Mon
06
Feb

Harem Scarem (Track By Track)

Artist: 
Categories: 
Interviews

EXCLUSIVE - HARRY PREVIEWS THE ALBUM!:
Harem Scarem's long anticipated return album Weight Of The World has already been confirmed for release February 21 in Japan and March 11 in Europe, via Now & Then / Frontiers Records.
Now, I am pleased to offer this exclusive preview of the album's tracks - with descriptions from vocalist Harry Hess.
The album is being mastered this week in Toronto.
At the start of November, I already detailed the involvement of ex-Harem Scarem drummer and part-time vocalist Darren Smith, who was asked by Harry Hess to supply background vocals for all the songs on the new album. The idea was to have the vocal feel similar to the first two albums.
Let's see what Harry thinks of the albums songs. (Comments in Orange)

Weight Of The World (Hess/Lesperance)
The tittle track of the record. This song encompasses everything that we have done as songwriters in the last 11 years. It's got everything in it. Big guitars, big drums big backing vocals, very melodic and a great solo. Lyrically it is about how the pressures of everyday life can sometimes drag you down, but to always stay positive. We try to convey an uplifting message in all of our songs.
Killing Me (Hess/Lesperance)
This songs is about the how some relationships can be so tough - it's like your constantly at war with the person your supposed to be in love with. This is also one of my favourite chorus's and I love the verse.
Outside Your Window (Hess/Lesperance)
This songs reminds me of the writing we were doing in the Mood Swing days. Lyrically it is very similar to songs like No Justice and Savours Never Cry. If I had to pick a song to play for someone from the new record this would be the one.
All I Want (Hess/Lesperance)
This songs has one of my favourite chorus's on the record. I think it is a great cross between hard and heavy guitars and a very melodic chorus. The song is about never being satisfied in love and life.
This Ain't Over (Hess)
A classic Harem Scarem type ballad with hints of Queen in the vocal performance and melodies. Having real piano, strings and other acoustic instruments makes this one a little different from the rest of the record but very necessary to break up the heaviness of so many up tempo rock tracks.
Lyrically it's about not wanting to say goodbye.

Internude (Lesperance) An acoustic instrumental song that links the two songs it sits between.
You Ruined Everything (Hess/Lesperance)
This song has light hearted and humorous lyrics with a very up tempo driving grove. With big gang backing vocals in the chorus this should be great to do live (so everyone can sing along).
Charmed Life (Hess/Lesperance)
This is a song idea that I started working on about a year and a half ago but didn't really suit the style of what we were doing back then. It's very up tempo guitar driven song that will be great to play live.
The lyrics are about lust / love and how life is perfect when it all comes together.

If You (Hess/Lesperance)
From a songwriting perspective this is the closet to Rubber that we got on this latest record. We decided it would need the heavy production treatment that the rest of the songs on the record would have. This kind of a song is all about melody and fun catchy lyrics. The lyrics are meant to be funny and not taken literally.
See Saw (Lesperance) A full guitar instrumental track.
Voice Inside (Hess/Lesperance)
Initially titled Overload. This song is probably the most classic rock song we have writing in a long time maybe ever. We approached it much like Change Comes Around in the production style and lyrically it's all 'Rock'. Cool breakdown as well.
End Of Time (Hess/Lesperance)(Japanese Bonus Track)
This songs reminds me of Stranger Than Love in it's grove and cord changes. Lyrically it is a love song about staying together until the 'End Of Time'.

 

 
Mon
06
Feb

VAUGHN (Track X Track)

Artist: 
Categories: 
Interviews

FEARLESS
Danny Vaughn - This couldn't be anything else but an opening track. It's an anthem in every sense of the word. Complete with a giant, sing along part at the end. Michael brought out the cannons for the drum parts. (I think he's been working out). Lyrically, it's about befriending or loving any one that you choose regardless of height, weight, color, status, religion, or any other conditions that get placed on us. To live Fearlessly is to live righteously and happily regardless of how you are perceived.
Michael C. Arbeeny - The second I heard this one I knew we had a winner. Has that WE ARE THE CHAMPIONS vibe one would hear at a sporting event. Gets the blood pumpin and makes you want to turn up the stereo all the way.

