Tue
15
Feb

CITY OF LIGHTS - Before The Sun Sets (2022)

Score: 
90
Categories: 
Reviews

City Of Lights is one of the better new names being shuffled onto an increasingly weary buying public by Frontiers Records. It is an album that straddles the line between AOR and hard rock, that is - keyboards a plenty, but with guitars clearly dominating.

This is a collaboration between British newcomer songwriter/guitarist Neil Austin and Greek vocal ‘sensation’ Manos Fatsis. Manos has a quite heavy accent on the vocals at times, but his tone is pleasant – standing alongside the likes of Ronnie Romero or Tony Martin – tough but melodic.

Best appeal of this album is some very catchy songs – varied in flavour, but all delivering a decent chorus and I must say that production is higher than average in recent times.

Maybe because Degreed alumni Robin and Mats Eriksson form the powerful rhythm section.

There are a few of songs here that take a more melodic leaning that will no doubt stand out as instant favourites with the AOR crowd.

 
Tue
15
Feb

LIONVILLE - So Close To Heaven (2022)

Score: 
80
Categories: 
Reviews

The fifth Lionville album in 9 years sees a drop in quality in both songwriting and production values from their quite marvellous 4th album and indeed, the 3 that preceded that.

The usually divine vocals of Lars Safsund (Work Of Art) seem a little lost in the keyboard heavy mix here and are certainly not as sharp and decisive as we’re used to.

Songwriting seems to be stuck in auto-pilot here – there’s nothing that differs in any way from the material already delivered – and as pointed out, in better quality.

The opening track features the vocal talents of Robbie LaBlanc in a duet performance that overshadows Lars’ own vocal.

It’s still one of the better pure-Euro AOR albums and bands around, with Stefano Lionetti, and Lars doing their best to deliver on what was probably a reduced recording budget.

 
Tue
15
Feb

GROUNDBREAKER - Soul To Soul (2021)

Score: 
75
Categories: 
Reviews

A major step down from the debut in both production and songwriting. Frontiers have again used their ‘artistic license’ to swap out key personnel which made the original project appealing, only to replace them with someone that changes the sound. In this case it is in-house go-to-guy Alessandro Del Vecchio, who wrote, produced, mixed and mastered this as well as playing keyboards.

The masterful ingredient of Work Of Art’s Robert Sall is gone and his unique writing and production techniques have gone, leaving this as another relatively generic AOR project.

The only redeeming feature is the wonderful Steve Overland on vocals, but he has appeared elsewhere enough now that not every project is an essential purchase.

Too many keyboards and not enough great songs.

 
Thu
03
Feb

JIM PETERIK & WORLD STAGE - Tigress (2021)

Score: 
70
Categories: 
Reviews

AOR legend Jim Peterik’s latest World Stage project is one that highlights some great female talent in our genre, featuring the usual World Stage/Peterik house band alongside guitarist Jennifer Batten and some prominent female vocalists such as Cathy Richardson (now fronting Jefferson Starship), Janet Gardner (ex-Vixen), Mindi Abair, Kate French, Kimi Hayes, Chez Kane, Rosa Laricchiuta (Black Rose Maze, Trans-Siberian Orchestra) and some fresh new talent.

Highlights include the country-infused Prom Night In Pontiac (Feat. Chloe Lowery), the wonderful Chez Kane on A Cappella; the big ballad Lazarus Heart (Janet Gardner) and Tigress (Kate French vocals and Abigail Stanshmidt Violin) and Dear Life (Lindsay Kent vocals and Sina Drums).

The always amazing Cathy Richardson continues to belt it out on Living For The Moment and Full Moon Crazy plus two other tracks.

Given the usual near-perfection of anything JP is involved in, this one falls short on expectations.

Half the album is great and the other lacks the star power needed for a knockout album. The songs are there, but perhaps the energy isn’t quite. And the production sounds a little rawer than the usual very crisp and precise delivery we are used to from Jim Peterik and team.

