UMP Sweden

StoneLake is a good album to review after Overdrive, as it is another over the top Swedish melodic metal album and in many ways a nice companion to Overdrive, especially for fans of the genre. This is the band's fourth album and singer Peter Grundstrom is still one of the more original sounding guys out there. He has a voice that isn't for everyone – a mix of Geoff Tate and Bruce Dickinson, with a raspier edge and capable of going even higher if the need dictates.

On Uncharted Souls I think Peter holds it in a little more, as the last album suffered a little due to the constant high-pitch delivery. Here is spends more time in a middle-range and saves those high notes for the chorus or impact points within a song.

The guitar playing of Jan Akesson is a brutal and as ferocious as ever and the album's production is again a credit to all involved.

Favourite songs include the opening straight ahead metal of Uncharted Souls; the over the top (Tonight) You're Beyond The Shadows, which showcases a more melodic side; the acoustic ballad Glory Days; and the brutal riffing of Don't Leave Me Behind, which although heavy as, still contains a good melody, especially in the vocal and accompanying keyboards.

Eyes Of The World is another heavy rocker with melody and Saint Or Evil is a big power metal ballad.

More solid melodic metal for fans of the European variety to checkout. There sure has been a lot of music coming out of this part of the world and there is a lot to check out for fans. This is certainly well worthy of some time.

Z Records

ZR0497134

I've had a lot to say about Alibi in the past and particularly guitarist Vince O'Regan's production talents and the new Alibi isn't much different.

Of the debut I praised the songwriting as classy, traditional British AOR. There really were some catchy moments on the album, but it was barely listenable due to a horrid tinny production.

Label Escape Music wasn't interested in releasing the follow-up, but Z Records stepped in instead. And again, the band have managed to write a section of likeable tunes that fans of British melodic rock will enjoy.

Vocalist Rick Chase has warm and appealing voice and his tone is perfect for this style of music. And again, the guitar playing of Vince is not in question – he calves out some good riffs and some memorable solos.

Hold On opens the album strongly in the same vein as the debut – featuring an equal mix of keyboard and guitars.

Just Another Day has a certain urgency and a very good chorus that makes it an album highlight; and The Longest Day is a good ballad that you could almost picture Bob Catley singing.

Need You Tonight is a little familiar, but still likeable; Tears Of The Innocent is a good moody ballad and Fire In The Sky is another classic Catley track if I ever heard one.

Sadly the downside is again that tinny production. Vince's trademark guitar sound coupled with a really annoying keyboard sound just destroy any bottom end the album might have, with the rhythm section playing little part in the overall sound.

I don't think the production is as bad as the debut, but at the same time, I didn't find these songs collectively as memorable as the debut. I rate strong songs as the most important factor, so at the end of the day, the release isn't as strong as the debut. Alibi is for staunch British melodic rock traditionalists that can get past the average sound quality.

Universal (EU, JP, AU)

/

WalMart (US)

Well, at the end of the day this isn't as bad as I first thought, but it still falls way short of expectations and even further short of my ideal Bryan Adams album.

I guess fans have to be resigned to the fact that the days of Reckless, Into The Fire, Cuts Like A Knife and even Waking Up The Neighbors are so far gone, they ain't ever coming back.

Once you get past that mindset and accept that Bryan Adams 2008 is a crooning balladeer, you can sit back and take in 11 for what it is – a selection of laid back pop ballads and mid-tempo adult contemporary tracks.

There are a few songs here that hint at the brilliance of the songwriter responsible for so many past gems, but at the same time, there are equal number of absolute snoozers that simply don't rate at all.

The biggest issue I have is the fact that Bryan recorded the last 2 albums while on tour, with his portable hotel room studio set up. Writing and demoing on the road sounds like a good idea, but why not do it with the full band and then head into the studio when ready?

The way this is being done - everything is just so laid back – and I don't see the method of recording conducive to anything else.

Why Bryan doesn't utilize that kick-ass band of his and get his ass into a real studio is beyond me. He just needs to kick some life into his music, which is suffering from the slow tempo blues.
Track By Track:

Tonight We Have The Stars and I Thought I'd Seen Everything are both decent mature mid-tempo pop/rockers, but to kick off the album at this pace suggests that its only downhill from here.

I Ain't Losin' The Fight hints at the past with a more familiar edge to the guitar sound, but the lackluster pace and average chorus kill off any chance of greatness.

Oxygen is ok and likeable enough for recent era Adams material. The best material is stacked towards the front of the album as it just about ends here.

We Found What We Were Looking For is a boring mid-tempo ballad that doesn't do anything for me whatsoever.

More mellowness with Broken Wings, which has a soulful edge and an ok chorus, but just falls flat. If only he got himself and his band into a proper studio, perhaps some of the edge could return.

Somethin' To Believe In is another laid back track that has a pleasant enough chorus, but is just something I don't need or want again from Adams. I have it already.

Mysterious Ways is slow, boring and without a decent chorus hook.

She's Got A Way features some nice guitar work and a better chorus, but the laid back vibe is lost in amongst all the other laid back tracks.

Flower Grown Wild has a country tinge to the song and again, is something I just don't need or want from Adams. A solid chorus lifts the song, but a rockier direction might have made this track a winner.

The subtle and acoustic Walk On By is actually quite brilliant with it's sparse musical arrangement, but again, the impact is lost amongst a collection of similarly paced slow ballads.

I have every Bryan Adams album to date, but I won't be purchasing the next one unless he gets guitarist Keith Scott and the rest of his killer band into the studio and delivers a record that conveys some of the energy these guys all have on stage. Just because an artist ages, doesn't mean they have to unplug and stop rocking. If Ronnie James Dio can rock – anyone can.

Renegade Sounds

From the Canadian office of Renegade Sounds comes another lost treasure. Vertigo stay true to the formula of Renegade's past releases in that the 80s recording sounds a little dated now and the production is as good as it could be – but the songs and the style bring back good memories of that golden age.

Freedom is a real gem of a 80s melodic rocker. Go All The Way is a little cheesy for me, but Takes Me Back is a cool Bryan Adams style early 80s pop rocker.

The drum sound makes things more dated than they could have been and the variable production overall is a downside.

But if you have enjoyed the Renegade output thus far, this is another release that will sit alongside those others without a problem.

Secret Records

CRIDE82

This double live album from the former Georgia Satellites frontman was recorded in front of an enthusiastic crowd at the intimate JB's venue in the UK.

The 21 track set comprises of all the tracks you'd expect to hear and some album favourites. This is as raw as it gets – the recording is a straightforward capture of the night's performance – a good recording quality and balanced mix.

The performance is good also – nice and raw and just how I like my live records, spontaneous and as it happened, complete with the odd bum note and some raspy vocals. Dan sounds a little raspier now than when I saw him some 15 years ago, but that's to be expected.