HAUNTED
DV - This is one of 2 co-writes on the cd. My friend Darren Futch from the band FLINT was my sounding board as I played with different ways of presenting the story. A simple song about two people living in the same town that are perfect for each other but never quite seem to get to meet. Plenty of pathos here! There's a problem child on every record and this one was ours. We kept rewriting it and changing it to improve it right up until the last moment. All praise to PJ for coming up with the monster guitar part over the choruses that I didn't get at first!
MCA - Another one that spoke up loud and clear the first time I heard it. The album's production "PROBLEM CHILD" but well worth every gray hair I got from it!! A sad song that reminds us love isnt sometimes fair. HUGE chorus.......

FLY AWAY
DV - This guitar riff came on me one day and simply wouldn't leave me alone. I would play it over and over hypnotically telling myself "I know there's a song in here somewhere!". It's about my own life where, on a few recent occasions, my wife and I have had to pack up our belongings and move on from a place that we thought we would make our home. Sometimes fate has other plans.
MCA - My personal Fave on the album. An airy riff and free-form rhythm make this one move nicely. A melancholy story, but with an optimistic future saying "Hey we gave it our best shot; time to move on"

MILLION MILES OF ROAD
DV -Another autobiographical one. I had a birthday recently and I was musing on what has occurred in my life so far and what I may or may not have learned. It's simple, but straight to the point.
MCA - Great anthem Realizing that, although you might not be exactly where you want, being where you are aint that bad either!!! The moral I get is "enjoy the trip as well as striving to get to the finish line"

WAS THERE A MOMENT
DV -This one is a co-write between myself and John Liedersdorff of the band BLOWUP. We got together because we had a hunch that our styles would merge well even though we write different types of songs. We were pleasantly surprised. This was one of the most painless collaborations I've ever done. Hope to do some more. Another short and to the point rocker!
MCA - Taking on different production ideas was a great and fulfilling challenge on this album. "MOMENT" pushed us into a modern realm that I really enjoyed. A more punky straight ahead approach worked like a charm. Cut 2 totally different tracks for this one to make it great.

WHEN YOU WALK AWAY
DV - I've had this idea floating around for a while. Lyrically it's about confronting the truth of my wife's having been diagnosed with a fatal form of leukemia and how we both were going to try and deal with the inevitable outcome. I'm happy to say that she has beat it and is in remission. But when this was written, the reality of death was very close. It's deeply personal and I think Kyle's performance really captures the loneliness of the song.
MCA - We had huge instrumentation recorded for this one, and after realizing the power of the lone vocal and the piano, we left most everything out. In my opinion, Danny's best ballad to date. It takes you somewhere for a few minutes, as any great song should. Also reminds me just how talented Kyle is!!

DULCIMER STREET
DV - This is the only older song from a previous home demo that got put on the record. Paul Orofino came up with the idea of a cool drum loop like Peter Gabriel and we all followed with some really unusual instrumentation. Definitely an oddball! It is about a mythical home coming of a beaten Southern regiment in the times of the American Civil War. It's not really pro south as much as it is celebrating the end of a long war and the big party that follows! (although I think the party part is strictly fictional).
MCA - Again, we experimented with different drum sounds and production ideas. This one found me with 3 dirty bath towels draped over the drums. At first I had a hard time "getting" this one, but as the song progressed, it became a monster. Great harnonies on the chorus.

JUST LIKE THAT
DV - One of my favorites. Straight ahead, American rock tale about people that I most admire in this world. They live life on their terms. Fearlessly. Also features a good friend, Lisa Bekker on vocals with me. Boys, don't all fall in love at once!
MCA - We had too much material for SOLDIERS AND SAILORS, so this one got shelved. PJ laid in a great guitar riff, and this one was ready in 2 days. Another song reminding us that life is short; enjoy the ride while you can.