 
Fri
21
Jan

HEARTLAND - Into The Future (2021)

Score: 
94
Categories: 
Reviews

Heartland’s latest incarnation is the first since 1995 to be without frontman Chris Ousey’s musical partner Steve Morris. While Steve continues a break, the album has been co-written and performed by Chris with Barish Kepic (ex Jaded Heart) and the most legendary Mike Slamer. The album also features Ged Rylands, Wayne Banks and David Anthony, who round out the recording lineup.

While Ousey is obviously the main man behind Heartland’s sound, he isn’t the only ingredient that made so many wonderful albums over the years. Thankfully everyone else involved have slipped into place nicely and the sound of Into The Future isn’t a great departure from previous records.

Mike Slamer can be heard adding his touches all over the record – his style fitting this record perfectly. At the same time, he hasn’t transformed the band into a Slamer project. This is not as typical as he has sounded on his records over the years. All in all, it is a nice amalgamation of personalities.

At the heart of the matter is we have a great new 12 track Heartland album here, that sounds like Heartland. As is always the case with any Heartland record, the melodies and hooks take several listens to evolve and develop into the ear worms they end up being.

At times the band stretch the tempo into a heavier realm, Slamer making his mark such as on Caught Up. The pure AOR of A Living Thing is about as instant as any Heartland hook gets and is an immediate stand out.

Plenty of highlights throughout – Not Guilty, A Foreign Land, Climbing Your Wall and When The Band Plays to name a few.

Another great Heartland record. This time featuring two of my favourite people in the melodic world – vocalist Chris Ousey and the versatile Mike Slamer. It’s a no brainer!

 
Thu
20
Jan

TAO - Prophecy (2021)

Score: 
93
Categories: 
Reviews

This is one of only a few albums I’ve played recently and immediately thought – winner!

It only took one listen to know this is an album that deserves a lot of attention, the subsequent listens only confirmed that high praise was in order.

Tao features Karen Fell (vocals), Chris Gould (ex-Serpentine)(guitars) and Dave Rosingana (bass) and additional musicians Darrel Treece-Birch (Ten)(keyboards) and Brian Webster (drums).

The album is written and produced by Ten mastermind Gary Hughes.

This album hits several different marks. First the female lead vocals are just perfect for the energy and delivery of these songs, they are highly engaging and pure ear candy. Second factor is the man himself, Gary Hughes. This album is a return to his best AOR songwriting, mirroring the debut Ten album and his own solo releases. Just brilliant songs carried by Karen Fell in a way classic AOR albums used to be. Plus its not just AOR, this thing rocks in places, just like Ten do at various times.

To class this album as Ten with female vocals would be simplistic, but every bit true.

A powerful production, a band feel and some highly engaging songs make this one an essential purchase for fans of Ten and female fronted melodic rock.

I only got the digital audio for this one, but I need to get the CD pronto.

 
Thu
20
Jan

PETER GOALBY - Easy With The Heartaches (2021)

Score: 
95
Categories: 
Reviews

This is quite simply a delightful pure AOR album of archived demos from former Uriah Heep vocalist Pete Goalby. His voice oozes passion and melody and the songs are glorious.

Its one 80s AOR anthem after another and the ‘demo’ angle shouldn’t be over-played as most of these tracks sound fuller than the term demo normally gives credit for.

Goalby plays guitar, with Eddy Morton providing solos. The always fabulous Paul Hodson gets credit for bass and drum programming, which is tastefully done, plus all keyboards, which are all over these great songs.

I must admit to having chased Pete Goalby for his solo demos for my own label but missing out just means I can pour my enthusiasm into a killer review – which is what this collection of songs deserves.

Absolutely prime British influenced pure AOR and melodic rock with a strong 80s vibe and some really warm, engaging lead vocals from Pete.

One of my favourite purchases of 2021.