Special guests The Quireboys join Dan for the last 3 tracks of the night and overall I would recommend this to fans of Dan, but that's about it.

Escape Music

ESM168

Two CDs have barely left my playlist in the last 6 weeks. Brother Firetribe is one of them, Alliance is the other.

It is so pleasing to get an album of this quality to feature on the site. There are great albums and then there are finely crafted works of art. This is a masterpiece!

That said, Road To Heaven is an album with a subtle style and not as immediate as some releases. But therein lies the beauty…the songs work their magic each additional listen to the point where every track is considered essential.

The band has recorded two albums previously and I wasn't sure we'd ever get a third. The line up of Robert Berry (Solo, 3, Hush), Gary Pihl (Boston, Sammy Hagar), David Lauser (Sammy Hagar) and Alan Fitzgerald (Night Ranger, Sammy Hagar) are all busy guys, so it is so cool to see that they have made time for this band again. I listen to all these guys individually, so it is so cool to have them on record together again.

And after several years apart, they have all brought their A-Game and made this the best album of the three to date.

As you would expect from these guys, there isn't a note out of place on this album and the songs featured are just perfect.

This is American major label classic melodic rock at its very best. Classic in that it captures the best of what the 80s were about, yet it is not dated or even obviously retro. It is just classic rock.
The song Road To Heaven is a brilliant opener and one of my favourite songs of the year to date. A killer chorus that isn't over the top, yet instantly memorable nevertheless.

Further feel-good rockers appear in the form of Anything Goes, Comin' Home and the awesome Remember Those Days.

The band delivers moody melodic rock like no other and I Can Breathe is another perfect example. Broken Glass is another fine example, as is the Foreigner styled Walkin' Away.

Ballads are also featured and the raw emotional vocal on Make A Stand is hard to ignore. The song builds into a great power ballad.

To further highlight another couple of songs, the emotion powered melodic rock anthem Nothin' Else I Can Do is utterly brilliant and the guys rock out on Not Done Till It's Done, which is another piece of melodic bliss.

The guys close with the fast moving Much More Innocent, which features some classic Boston style organ and great lead vocal.

I can't speak highly enough of these guys and this album. Not too heavy, not too light – just perfect, middle of the road classic melodic rock, with keyboards mixing equally with guitars and smooth vocals gliding over everything. It really is a perfectly crafted melodic rock release and I can't imagine any fans of Boston, Foreigner, 80s Sammy Hagar, and American melodic rock in general – not liking this release.

Those with the first two Alliance albums will undoubtedly find a new classic here and if this is your first Alliance album, the other two are available with bonus tracks as a digipack package from Escape Music.

This is the kind of music that sums up what MelodicRock.com is all about.

Frontiers Records

FRCD370

Asia return in full pomp and ceremony for their first release under the original line-up in many a year. I was quite a fan of the Payne lead band, so that was disappointing to see that go south, but when any band's classic line-up returns, it is hard to argue with that.

This – as expected – is a perfectly produced and well thought out release, returning to the band's classic sound, lead by vocalist John Wetton, who sounds in fine form after recent health issues.

Asia's return was always going to happen once Wetton joined forces with Geoff Downes in Wetton Downes and I see this release as an extension of those releases, mixed with the band's early records.

There are attempts to recreate that glorious pomp sound as best demonstrated by the opening AOR anthem Never Again and the inspired closing pop sounds of An Extraordinary Life.

In between we get soulful ballads, extended instrumental passages, a couple of progressive left turns and more classic Asia pomp.

Nothing's Forever is another fine pop song as is the eternally happy sounding Alibis.

Shadow Of A Doubt is another highlight and a throw back to the 80s pomp/pop of early Asia. Nice keyboard work here from Downes and a solid chorus.

Elsewhere there is a more laid back tone to the album, especially on the two epics, both of which clock on over 8 minutes in length.

Heroine is a classy big Wetton ballad, and I love the guitar work on Over And Over.

For me – as classy as it is - it is still a fairly laid back affair and an album better listened to in the morning or late at night. The flow of the alum I think could have been better, I'm not sure I agree with the track sequencing.

But I am betting that most fans of the band and their most acclaimed line-up will be mostly satisfied with this release. The length of the album and its varied musical content should keep those fans busy for quite a while.

Frontiers Records

FRCD349

Ever since Dokken took a left turn with the hideous Shadowlife album, there have been calls for the band to return to their classic 80s sound.

While recent releases have been more melodically friendly, there is one thing that is clear. Dokken will never return to the sound of Under Lock And Key until vocalist Don Dokken sings in the manner he did on those old releases and that is simply never going to happen.

So we must accept the new Dokken for what it is. Don cannot sing like he used to and it is a sad fact that Don himself must be considered the weak link in this release.

Don's voice is far more restrained these days and now of a lower register and if we are honest here, Don generally sounds as if he is singing within himself until he goes for a bigger note, where he then sounds as if he had to strain to get there.

There are examples all over this record, but the verse vocal in Give Me A Reason is one of the worst.

Jeff Scott Soto can be heard throughout adding texture to the backing vocals and at times he is responsible for lifting the choruses out of second gear for the band.

The star of this album for me – without any shadow of a doubt – is guitarist Jon Levin, who has produced his very best to make this album as punchy as it can be and closest to the band's heyday sound as possible. And he achieves his goal and further's his good name in the process.

Jon's authoritve riffing and the generally punchy sound of the album as a whole are the two reasons it works. His guitar is all over this record.

The opening trio of rockers – Standing On The Outside, Give Me A Reason and Heart To Stone are all cool, guitar fueled old-school rockers and will keen Dokken fans happy.

The even more uptempo Point Of No Return is another solid track; Judgment Day and the groove filled closer This Fire are also highlights.

There are a few fillers here also though. Don slips into old habits on the modern rock influenced tone of Disease, which does nothing for me and Oasis is similar.

And How I Miss Your Smile is a very bland ballad. Thankfully I Remember is a little better.

The album sounds great musically speaking (aside from a couple of modern sounding tracks) and the production is first rate. The songs (again with a couple of exceptions) are strong and memorable, but the lead vocal does let things down a little and with a more intense in your face vocal, the album could have been quite menacing.

Escape Music

ESM167

This is an interesting one. I was a strong supporter of Italian rocker Chris Catena's debut album Freak Out, on which he assembled a crazy list of guest stars and paid tribute to the bluesy side of hard rock. Chris is at it again with his new studio release Discovery, but this is a slightly different beast.

Discovery is a concept record of sorts and another bold vision from the ambitious musician. Again there are several guest stars, such as Bobby Kimball, Earl Slick, Carmine Appice, Tony Franklin, Tommy Denander and Bruce Kulick.