CARRY ME HOME
DV - To all musicians that are toying with the idea of spending a lot of money on home studio equipment, it's worth it! When I played all my new ideas for Michael with just me and an acoustic guitar, he wasn't getting this one. So I spent a week working on my new Roland home studio and presented everybody with a much more worked up idea and it was in! It's got some really outstanding bass playing on it and is one of the coolest grooves I've ever written. Lyrically? Hmmmmm... I think you'll have to decide for yourself what's going on here. I think I'd been reading a lot of Carlos Castaneda at the time!
MCA - If I may regress to the shallow depths of being a drummer for a second I can't wait to get a copy of the CD because I think this will be my favorite VAUGHN song to have sex to!!! Just a slow, sexy groove that builds to a fantastic chaotic ending. A perfect album closer.

MCA There you have it. Hope everyone enjoys this record as much as we do!!!!

 

 
Sun
05
Feb

NOISEWORKS - Evolution (Album Review, 2022)

information persons: 
content: 
85%
Label: 
Indie
Artist: 
Score: 
85
Categories: 
Reviews

Aussie melodic rock legends Noiseworks are back with a reunion tour and a ‘new’ album that was recorded several years back but shelved for various reasons. Most notably the cancer battle of guitarist Stuart Fraser, which would eventually claim his life.

So this album and tour is a tribute to him – with Southern Sons’ Jack Jones filling in for the live dates.

The official fourth and likely final Noiseworks album is a mix of classic and modern, with the band reliving its trademark sound from the first two albums in places, but then also delving into the heavier, groovier feel of the lesser liked third album.

The mix works pretty well here, but the standout songs are clearly the ones that lean towards the classic/melodic side. The opener Heart & Soul is among the band’s best tracks – a great feel good anthem.

Amerika is another highlight – a song which is quite literally half classic (the chorus) and half modern and heavier (the verses).

Elsewhere the ballad Long Way delivers a nice sentiment, the decade old Sunshine sounds better today than it did when originally released as a single and Low is a modern moody rocker with a killer vocal from the always amazing Jon StevensOne In A Million picks up the pace with another good hook before delving back into the album’s familiar mid-tempo groove on Let It Go.

Unfortunately the album is over too soon, and closes on a low note, as the acoustic ballad Ocean Girl isn’t as strong as the rest of the material and the 50 second Touch (Epitaph) isn’t long enough to go anywhere.

All in all, take 34 minutes minus the last two tracks, you get 28 minutes of high quality modern melodic rock, excellently produced and performed by some of Australia’s best musicians.

A great long EP, or a little short for an album.

To add to the conversation, the physical CD packaging is a disgrace – a thin cardboard gatefold with no booklet, no lyrics, little info and bad album cover art. Not much effort has been put into this aspect.

Tags: 
 
Fri
13
Jan

JAIME KYLE - Wild One (Album Review, 2022)

Score: 
92
Categories: 
Reviews

The melodic rock scene is crying out for memorable, well-written songs with heart and passion. And here’s 12 of them in one neat package. The always reliable Jaime Kyle returns with her first studio album in over twenty years.

Proving she’s lost none of the charm, eloquence and melodic prowess, ‘Wild One’ is a mature rock album that crosses several genres and styles but remains cohesive and consistent through that journey.

Kicking off with the most openly AOR track of the album, the title track is a simple melody, yet complex arrangement. Instantly memorable, the song proves Kyle’s cross-genre songwriting chops and a tweak to the mix in any direction could see the song a hit for any pop, country or rock artist.

The diversity of the album is on immediate display with the bluesy rocker Driving With The Brakes On which moves smoothly to the modern pop rock of Change – another really strong song.

The 6-minute ballad Blue Night is simply beautiful and takes us through three relatively laid back but classy songs before the album retains to Jaime’s melodic rock roots on Kiss Dirt.

Dirty Goodbye takes listeners on a midwestern rock n roll rampage before the album is concluded with another big ballad and perhaps the most commercial pop/country song of the while affair.

Some fans may yearn for a more traditional melodic rock sound across the whole record, but it’s been a long time since Jaime’s 1992 debut and this album shows off all her songwriting skills accumulated during a long writing career.