 
Thu
20
Jan

NESTOR - Kids In A Ghost Town (2021)

Score: 
95
Categories: 
Reviews

Its all anyone keeps asking – ‘what do you think of the Nestor’?! Well, folks might remember me championing the band from the time their first official single was released, so it should be no surprise that I rate the album very highly indeed and think the guys have done an amazing job of recapturing the glory days.

While the album might sound very familiar, with the various nods to classic songs of the past and some refurbished refrains, it still manages to sum up the fun elements of 80s melodic rock and the days of anthemic radio friendly hits and big soaring ballads.

The vocals are a strong point as is the equal mix of guitar and keyboards and a big production that has had some time and effort put into it.

Some have called Nestor the future of melodic rock, but I think they are providing a different service for fans - delivering one of the best albums of classic yesteryear classic AOR and melodic rock. A throwback to the glory days rather than being a band that pushes boundaries forward into the future as some other acts do.

The fast is we need both, and Nestor certainly have delivered one of the highest quality albums of this kind in recent memory. Its such a fan album with a few heartfelt ballads, it really is almost impossible to find any faults. Here’s to more glimpses into the past from the guys.

 
Thu
20
Jan

DARK HEART - Dark Heart (2021)

Score: 
90
Categories: 
Reviews

UK rock band Dark Heart features vocalist Alan Clark and guitarist Nick Catterick (both of Change Of Heart) and are joined by drummer Pete Newdeck, (who also handles the very tasty production and balanced mix) and bassist Josh Williams. Rather expecting another dose of quality AOR in the vein of Change Of Heart, I was rather surprised to hear the album is instead inspired by some Dokken-esque guitar fuelled melodic metal heroics, with a sound I think both George Lynch and Don Dokken would be impressed with.

It features some terrific heavy guitar work and quality vocals, supported by some well written songs that both vary in pace and delivery style. It’s a real old-fashioned hard rock/melodic metal album that is a great pleasure to listen to. Its both moody and uplifting when the individual song calls for it.

In these days of fabricated projects, it’s a real band album and a winning collaboration by all involved.

 
Wed
19
Jan

GIANT - Shifting Time (2022)

Score: 
85
Categories: 
Reviews

Frontiers Records continue their obsession with a Dann Huff-less Giant, something which for most fans just isn’t going to fly, no matter how you dress it up. It ain’t and never will be Giant guys.

Lineup changes are part of life, but there are specific circumstances when removing one member is akin to removing the soul of the band. And under those circumstances, its time for a new name, like when Giuffria minus David Glen Eisley morphed into House Of Lords for example.

Dann Huff is Giant. He’s not just one member being removed – he’s the vocalist, the main songwriter and guitarist.

Frontiers tried this once before with the Terry Brock/John Roth combo joining the original rhythm section. It wasn’t Giant either but at least was a solid American sounding melodic rock album I personally file alongside my Terry Brock solo CDs.

So now we have John Roth and Giant’s bass/drum combo returning with the great Kent Hilli (Perfect Plan) on vocals. Inspired choice you would think and yes, Kent sings his heart out, but he only replicates the Huff sound on a few tracks. Given his band’s amazing cover of the Giant classic ‘Stay’, I figured he would be closer to Dann’s vocal throughout.

But he doesn’t. And this to me sounds less Giant than ‘Promise Land’ album did. This time with Alessandro Del Vecchio on production and co-writing and a range of Frontiers’ other European writing regulars involved, it sounds more like a typical Frontiers Euro-melodic rock project.

That said, the guys have only picked some high quality of songs available to them and there are a few highlights here that I happily say are among the best Euro-rock songs of recent times. More specifically, the rockers Don’t Say A Word and Never Die Young and the big ballad Anna Lee.

I don’t think the production is as tight as I expected. The guitar sound is quite hollow, and the drums lack major impact, two assets of Giant’s two main studio albums that were impeccable and remarkable.

Well performed and well written and a solid Euro-AOR album overall, that I will buy, but I’ll file alongside my Perfect Plan CDs, as for the most part, that’s what the sound most closely mimics.

 

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