The bluesy musical base is retained, and Chris takes a more central role in delivering lead vocals and much of the instrumentation.

But things haven't all gone to plan and what should have been isn't necessarily so.

I think by and large the song quality is there and the gruffness of the lead vocal isn't always appealing, but the biggest problem is the production quality.

The audio simply isn't clear enough and the muddy sound doesn't do the performances justice. I think the mix is also quite messy at times and varies throughout the record.

For example, the impact of Bobby Kimball's duet lead vocal on The Chosen One isn't what it should be. Daniel Flores is producer and to be honest, I'm surprised at the result given his fantastic track record.

But not all is a negative. As stated, the record is an ambitious piece of work again and Chris can be credited for aiming to impress as always.

18 tracks are listed, but several are short passages between other tracks. It makes for an interesting journey through the album.

Some tracks take on a psychedelic 70's rock feel, others are more classic rock, but all have that Deep Purple-esque bluesy edge.

I remain a fan of Chris' and know he has the talent to make an impact in this business, but perhaps best laid plans didn't quite come together for this release.
I'd still recommend fans of the 70s blues rock genre check this out – it is musically challenging and certainly not your standard melodic rock release.

Frontiers Records

FRCD366

For the first time in their long history, House Of Lords have actually made a record that matches the sound of their previous record. The band has their much loved "base" sound, but when you look back, each record has had its own feel and World Upside Down, while returning to the band's classic style, was still different enough again.

Come To My Kingdom sees the band use the blueprint from World Upside Down to further enhance their reputation as a band that knows what fans want and can deliver.

The new album takes the most commercial aspects of the last record and amplifies them, making it a chorus and anthem rich affair.

In fact, there are so many hooks and soaring choruses on this record it can leave the listener exhausted upon completion. Fans who rejoiced at the band's return to basics on World Upside Down will find just as much to love here – if not more.

Personally I rate it even higher than the last album, which is no mean feat. I just love the pace of the record and the continuous appearance of more hooks and melodies.

Every single track on this record has a great chorus. Few bands can boast such a feat and few deliver such rich harmonies surrounding those choruses.

And like the last album, Come To My Kingdom has a monster sound. It is not as heavy as World Upside Down – it appears even more finely polished and refined. That might be an issue with some, but there is still plenty of great guitar moments and a stand out point on this album is the monster drum sound and performance by BJ Zampa. He is really all over this record and the powerful rhythm section is the force behind these songs.

Commercial and polished perhaps, this is still a very powerful record.

Famous of course for their bombastic intro's Come To My Kingdom is no different, but this time the guys throw off the Giuffria influence on Purgatorio Overture n.2 to concentrate on some guitar tricks. And so goes the theme of the record.

Every track on this album features another great hook and a memorable chorus, so just to highlight a few favourites -

Come To My Kingdom opens the album proper with a slamming guitar riff and a darker moody rocker that is classic House Of Lords.

I Need To Fly is an incredible mid-tempo soaring anthem with a chorus that is as instant as it is classic.

In A Perfect World is one of the album's heavier tracks, such as there was on World Upside Down, but I wasn't always blown away by those tracks on the last album. This is much more consistent and the chorus delivers.

Another Day From Heaven and The Dream are two of the softer tracks on the album, but again, a flawless James Christian vocal and great choruses make them memorable in their own right.

One Foot In The Dark has a darker feel and a really smooth verse, lifting to another incredible chorus and a heavier riff. I just adore this track and things go into overdrive when it is followed by the equally fabulous and anthemic Your Every Move which features another chorus to die for.

I Believe is slightly mellower but features another big chorus making this a triple dose of melodic brilliance.

In The Light closes the album with another big chorus and a rocking beat. It really is a case of one great song after another.

If anything the album could have used a tougher guitar sound in parts or some added Giuffria keyboard flair. And dare I say the lyrics are on occasion a little repetitive in theme. But boy…those are just a couple of very small critiques of an otherwise monster album and another classic chapter of the House Of Lords history.

2008 has been a great year for melodic rock and this tops the list so far.

Frontiers Records

FRCD367

I fully expect this to be one of the more discussed albums of this year. Already the debate has covered Mike Tramp's use of the band name and now it is time for the music to speak for itself. I wonder how many people will get hung up on the name White Lion rather than the music within? Too may I fear.

White Lion was one of those bands that seemed forged on a partnership between Tramp and guitarist Vito Bratta and it is regrettable that the pair couldn't find a way forward after all these years.
So Mike decided to use the name of the band he formed and has been a part of since day one, and that's fair enough. So many others do the same and if people chose to get hung up on this example, then that is perhaps not entirely fair.

The music sees Tramp return to the energy and direction of the old band, but I wouldn't say that it directly compares to any past White Lion record. Again, will people accept that or refuse to see past it?

Rather, I see Return Of The Pride as a mixture of influences from past releases with the addition of a new spirit.

What I hear most prevalently is the sound of Mike's own solo work, albeit in a harder edge style akin to that you'd expect to hear from White Lion.

I also hear a little of Mike's post WL band Freak Of Nature here – especially on a couple of tracks with a more contemporary slant and of course I do hear some classic White Lion in the mix.

I hear influences from Pride and also from my favourite album from the band – Mane Attraction.

This is also the most varied record that Mike has delivered. The style and tempo and length of the tracks are all quite varied and perhaps the diversity is something that makes the album a grower, rather than an instant hit.

Not every song is a classic and not every song worked the first time I heard it. But I have had quite a lot of time to live with this album and above and beyond all other comments – it is as catchy as it could be, with each song in it's own way offering a hook to sink your teeth into.

I'm a long time fan of Mike's writing style and his records – so I see Return Of The Pride as an extension of that and can't see why other Tramp fans won't be equally as impressed.

Track By Track:

Sangre de Cristo is one of two epics on the record, this one closing in on 9 minutes in length and featuring a fairly progressive slant as far as time changes. I guess Lights And Thunder could be the song's distant cousin, but it stands alone with it's fast pace and choppy guitar riffs.

Dream for me is almost a sequel to Mane Attraction's Love Don't Come Easy, especially in the chorus, albeit with a more contemporary guitar sound.

Live Your Life is the first track I found hard to get into and probably still is my least favourite of the album. The uptempo breezy rocker has a punkish sound amplified by the thumping bass line and lead guitar sound. Sometimes I feel the chorus feels a little simple for my taste, especially after the more intense opening tracks, but it still hangs in your brain.

Set Me Free is another track that features a haunting intro that builds to a hard edged guitar riff that then drives the song forward. It is Broken Heart for a new millennium and one of the more classic White Lion sounding tunes of the new record.

I Will is one of my favourite tunes of the new album. A sentimental uptempo melodic rock anthem, it is something a little different from Tramp – who I am not used to hearing such breezy and uplifting fare from!