It is a very fine mature singer/songwriter album, with 12 memorable songs and some outstanding lead vocals and some really tasty guitar work thanks to a number of special guests such as Bernie Marsden and Howard Leese.

 
Tue
06
Dec

NOISEWORKS - Evolution (Album Review, 2022)

Score: 
85
Categories: 
Reviews

Aussie melodic rock legends Noiseworks are back with a reunion tour and a ‘new’ album that was recorded several years back but shelved for various reasons. Most notably the cancer battle of guitarist Stuart Fraser, which would eventually claim his life.

So this album and tour is a tribute to him – with Southern Sons’ Jack Jones filling in for the live dates.

The official fourth and likely final Noiseworks album is a mix of classic and modern, with the band reliving its trademark sound from the first two albums in places, but then also delving into the heavier, groovier feel of the lesser liked third album.

The mix works pretty well here, but the standout songs are clearly the ones that lean towards the classic/melodic side. The opener Heart & Soul is among the band’s best tracks – a great feel good anthem.

Amerika is another highlight – a song which is quite literally half classic (the chorus) and half modern and heavier (the verses).

Elsewhere the ballad Long Way delivers a nice sentiment, the decade old Sunshine sounds better today than it did when originally released as a single and Low is a modern moody rocker with a killer vocal from the always amazing Jon Stevens. One In A Million picks up the pace with another good hook before delving back into the album’s familiar mid-tempo groove on Let It Go.

Unfortunately the album is over too soon, and closes on a low note, as the acoustic ballad Ocean Girl isn’t as strong as the rest of the material and the 50 second Touch (Epitaph) isn’t long enough to go anywhere.

All in all, take 34 minutes minus the last two tracks, you get 28 minutes of high quality modern melodic rock, excellently produced and performed by some of Australia’s best musicians.

A great long EP, or a little short for an album.

To add to the conversation, the physical CD packaging is a disgrace – a thin cardboard gatefold with no booklet, no lyrics, little info and bad album cover art. Not much effort has been put into this aspect.

 
Mon
21
Nov

SUNSTORM - Brothers In Arms (Album Review, 2022)

Score: 
75
Categories: 
Reviews

As is more often the case these days with Frontiers, you are left wishing better decisions had been made.

Who do you call when you want to give a big ‘fuck you’ to one of your major artists who won’t play ball? Mr Everywhere, Ronnie Romero of course, who stands in for a second time for the departed Joe Lynn Turner who wanted no more Sunstorm projects – and who could blame him.

Sadly the label decided to continue the name rather than call it a day, so this has almost nothing to do with the Sunstorm brand that received huge acclaim for the first 3 records before diverting from the formula.

The first “new” Sunstorm album, 2021’s Afterlife featured one killer track I can recall and this has a few of its own, but there isn’t a strong identity here like those first 3 records.

Its all very safe, very formulaic and very predictable, even with the warmth of Ronnie’s always strong vocals.

One for Ronnie fans, not so much for those looking to extend the ‘classic’ Sunstorm legacy.

 
Mon
21
Nov

SAMMY HAGAR & THE CIRCLE - Crazy Times (Album Review, 2022)

Score: 
70
Categories: 
Reviews

Sammy Hagar is always going to be one of my favourites. I just love his approach, his attitude and for the most part, his songs. His 80s output was untouchable and even his post Van Halen 90s material was pretty consistent for a period.

In recent years the output has continued, but with varied results. Different band names, different styled solo albums – its all been a little hold and cold. A little frustrating when coming from a place of love and respect for an artist.

Now its time for the most used lineup of recent years to come into the studio for an all-new album. Michael Anthony, Vic Johnson and Jason Bonham pound out 37 minutes of mostly hard driving rock n roll, with that bluesy classic rock edge. Its great to hear Sammy fully plugged in and rocking it pretty hard on this record, which also features a great, raw, live sound.

While it does rock and it’s a fun record to crank in the car, I still miss Sammy Hagar the singer/songwriter – the guy responsible for Standing Hampton, Three Lock Box, Danger Zone, Marching To Mars and I Never Said Goodbye. Not being heavy for the sake of it or anything for that matter – just delivering great songs.

