Cintron, Chuck Bonfonte and Al Greenwood. Highlights include the melodic rock anthems Always In My Heart, I Can't Turn Back and Feels Like The First Time; hard rockers Love Don't Come Easy, Too Much Is Never Enough and Sweet Little Lucy, plus a couple of great ballads in Hold On and Bring On The Night.
But those that like to take a nostalgic view and consider it never too late for some good music from the golden era will find some real enjoyment here.
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| RocKarma RocKarma | Indie |
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There is so much to like with this record, but also a couple of little things holding it back. This is a very nice album it features some great songs, solid performances and a very tidy production. At the end of the day it comes back to being all very nice when it could have been just a little grittier. RocKarma is the brainchild of frontman and songwriter Damon Kelly. He also contributes the lead and rhythm guitars for the album which for me are the highlight here. Helping out Damon is Firehouse's Michael Foster (drums) and Allen McKenzie (bass), with Firehouse mainman Bill Leverty in charge of the production side of things. Recorded at Bill's studio, this album has a super sound and sonically is on par with the excellent Firehouse Prime Time release. RocKarma's sound is driven by some nice hard edged lead and rhythm guitar work, with most of the songs supported by a catchy lead riff. For the most part, it's a big crunchy guitar sound that Firehouse fans will definitely appreciate. Style wise we are talking a mix of Firehouse and old-school Motley Crue riffing, but the vocals add a musical twist. Damon's voice is quite lite and while the music has a harder edge approach, the vocals are softer and more melodic and I think at times the two don't quite match in balance. With a raspier or grittier vocal, the album would have been harder hitting and a little more in your face. That said, the vocals are very pleasant and can't be faulted as far as performance and work best on the AOR tunes. There is also a nice assortment of harmony vocals and layered choruses. Where it works best is where the song presents more opportunity for those harmonies such as the very melodic rock/AOR of Rock All Night, That's All, The Other Side and the anthemic ballad Feels Like I'm Falling. Feels Like I'm Falling is one of the picks of the album with a sweet chorus and memorable riff. Where it doesn't quite work is on a couple of tracks which miss that hard edge riff to drive it such as Honestly and Our Love Is Here To Stay. The mid-tempo rocker Fool Inside has a nice riff, but lacks a better chorus.
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| Schoolboy Crush Good Times, Bad Boys | Suncity Records SR002 |
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New Australian label Suncity Records strike with their second release a first time CD release for LA rockers Schoolboy Crush. This is their never officially released second album, following the 1989 debut Electric Playground. Stylistically the band offer their take on the American hard rock style, including a little melodic hard rock, a little sleaze and a little metal for good measure. Remastered by Blue Tears' Gregg Fulkerson, the sound holds up as well as possible, but the quality is varied across the record. Grouping the tracks to match in the sense of sonic quality would have given the album a better flow and perhaps better consistency, as some of the heavier tracks also sound better, but the arrangement of the tracks creates ups and downs during the album. For example, Reap The Whirlwind is clearly metal, bordering on Metallica, but shortly thereafter At The Alter is seemingly celebrating cock rock. Best tracks are the more straight forward Calling Out; the bluesy hard rock of I Pledge My Allegiance and the opening track Such A Waste. Not great is the sleazy and lyrically daft Bad Bitch; the go nowhere At The Alter and the sub-par production quality of To Your Knees.
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| Taxiride Axiomatic | Indie |
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Aussie modern rockers Taxiride are back with a slightly revised line-up and are now an indie act after requesting out with their record label. I liked the band's debut, but loved the last album Garage Mahal. It was one of 2002's best releases certainly in the modern genre. Axiomatic is an about face for the band. While Garage Mahal turned up the guitars and the energy, Axiomatic strips them back and increases the synth workload. Taxiride are now a more atmospheric modern pop outfit with more emphasis on keyboards and a retro guitar sound mixed with various high-tech production effects and samples. They remain highly original and a style unto themselves, but for me, a big part of the joy is gone and I think that overall, this is a rather dull album. The guys are still capable of writing great songs. The atmospheric rock ballad Everything & Nothing will suit the ears of old fans and while the lead single Oh Yeah disappointed at first, it does grow on you. Stone is an interesting track and The Nation is more akin to the band's traditional breezy rock sound. However, tracks like The Fatal And The Fragile and San Francisco take forever to go nowhere. Even worse, the guys wrap the album around the two worst songs. The opening track Finally Falling is painfully slow and non-conclusive and the closer Tripper Red is equally as dull. Creating a mood is one thing putting listeners to sleep is another.
Style aside, the band definitely does themselves no favors with a few tracks, and the due to some super slow tracks, the general flow and momentum of the album is hard to appreciate.
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| Rebellion Sagas Of Iceland Vol. 1 | Massacre Records |
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Rebellion are about as heavy as they get for this site. Their album is quite a concept The History Of The Vikings no less, with this Volume 1 (of 3) titled Sagas Of Iceland. So yeah, it takes some concentration to follow the story, but if you care to abandon that, some solid metal riffing is on offer. Musically speaking these guys deliver a traditional brand of European metal, with a sonically impressive rhythm section and some thick and heavy riffing. The vocals run the gamut from restrained to Bruce Dickinson high pitched screaming, to GWAR style gruffness. Definitely not for everyone and don't expect any chorus-verse-chorus-verse arrangements! At times the tempo is frenzied and drowning in distorted vocals and at other times it isn't much heavier than Iron Maiden. It's a Massacre Records release in any regard and fits that label's style perfectly. The album is well recorded and produced, which is all anyone could ask for. I do think the delivery and the subject matter limit their audience, but personal tastes will dictate how enjoyable this concept album is. |
| Jack Wagner Dancing In The Moonlight | Indie |
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I just happened to stumble upon this CD, so I may as well rate it. I'm still not sure why I'm bothering
.perhaps just to warn others. Jack Wagner is a hybrid between an actor and a singer, the reverse of Rick Springfield (a singer who acted). He used to be a cult AOR favourite and perhaps his first few records will retain that status. But right now he has moved on into middle age and this record is stuck very firmly in soul/pop middle of the road territory. This album is very sweet, very pop, and so lite that it makes Air Supply sound like Morbid Death. The song titles say it all - Shoo Be Doo Dah, Soul Reason and Give It To Me. Indeed. I'm sure those middle ages housewives would still like to, but the rest of us should avoid. |
| Various Hollywood Hairspray Vol. 4 | Perris Records PER1592 |
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Perris Records' series of glam compilations reaches number 4. Another 14 tracks spread over nearly an hour showcases the best the genre currently has on offer. Featured on this volume are the likes of Zan Clan, Tigertailz, Vains Of Jenna, Teenage Casket Company, Midnight Circus and more. The production quality over the tracks featured is extremely varied a few are crisp and clear, but the majority of others are muddy and below average. Highlights as far as I'm concerned are Zan Clan's excellent Go Go Go; United Enemies' energetic punk of Love Kills; the Vains Of Jenna track (even though the production is average) and Enemies SWE's Too Much. Lowlights the very muddy The New Romantics track; the overall average production qualities and I was kind of disappointed in the Tigertailz track Dirty Needles. For glam die-hards only. |