Battle At Little Big Horn is the second epic of the record and is lyrically just as intense as the opening salvo. This track is a little darker, a lot heavier and is over way sooner than the 7 minute plus time frame should indicate.

Never Let You Go is the first proper ballad of the album and is a classic piano lead sentimental ballad with a strong and very likable chorus.

Gonna Do It My Way is another track which sounds like it could have been lifted from Pride, until the song moves on a little, then I figured it as something that sounds like it could have come from Mike's solo records. It has the mix of both influences and the simple chorus defies the intensity of some other tracks on the album.

Finally See The Light is another breezy pop rocker with a chorus that sticks in your head. It is a bit of a singalong song with some 80s keyboards creating a retro feel.

Let Me Be Me is another uptempo and rocking track with a mix of styles similar to Gonna Do It My Way. It's breezy, it's simple, yet it's also very catchy.

Take Me Home is a European Bonus Track and sees Mike stripping it right back to an acoustic and occasional electric guitar accompanying his raw vocal. A very nice ballad with additional orchestration. A nice way to close the album.

Looking beyond the name, the music here is another great addition to Mike Tramp's history and it is nice to hear him rocking it up again after a couple of more singer/songwriter style solo records.
The execution of a few songs might not sound as polished as they could be and on a song or two I'm still not sure I like the guitar sound used. But I think that is the attitude chosen for this record – a raw, almost live feel. At the end of the day I find myself humming along to any number of songs on this record and that's the key point that counts.

Frontiers Records

FRCD368

Royal Hunt return with another change of frontman – out goes John West and in comes (surprisingly) Mark Boals. Boals has until recently been MIA and has returned with a vengeance – but has saved his best for now.

The last few Hunt albums have been very consistent, but I questioned why include instrumentals on the last album when you had such a talented singer in West on hand. Something didn't seem right about that and to prove the point, West soon departed.

The band, led by keyboard maestro and song mastermind Andre Andersen began work on a new record without a vocalist in place.

Collision Course is the result. Not for the faint hearted, this conceptual release is a sequel to the band's acclaimed Paradox release.

On board is new singer Boals – best known for his work with Yngwie Malmsteen. A great singer and not my immediate pick for Royal Hunt, but upon reflection – perfectly suited.

And he proves this with an astounding vocal performance that I rate as one of his best. I'm sure he has had more melodic songs to sing in the past – the tracks of Collision Course aren't commercial in nature, but Boals adds extra melody with his delivery.

Lyrically this album is a real handful – describing "a 'collision course' of a modern Western world and a new breed, grown on Eastern religious movements." Sure – why not?!

Musically it must be a challenge to create some catchy choruses around such a premise and that is the one area which this album doesn't quite hit the mark with.

The record from start to finish is quite a wild ride of swirling keyboards, big guitar riffs and ear shattering double kick drum fills, not to mention the pounding bass of House Of Shakira's Per Schelander. Typical Royal Hunt in other words.

Production quality here is the best I have heard from the band in years. Thoroughly intense throughout and evenly mixed to give all elements their own space. It sounds phenomenal.
But again, some more memorable hooks points within the songs would have knocked this out of the park.

Also joining in the fun on this epic release is Doogie White (Rainbow, Malmsteen), Ian Parry (Elegy, Consortium Project), Kenny Lubcke (Jokers Wild, Narita), Henrik Brockmann (ex-Royal Hunt, Evil Masquerade) among others.

And for good measure - there are additional female vocals, violins, cellos and more added instrumentation. Yes, there is a lot of music within this release to appreciate and several listens are required to get to know the basics.

My two favourite songs are the tempo setting storming rocker The First Rock and a rare let up in tempo fro the softer High Noon at the Battlefield.

Elsewhere things are very consistent and do flow from one song to the next – essential in the scheme of a concept record. My favourite from the band since The Mission.

As stated, a few more chorus hooks might have given the record a more accessible feel, and pushed that rating a little higher, but otherwise it is a fine piece of work. Dealing credibly with a heavy concept such as this, while delivering some of the best performances of those involved is no easy feat. Fans will be pleased.

Metal Heaven

00047

Influences from AOR to metal eh? That's quite a range to fill any album, but Swiss rockers COG are up for it. Mixed by Dennis Ward, the album sounds the goods, but I'm not quite feeling the songs as much as I should.

The bio states that fans of Europe, Pretty Maids, Stratovarius, Royal Hunt and Edguy should all enjoy this, but for me, if I don't like the vocalist I have trouble appreciating the whole package. The higher range isn't a problem…perhaps it is the pitch.

There are some pretty epic tracks on this album – 5 songs clock in at 6 minutes or longer. One minute the band is more straight ahead metal, then it turns symphonic and then it's back to double kick drum metal. The guys would be better adopting one style over another – in this case I prefer their efforts when going symphonic.

Still, not a bad release by any stretch - just not a preferential one given a crowded marketplace.

Metal Heaven

00046

A solid melodic metal album here – strong set of songs and an above average production puts those songs in the best possible light.

And I like the singer – Rick Altzi of At Vance puts in a solid performance here. He's singing, as opposed to shouting or screaming. I think he shows some good diversity between a lower range and hitting some higher notes to emphasize a lyric, hook or chorus pinnacle.

This is not a heavy album – it's more hard rock than metal, but it has that European metal attitude and a good range of tempo's, from slow to double kick drum fast.

Best tracks for me are the kick-drum fuelled opener Fly To The Sun; the free flowing melodic hard rock of Never Seen Before; the uptempo Double Cross; and the more melodic rocker The Wrong Side Of Me.

One of the better examples of this genre for the year to date.

Metal Heaven

00045

Can't say it is the best band name I have ever heard…but still…the band has their own style of European melodic metal and the album definitely has something to offer.

I don't think the production is as sharp as some other releases around, but it still suits the style of the record.

The vocalist has a pretty gruff style, but you can't argue with the riffs on offer or the fact the songs are pretty memorable.

Rise With Me, Hero Of The Night and What Burns In Their Eyes are all solid metal tracks driven by big riffs.

Another solid release from the consistent Metal Heaven label and of appeal to those that follow European melodic metal releases.

Escape Music

ESM166

I have always had a lot of time for these guys and besides the poor LAD II release (we really must stop talking about that), the band can be credited with being perhaps the most consistent and regular suppliers of classic Scandi-AOR each and every year.

Sweden's Last Autumn's Dream deliver their fifth studio album here – one which makes no obvious deviation from past records – but still sounds fresh enough to enjoy over and over again.

While not their best album ever and perhaps not the strongest sounding as far as a crisp and clean production, the album still manages to deliver a few new gems to the growing LAD catalogue.