Now Sammy and band sound great here – but it’s a mood album – and therefore for me won’t get nearly as much as some of the albums in his vast catalogue.

Disliking Elvis Costello with a passion doesn’t help – the cover of Pump It Up is pretty forgettable, plus there’s a 2-minute acoustic intro song to the album – that leaves just half an hour of songs, which leaves no room for the occasional filler, which this album still has.

Album highlight is a classic old-school Sammy track Father Time. Love that!

Great to hear Sammy still rocking and recording, but this is an album I’ll pick tracks from rather than repeat start to finish.

 
Mon
21
Nov

GENERATION RADIO - Generation Radio (Album Review, 2022)

Score: 
92
Categories: 
Reviews

Generation Radio is one of the few organic supergroups of recent years. Something that came together naturally, rather than cobbled together in an office somewhere.

Formed with the axis of Chicago’s Jason Scheff, Deen Castronovo (now departed to concentrate soley on his Journey duties) and Rascall Flatts frontman Jay DeMarcus, the band chisel out a commercial radio friendly sound that would have had them all over radio in the 80s and 90s.

It’s a laid-back album for the most part, reflective and mature, but not without some rowdier moments where the guitars get cranked up and the tempo shuffled into overdrive.

At the heart of it however, is songs and harmonies. Both are glorious – the instantly appealing midwestern style AOR/MOR takes the listener back to the best of Chicago, Richard Marx, Journey and a more cult name in this scene – the wonderful King Of Hearts.

Its sweet and sugary and everything AOR fans loved about big budget recordings of the heydays. But you know what else it is – authentic. The band gel together and it all sounds very natural. They wrote and recorded together and it so clearly shows the difference in quality when a band actually works as a band.

The album’s first 9 tracks are near perfect, its only with the Chris Rodriguez sung song that it comes to an end, closing then with a lacklustre ballad.

Track one to nine are almost impossibly good smooth, old school, commercial American AOR.

 
Mon
21
Nov

SKID ROW - The Gang's All Here (Album Review, 2022)

Score: 
94
Categories: 
Reviews

Skid Row make the smartest decision they have in decades, by adding the world’s best frontman/rock vocalist in Erik Gronwall, who’s natural energy channels the best of the band’s early years. It seems to have worked, with the band more discussed in recent months than I have seen since the 90s.

‘The Gang’s All Here’ is the band’s most natural sounding record and most energetic since the masterpiece that was ‘Slave To The Grind’, recapturing the vibe of their debut along the way.

And it seems the decision to return to their roots was an organic one, as the album was written before Erik’s arrival, but as if fortune was told, it is the perfect beast for Erik to do his thing with and sounds like a completely natural partnership.

The album rocks from start to finish, without repeating itself, with only the excellent 7-minute epic October’s Song slowing the mood down.

The production is sharp and chunky, everything I love about a great hard rock record and Erik just nails the vocals and the whole continuation of the Skid Row legacy.

Fan reaction has already been overwhelmingly positive so if you’re still on the fence, get off it!

I can already imagine how great the next album will sound with Erik’s full involvement. This album has breathed new life into a classic hard rock band.

 
Mon
22
Aug

DAVID PAICH - Forgotten Toys (Review, 2022)

Score: 
92
Categories: 
Reviews

DAVID PAICH is of course one of the founding members of Grammy Award winning and multi-million record selling band TOTO. As a backbone of the band, he has earnt the respect and admiration of millions of fans. He is also an in-demand session musician that has made a career out of making other people look great, rarely seeking time in the spotlight for himself. It’s hard to believe that it has taken 5 decades in the music business to finally put his own name on a record.

On his debut solo release ‘Forgotten Toys’, David Paich finally corrects that oversight. TOTO fans are well versed in his brilliance, now it’s time for the rest of the world to learn the truth.

The Toto sound is naturally in his DNA and the way he writes, so there are immediate similarities and familiarities to the chart-topping band on ‘Forgotten Toys’. But there is also a lot more. The full musical personality, the heart and soul of David Paich the songwriter and arranger is on show.