Vocalist Mikael Erlandsson is in fine voice – that higher, raspy melodic range perfect for the type of AOR on offer. Guitarist Andy Maleck ensures that this collection of songs captures the pomp and ceremony of his former band Fair Warning and the Talisman rhythm section of Marcel Jacob and Jamie Borger give the band that driving uptempo beat.

Highlights on this album for me include the feisty melodic rock opening Strange Operation, featuring a glorious chorus; Rainbow Sky which features some well crafted pure AOR hooks backed by a harder edge riff; the urgent uptempo rocker My Alibi rolls along at a past pace and while I didn't rate the ballads on the last album as highly as previously, the big anthem ballad here I'm Not Supposed To Love You Anymore makes up for that in style.

The double dose of harder rock in the form of Lost In Moscow and R U Ready To Rock N' Roll gives the band an edge before the mood turns a little darker for Serenity and War Of The Worlds.

Save Our Love and Every Beat Of My Heart both have catchy enough choruses, but perhaps not quite of the quality heard from the band before, dropping the consistency of the last quarter of the album slightly.

The happy go lucky uptempo rocker Overnight Sensation ensures that things end on a positive note.

More quality Scandi-AOR here and there should be no hesitation from fans to pick this up. Ever consistent and thoroughly enjoyable – even if not their best ever.
For new comers…perhaps checkout the best of package which offers great value.

Escape Music

ESM165

If the review of the new album Hunting Shadows sounds promising, but perhaps still doesn't convince, then maybe this release is for you. Live In Germany / The Very Best Of is a 2CD set that captures the best of this band, both from the studio and in action, live on stage.

Live In Germany is a short 8 song set from last year's United Forces Of Rock show and captures the band at their raw and energetic best.

The recording is bares bones to say the least and certainly is a fairly raw representation of their songs. But that's why I love it – live recordings aren't supposed to be high-gloss affairs.

I think this set is full or energy and that spills through the speakers. I especially love the band's version of the Zeno cult classic Heat of Emotion, which pushes Erlandsson's vocals to the edge.

There are some fluffed riffs, some broken notes and a seat-of-their-pants style delivery – but fans should enjoy this for what it is - live and in your face.

The disc adds two unreleased tracks which is a cool bonus for fans – When You Love Someone and You Won't See Me Cry are both solid mellow AOR numbers. If you are already a proud owner of the band's catalogue, then the live portion of this release will be the main attraction.

For new comers looking for the very best of the band's studio output, then this second disc – a 16 track walk through their catalogue – is an attractive proposition.

And for fans already familiar – it is still a good compilation of the band's best tunes. It reminds me why I like these guys so much.

They mix Scandi-AOR with Fair Warning, the softer side of Talisman and deliver those influences in a fresh and uptempo, yet familiar AOR style.

Two very good releases – both for different reasons, but I imagine Last Autumn's Dream fans will be going for both. Others take a listen – as it is never too late to pick up on a new band.
These guys deliver classic Scandinavian AOR, but with a contemporary twist.

Indie

I have previously had a lot of time for Tommy Skeoch and of course his band Tesla. Mechanical Resonance remains one of the very best rock n roll debut albums ever.

1987 delivered Hysteria, Whitesnake, Mechanical Resonance and Appetite For Destruction. There's 6 months of back to back playback right there alone and a shitload of history.

Well, Tommy sadly came undone with substance abuse problems and didn't make it through the Tesla re-union after bailing earlier also.

But here he is delivering his debut solo album.

Sadly I must report that it is absolutely God-awful. I just don't know what he was thinking, but this is one of the worst albums I have heard in years.

Style wise we are talking tuned down punkish retro rock with a hint of grunge and Black Label Society intensity. It was recorded over just 4 days in Florida last year, but it is not the production quality alone that kills this record.

The style is not great, but even worse are the appalling lyrics which are an absolute insult to any person's intelligence.

Every song is filled with expletives – it's fuck this and fuck that and motherfucker this – good grief!! It is just embarrassing to hear someone one stoop so low. And then there is Tommy's singing. That's even worse than the guitar playing and the lyrics.

I always joke about Zakk Wylde's vocals, but Tommy makes Zakk sound like Steve Perry. The half shouted, half growling vocals grate in your ears worse than a bus load of Barry Manilow fan club members out on an all-singing day trip.

This is just awful. Bad bad bad. Sorry Tommy, but this is just self indulgent shite.

Frontiers Records

FRCD363

Steve Lukather's solo career has almost been as varied as his work with Toto. If you exclude side projects and his Christmas instrumental release, this will be Luke's 4th proper solo record.

All three previous albums have contained their own individual flair and fans of Luke will well know that his own music tastes and influences are wide ranging. Most of those influences have been featured within his records, from the blues to jazz, straight ahead pop and progressive rock.

Ever Changing Times is perhaps his most focused solo album since the debut Lukather record of 1989. In terms of both style and substance, this record has terrific consistency and features a highly enjoyable set of songs that for the most part are very consistent in approach. Those that deviate with their own personality simply add texture to the overall record.

On Ever Changing Times Lukather follows the path set by Toto's Falling In Between record – a heavier guitar sound and some progressive arrangements, but a solid chorus at the heart of each track.

And again like Falling In Between, some old friends are at the ready to lend a hand and give the album a huge, familiar sound - songwriting partner Randy Goodrum is there (Synth, exec Producer), as is Steve MacMillan (production), Lee Skylar & John Pierce (bass) and Lenny Castro (percussion).

The album has a distinct Toto feel, yet the Lukather solo diversity.

This album really is a superb collection of songs that allows Luke to further showcase his incredible talent in a more diverse setting than a Toto record would allow.

Ever Changing Times is a dark, heavy and mid-tempo track with an imposing feel to it. Love the chorus and the guitar work within the song.

Switching tact immediately is the haunting slow ballad The Letting Go, which could have come from Falling In Between or any other Luke solo record. These are the types of ballads he could do in his sleep, yet with so much class at the same time.

That said it is one of his best ballads of this nature that I can remember.

I love New World. This track has a more progressive feel to it and some great alternate guitar parts. Then the chorus comes from nowhere in this big rush of energy and a flurry of guitars as the tempo lifts dramatically.

Tell Me What You Want From Me is another softer track, relying on some Westcoast melodies to carry the verse before another surprise chorus launches itself, featuring some aggressive riffing and a powerful vocal.

I Am is another great sentimental Westcoast/pop ballad that Luke does so well. Another strong chorus.

Jammin' With Jesus is one of those 'left-turn' tracks that is typical Lukather, yet out there at the same time. This is a mood track. Some days I skip the song altogether, other days I crank it even louder and simply bask in the heavy groove and underlying rhythm and blues of the chorus. An amazing bit of music either way.

Stab in the Back is another dip into the 70s rock past that Luke originated from. This is a breezy Steely Dan style Westcoast pop track with a definite groove.

Never Ending Night is a big Toto friendly power ballad that again could have come from the last Toto record or even Seventh One perhaps. Another highlight for me.

Ice Bound is a diverse little progressive flavored track. A simmering Totoesque verse runs through a bridge then chorus that sound fresh, yet familiar, with the guitars riffs varying throughout.
How Many Zeros is perhaps the one track I'm not completely sold on in someway or another. Mid-tempo, but lacking a better chorus I feel.

The Truth is a beautiful and almost theatrical instrumental track. When is someone going to hire this guy to do film scores?

I thought Falling In Between was a masterpiece and this also comes close, but for different reasons. It will have different appeal to that of the Toto record and it certainly won't be for everyone, but to these ears, it is the most straight ahead melodic rock record that Luke has delivered since the debut.

Frontiers Records

FRCD364

This is the album that finds Kymera truly defining their own place in the world. After credible debut featuring vocalist Steve Walsh problems soon appeared forcing a switch of vocalist.

The big surprise was the recruitment of Pink Cream 69 bassist and star producer Dennis Ward as vocalist. His raspy, yet sultry vocals suited the more straight ahead AOR direction of the New Promise album. That was another strong album, but it is The Greatest Wonder which I think nails the best style for these guys.

This third album sees the band, with Ward again out front, deliver the best group of songs to date, as well as defining their AOR sound that little bit further.

This is smoother, moodier and probably mellower than both previous albums and to my ears, the best of the three.

It is great to hear some classy AOR recorded in the way it deserves – a big sound, great even mix and still powerful despite being fairly laid back in style.

The 90 second intro doesn't make a lot of sense to me in the context of the rest of the album, but after that point, things are sheer melodic bliss.

Keyboards swirl, guitars deliver riffs to carry the songs and the rhythm section in particular is really driving the beat behind the melodies.

I haven't heard an album like this for quite some time. Without being groundbreaking, it is refreshing to hear this brand of pure, moody European AOR done so well.

The album is very consistent and the strength of the songwriting makes it hard to single out particular tracks.

I don't think there is a huge variation in style or tempo within the album, but in this case the strength of the songs and the manner in which they are delivered means that is a positive.
However, if I was to mention personal highlights – the uptempo Borderline is really powerful European AOR and quite excellent.

Burn Out is dark and heavy during the chorus, giving it a real attitude; the slow and emotional Love Has Been And Gone highlights the more sentimental side of Ward's vocals; The Greatest Wonder has a little extra punch and a cool chorus; If I Can't Be has an almost Def Leppard layered vocal style that I like and Stay Forever has another instantly memorable chorus.

Simple, familiar, old-school European AOR, that is easy to enjoy at any time of the day or night. Well recorded and catchy songs are the strongest points of a very consistent and well put together package. Khymera may not offer any challenges, but it is a great example of the classic AOR style that this site was built upon.

Frontiers Records

FRCD364

What an absolute treat it is to be able to review two outstanding AOR albums at the same time, despite both having different approaches and different appeal.

The bind between them is that in this modern world dominated by melodic metal and often sub-par sounding AOR releases, they are neither.

Both Khymera and Work Of Art are pure AOR of the highest quality with great production to back them up.

In the case of Work Of Art, you have a young Swedish band who worships at the House Of Lukather and all things Toto.

And as much as Toto is a clear influence in their music – don't think they are a one trick pony or a clone of that classic band.

But for that matter – if it is done well, then what does it matter anyway?

Work Of Art's debut album is simply stunning. Filled with glorious pure AOR mixed with touches of breezy high-tech Westcoast and influenced by one the very best band's in the business, it overflows with harmonies, melodies and above all, a killer production that could have seen this band on a major label back in the day.

The mix offers the many layers of vocals, keyboards, harmonies and guitars plenty of room to breathe, while the silky smooth vocals of Lars Safsund glide over the top.

Lars is quite something – I love this guy's voice. Mixing the best of Toto's Joseph Williams with Signal era Mark Free, every note sung contains melody.

The production is fantastic – big beats and a driving rhythm that give even the softer tracks added power. And I really like that many of the tracks are quite uptempo, moving the album along at great pace.

Style wise the album takes the best AOR moments of Signal's classic Loud & Clear and mixes those with the many facets of Toto – the straight ahead keyboard AOR of Seventh One and Isolation and the breezy Westcoast of Fahrenheit and Seventh One again.

The music within is that kind that offers a new hook and melody with every track.

The opening track sums up the whole album. Fast paced and immediate, filled with soaring vocals and swirling keyboards, it is one of my favourite tracks in recent memory.

Maria brings the Toto comparisons to the forefront and again on the Seventh One styled percussion, keyboards and Lukatheresque guitar work of Camelia.

And so it continues…Her Only Lie has a great chorus and driving beat; Too Late is classic Williams era Toto; Whenever You Sleep is 80s AOR overdrive; and Once In A Lifetime is a perfect Scandi AOR ballad a la Radioactive/Tommy Denander.

Elsewhere on the album Peace Of Mind is again another stand out AOR song; and Cover Me is fabulous – the heaviest track of the album – it has an appealing darker and more dramatic flair.

An outstanding debut by any definition. The fact that it delivers some outstanding songs and soaring melodies in a style that has been short on classic releases of late is even better. Yes, once again it has that very familiar feel as the album follows an already well trodden path, but it is done so well. This is one for AOR fans, Westcoast fans, 80s fans and of course – Toto fans!
Well done boys.

Frontiers Records

FRCD359

Finland's Leverage burst onto the world stage in 2006 with one of the best melodic metal album's of the year. Hell of way to make an entrance with what I still rate as one of the best debut albums seen within the genre. So expectations are extremely high for Blind Fire, the band's sophomore release.

I think fans will be very happy with the efforts of the band second time around. There are a couple of points I will make, but to cut to the chase, the band has taken the blueprint of the debut and reproduced it again here.

There are no dramatic changes to style or direction or tempo even, so those impressed by the debut will find plenty more to appreciate here.

Vocalist Pekka Heino made an instant mark and is back in full force again here, with his melodic prowess matched by his sheer breathtaking power – right now in my mind, second only to Jorn Lande in this genre.

The barnstorming double-kickdrum fired Shadow Of The Night opens the album with a rush, but it is King Of The Night that features the better hook and some tasty guitar soloing.

The free flowing Stormchild and the slower but more brazen Sentenced continue the power onslaught of the first twenty minutes of this album. There's barely the chance to take a breath.

Hellborn sounds brutal, but it is a little more melodic and has an anthemic quality to it, with Pekka's vocals designed for a stadium feel.