The EP may be called ‘Forgotten Toys’, but the ideas that make up the debut solo release from the Toto founding member and principle songwriter DAVID PAICH have remained in the back of his mind for many years. The self-described foundation of “Half written/half ideas” came to be expanded upon during the extended Covid lockdown, a period where David finally found himself with spare time. Emboldened with “incredible encouragement’, he set about making the first music outside of his role in Toto since the band started some 45 years ago.

David Paich may be expressing himself outside of the band, but he still enlisted all his friends to help bring these songs to life. Toto brethren Joseph Williams and Steve Lukather are heavily involved helping fashion the EP’s sound, as are some other familiar Toto faces - Lenny Castro, Warren Ham and Nathan East.

But they aren’t alone. The guest list on this record mirror the who’s who of the classic rock world.

To understand ‘Forgotten Toys’, a track by track look at the EP is essential.

A brief intro titled ‘Forward’ suggests David missed a potential career in scoring films, his natural flair to create a dramatic soundscape is ever-present.

The short intro flows seamlessly into the classic Toto sounding mid-tempo ‘Will I Belong To You’, which features a duel piano/organ approach from David, topped with a warm vocal and a classic tenor chorus from Joseph Williams. Gregg Bissonette provides drums; Nathan East bass and Dean Parks and Steve Lukather the electric guitars. A perfect opening salvo.

‘Spirit Of The Moonrise’ sees David Paich flex his musical muscle in more than one way. The tougher sounding rock track picks up angst and energy, plus it also features David playing the bass parts alongside his usual organ and piano role. His lead vocals guide the track with an unexpected authority. Toto alumni Lenny Castro (percussion), Warren Ham (saxophone) and Steve Lukather (guitars) join the party, with a chorus of all-star harmony vocals from Anna Williams, Joe Williams, Michael McDonald, Pat Knox and Ray Williams.

‘First Time’ brings back a more familiar David Paich musical vibe. The dreamy love song laments the feel-good moments of young love with a rich musical tapestry of percussion (Lenny Castro and Robin DiMaggio), rhythmic drums (DiMaggio), moody guitar work from Fredrik Halland and Dean Parks and even some flute courtesy of Warren Ham. A stepout vocal from David’s daughter Elizabeth Paich adds a touching layer.

‘Queen Charade’ sees style and expectations turned on their head. Showing yet more versatility to the Paich writing and vocal library, this bluesy, dirty rock n roll number shows a playful side to Paich not previously displayed. You can almost hear the smile on David’s face as he blasts through a raspy lead vocal and some honky tonk piano, with Don Felder supplying slide guitar and Steve Lukather again doing his part. Add harmonica and saxophone from Warren Ham and some southern grove from drummer Steve Jordan to make this track a focus on fun. Adding to the atmosphere and some classy background vocals from Monet Owens and Pat Knox.

‘All The Tears That Shine’ will be a very familiar track for Toto fans, the song originally appeared on their 2015 album Toto XIV. David takes the original foundation of the soulful track with his vocals and in place of Joseph Williams comes the raspy Michael Sherwood to give this gorgeous song a new feel entirely. The extra mood and ambience are created by the talented cast assembled for this track. Davey Johnstone (Elton John) on guitar; Fredrik Halland (bass); Mike Valerio (upright bass); and Lenny Castro and Robin DiMaggio on percussion and drums. Actually reminds me of a Lukather solo rocker.

‘Lucy’ closes out the ‘Forgotten Toys’ release with the song you knew was coming, the song we just had to have. Going back to his earliest musical roots, this song strikes at the heart of what makes David Paich tick. The freeform jazzy instrumental is the ideal way to end proceedings and really ensure every base is covered. With a cast that includes background vocals & scatting by James Torme; Guitar by Ray Parker Jr.; Gregg Bissonette on drums; Horns by Jon Diversa; Lenny Castro on percussion and the man himself, David Paich on Piano, organ and synth.

‘Forgotten Toys’ adds to the deep musical legacy of David Paich. It may only be an EP, but the 6 full-length tracks hold more class than some full albums do.

Absolutely essential for Toto fans.

 

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