Mister Universe has a similar feel before the band eases up for their first ballad – Don't Touch The Sun. Of course, this is not your average ballad, but rather a slower intense, emotional track that builds throughout, to a suitably powerful conclusion.

Run Down The Hill takes us back to the opening moments of the album and a flurry of double-kickdrums and powerful hooks.

Heart Of Darkness has some fabulous guitar soloing within and a good chorus hook, but I think the track still had some potential to be bigger and better.

Learn To Live on the other hand fulfills all potential and delivers all, in being a super powerful and passionate metal ballad complete with soaring vocals and guitars.

I recall an old statement about the challenges of following up a monster debut. The author eludes me at this time, but the comment went something like "a band has a lifetime to write and record their first album, but then must repeat that entire process in less than a year in order to deliver an equally good follow-up."

I'm referencing that now as I feel that is somewhat the case here. I think the debut is probably the better album, but only by a narrow margin, and because it sounded fresher, due to the band having the advantage of being unknown and being able to surprise their audience.

The production quality is almost as good as the sonically bombastic debut. Certainly the same approach has been taken, but the debut had a slightly crisper top end sound.

Oh, and minor point to some perhaps, but the cover art is simply not good enough for a band of this stature. The debut had a simple, but really classy feel to it. This cover has little appeal aside from the band's logo.

At the end of the day – this is another great album for the band and for this genre of music. An extremely good release and an absolute must have for all fans of the debut.

Incidentally – that classic debut album Tides has now been re-issued by Frontiers in conjunction with this release (complete with the 2 original Japanese bonus tracks), so if you are new to this band, so not hesitate to pick up both albums at once and be prepared to be blown away.

Escape Music

ESM164

The opening weeks of January sees these pages under a metal onslaught. There are some melodic gems coming up, but right now, we have another metal release – this time from yes…bloody Sweden again!!! They sure as hell know how to turn out some records in that country.

Thankfully this is yet another classy one, with a very strong production and some catchy songs made even better by the involvement of Goran Edman, the man who can sing anything from sweet AOR to balls out metal.

This reminds me (not only due to Goran's involvement) of prog-rockers Act, yet not so progressive and a little more hook-friendly.

The guys still change the pace around and deliver lots of swirling keyboards and guitars, with solos and left-turns appearing at regular intervals.

Whereas Act was a little too progressive for my tastes, I feel this is more driven by the hook and the rest is presented to supplement that hook and build the song.

I'm also hearing a lot of soloing in the style of Yngwie Malmsteen – those moment so shred come from within the song before Goran re-appears and kicks in with a chorus or vocal line to get things rolling again.

Highlights include the opening Fool's Paradise, featuring some classic Edman melodies; another good chorus on David's House; the quirky The Royal Loo and the ballad Hymn To Desdomona.

This is not your ordinary run of the mill album, there's something different in play here and therefore it won't appeal to all. But Goran's presence lifts it to a level that will find fans and musically speaking, it is very well performed and produced.

Frontiers Records

FRCD362

The members of new comers Saint Deamon hail from both Sweden and Norway, with the guys delivering a melodic metal homage to their musical heritage.

You couldn't deliver a more European sounding melodic metal album if you tried.

The gruff vocals which move between lower and a higher register at times remind me of Goran Edman (without the finesse), while the musical accompaniment is comparable favorably with the likes of fellow European metallers…mmm…I have to admit I'm struggling to find comparisons here.

To be perfectly honest, I'm finding it hard to come up with much to describe Saint Deamon, other than they do what they do (we've heard it before), very well.

Basically it is a very good album of catchy melodic power metal, with a solid production, a big beefy sound and a vocalist that suits the style perfectly.

With the question of style answered, all that is left is to question the quality of the songs and performances – and there are no worries there either.

My Judas and the title track certainly get my attention of powerful metal tracks with a strong melodic hook and the slower more intense My Heart is something different again.

Black Symphony is frantic and Deamons features some big harmony vocals to go with a hammering beat.

Sometimes less is more and I don't feel the need to state much more about these guys.

Saint Deamon have delivered a very good album, but will probably appeal most to those solely into European metal. I think there are so many examples of this style of music in the market place right now. This is very good. An album has to be extraordinary to gain crossover appeal, so it may not go that far, but it still makes a mark.

Frontiers Records

FRCD360

Sometimes reviewing isn't meant to be easy. It doesn't get much harder than this. I have to say that I'm not digging this release at all.

There are some true legends of the bass world delivering solos on this record, but to get to those you first have to live through some truly ordinary songs that lack control and direction and feature at times some hideous growling "vocals".

The bio states: "Bassinvaders has been a creation of Markus Grosskopf (Helloween) while sitting in a bar and enjoying a few drinks."

Sorry, but my ears are wishing the idea remained in the bar.

Billy Sheehan, Dennis ward, Rudy Sarzo, Marco Mendoza and more all deliver solos, but the vocals and lack of melody in any song drive me to hit skip before the solos ever arrive.

There are no guitars on this record at all. Just bass. So yes, it is experimental, but it also has to be listenable. And the drum sound has almost no impact in the mix which I think is strange, as you'd think a bass driven record would attract a huge rhythm section sound.

I'm not sure who is going out there to buy this, but I won't be recommending it to anyone other than die-hard Helloween fans that simply must have everything related to that band, or perhaps some fans of the guest artists.

Still not quite sure what this release is doing on Frontiers, but the label has been known to experiment from time to time.

AFM Records

The Poodles stormed onto the scene along with Brother Firetribe and Wig Wam as a breath of fresh melodic air from Europe.

On album number two the feedback has been mixed. I hear some don't like it as much and I hear others like it more. That's what happens when the formula of the debut is changed and that is what happened here.

The band doesn't sound radically different or anything like that. But their sound has been toughened up and now sounds a little more European melodic metal than the debut album which featured a few different approaches with the song delivery.

This album is tighter, more urgent and heavier…but left behind is a little of the variety and instant chorus melodies of the debut.

Still, what we do have is another fine record filled with in your face uptempo melodic hard rockers as only the Scandinavian's can deliver.

Something that attracted me to the band in the first place was their thumping rhythm and heavy beats and the opening three songs of Sweet Trade cash in on that again.

The songs get better and better with repeat listens, but it is only seconds before the beats crash through the speakers and belt the listener about the head.

Flesh And Blood and Streets Of Fire both rock with urgency, but it is the more melodic and anthemic Seven Seas which gives me chills.

Other highlights are the barnstorming hard rock of the suitably titled Thunderball; the fast rocking but melodic Reach The Sky; the huge lighters-in-the-air ballad We Are One; the harmony filled melodic rock of Without You; the monstrous anthemic Band Of Brothers (brilliant and both songs more like the debut) and the balladesque anthem Shine which closes the album.

Highlights as you can see are numerous and the production quality of the album is once again unquestionably great!

The Poodles have their own sound and style after just two albums. Both are fine releases – this new album is more consistent in approach, but the debut remains my favourite for being more melodic and a little lighter overall. Still, perhaps the third album will mix the best of both worlds and if so – a masterpiece is just round the corner.

Caroline/EMI

I tried so hard to like this album – but therein lies the problem. Why should anyone that appreciates any given artist, be put in a position where they have to work at liking a new release? It should just come naturally. I'm a Sebastian Bach fan, so after so long waiting, I really hoped this would be a kick ass record.

For me the debut Skid Row album is cool…but the second one Slave To The Grind was freeking phenomenal. I played that album for the best part of 12 months straight and still dig it. I thought Subhuman Race was a massive let down and Skid Row without Sebastian has been a mixed bag at best.

Sebastian Bach solo isn't much better – his live album was ok, but only featured a few new tracks (which I enjoyed), then his project release The Last Hard Men was diabolically abysmal.
So, with some anticipation after all the talk and the involvement of producer wiz Roy Z, I guess I was hoping for a Slave To The Grind style hard rock monster here. Not so.

In fact, I was hugely disappointed in a number of areas.

I think the production is adequate, but nowhere near the strength of past Roy Z efforts – for example the guitar sound here is just awful.

The direction is questionable…some are going to dig the modern direction and the more pronounced metal sound, but above all other issues, I just don't find the songs to be that likable or effective. And Sebastian has one of the great voices of metal, so why all the screaming and forced tricks on this record?

Track By Track:

The title track Angel Down is simply down tuned guitars and a howling scream.

You Don't Understand has a more traditional Bach vocal and a decent chorus too, but the vocal is buried in the mix, overtaken by a punk/metal guitar riff.

Back In The Saddle is a screaming cover of the Aerosmith classic, but at track 3? The album is yet to establish itself, and already a cover is thrown into the mix. If Axl Rose wasn't guesting on this track, it would be left to close the album.

Axl Rose further proves he is still alive by guesting on the two tracks that follow too.

(Love Is) A Bitchslap is another downtuned punky track with a horrible guitar sound, but I like Sebastian's vocal here and at least there is some merit to the chorus.

Stuck Inside is another relatively heavy track with modern influences that doesn't do a lot for me.

American Metalhead should really be a classic Bach anthem given the title, but the screaming vocal and horrible guitar sound lets it down.

Negative Light features an awful production sound. Metallica had a new asshole ripped for themselves for releasing something that sounds like this.

Live & Die is a better metal track. I still don't like the guitar sound at all, but the song is one of the better album tracks and the chorus closer to old school Skid Row.

By Your Side sees Bach singing in full power and passion for the first time on the album. A nice acoustic themed ballad that old fans should appreciate.

Our Love Is A Lie is another punky metal track.

Take You Down With Me and Stabbin' Daggers both have bite and metal angst and I think will be appreciated by fans.

You Bring Me Down is modern metal and without a memorable chorus.

Falling Into You is the second ballad of the album and nice again to hear Sebastian singing.

Two problems here for me – the biggest is the guitar sound. Whatever the intentions of Sebastian Bach, I think it is the biggest negative of the album along with the genera; song quality.
The production is pretty loose for an album that took so long to make and there simply aren't enough songs of quality to draw me back in.

And there is simply too much screaming on this record. Bach shouldn't be looking to prove himself a metal icon, he is already a hard rock icon and that should be good enough for him.

Now, I know I might get hate mail for this review. I wait in readiness, but before you paint me a Bach hater, remember that I rate Slave To The Grind as one of the best records of that era.
We already knew Skid Row needed Sebastian Bach, now we know that Sebastian Bach needs Skid Row.

Warner Finland

I really really wanted this album to work. Covers albums generally don't, but there are the rare gems. What normally works best is when an act includes on killer cover within an album of originals and fans can gather those up for their own compilations.

I thought this could be one of those gems – the concept has 4 fabulous Finnish metal vocalists combining with that countries' natural affinity with dark symphonic tones – mixed with some classic pop/rock covers. But overall, this album doesn't work for me and apart from a few utterly fabulous covers within, the majority of the album just don't quite work or is downright strange.

I was counting on the quirks of the Finnish metal sound to deliver some interesting twists here and that is true enough, but not always in a positive sense.

Where it works – Journey's Don't Stop Believing is turned into a symphonic metal song with a searing pace and progressive base making it a real highlight.

Jethro Tull's Fallen On Hard Times kind of works as a metal anthem.

Peter Gabriel's Sledgehammer works as an uptempo metal song – even if it is a little all over the place.

Where it doesn't – Mr. Mister's Broken Wings is sped up a bit and I don't mind that, I just found that much of the song's heart and melody are lost here.

Billy Idol's Rebel Yell is slowed down to a snail's pace and given the dark metal treatment. Bizarre and imaginative, but ultimately almost unlistenable.

Cutting Crew's sentimental I Just Died In Your Arms Tonight is slowed even further into an orchestral/string dominated ballad, but is just too slow and the vocal doesn't work at all for me.

Same for In The Air Tonight. The gruff vocal just takes all ambience from the song. And I hate the original version of Creep anyway, so a slower, darker metal version doesn't do it for me either.
And Lionel Richie's Hello? Well, there are some songs you just don't mettalize!

A few highlights that will make for a laugh during parties, but a whole album of it just doesn't gel. No fault with the massive production, but the style doesn't sit right with several tracks.

Escape Music

ESM163

American melodic rock outfit Lynn Allen's history dates back to 1984, but this is their first album in a decade, in what is somewhat of a surprise return. Lynn Allen has picked up where they left off – in the mid-90s as if grunge never happened.

The Horse You Rode In On is a very simplistic album. The vibe is relaxed and the recording appears simple. Straight forward in nature, a true live in the studio kind of feel, featuring a set of very easy listening melodic rock tracks. My first listen I didn't give much value to the production, but there is nothing wrong with it at all, the direction is simply…well, uncomplicated!

This isn't a hard album to like. It's very pleasant.

The music as already stated is easy listening American AOR, with a strong 80s pop/rock feel and some memorable choruses. Nothing is over the top here – the vocals are largely laid back and never forced, despite the tempo moving along at a reasonable pace.

Highlights include the opening track I Will If You Will, a very likable 80s FM style number that Billy Squier or Sammy Hagar might have released in 1982.

Enough To Make Me Sober has a laid back riff and an instant chorus; I like the raspy vocal of Michelle and Would It Hurt You is also pretty instant.

The rest take some time and repeated listens, as perhaps the only negative here is fact that the repetitive mid-pace tempo and the lack of variation in the lead vocal tends to have some songs blend together.