The great vocalist Russell Allen and mega-guitar god Magnus Karlsson are back - joined not by Jorn Lande on this occasion - but rather Annette Olzon (Alyson Avenue, ex-Nightwish).
The vocals may be shared with a female voice for the first time, but the music is everything you’ve come to love from Karlsson. Big, bombastic and brilliantly produced and mixed.
The songs are superb, the vocals a delight. More please!
I could sum it up by just writing 'Axel. Rudi. Pell'.
You’d still know exactly what to expect from the German guitar wiz and his right-hand man, Johnny Gioeli. I’ve expressed some disinterest in the last couple of albums, due mainly to the self-imposed restrictions of delivering the same formula album after album, but I’m very happy to declare this album head and shoulders above the last couple of records, simply because of stronger songs and some terrific melodies – delivered by both guitar and vocals.
While there are no surprises, this album’s surge of urgency has definitely re-sparked my interest in Axel’s unmistakable style. I think fans will be more than happy.
Most should be aware of my admiration for all-star melodic rockers Alliance. The pitch perfect AOR vocals of Robert Berry are always welcome, but when he teams with David Lauser (Sammy Hagar) and class guitarist Gary Pihl (Boston, Sammy Hagar), there’s no stopping the flow of intelligent, well-crafted and challenging melodic rock music. Fire And Grace is no different.
Although a little rougher around the edges this time around, the album (minus past member Alan Fitzgerald) delivers the same classic sounding album you might expect. Berry provides all keyboard parts this time. While the album is melodic rock and AOR with a prog twist at its best and harkens back to a simpler era of the early 80s, the sound isn’t dated – its just classic. There are some stupidly good songs here.
The driving opener Don’t Stop The Wheel Turning; the feel good anthemic 80s buzz of Good Life and the epic, mood driven dramatic ballad Uncertain all give the album a flying start. Elsewhere the rhythmic free flowing Fire And Grace; hands in the air Raise Your Glass and the AOR perfection of Reason To Walk Away are all standouts amongst an album lacking any sign of filler.
Alliance have delivered one of the best AOR albums of the year so far, with track after track of engaging, intelligent songwriting here. No Alliance album has ever been a one-play and understand affair. They require a little effort and a little time, with the listening richly rewarded with layers upon layers of musical melody and brilliance. (93%)
Proof that everything happens eventually, here’s a brand-new AC/DC album, designed to drop some rock n roll healing on a shitty year. Could this be the last ever new AC/DC studio album? Never bet against accadacca but given it has been 6 years since the last album, it’s entirely possible.
Having cranked the contents of ‘PWR/UP’ several times in quick succession, I wouldn’t say the band have delivered a career defining record befitting a grand exit, but they have exceeded expectations to deliver a very credible late-career record that I think will please most fans.
It is true that the guys could possibly have written this album in their sleep and there is no deviation from the style or delivery of the last several records, but there is something very comforting about new AC/DC tunes.
Twelve tracks at 41 minutes in length should give an accurate summary of the contents here. I am comfortable stating that the first 4 tracks are amongst their best in many a year. Realize is a superb opener, with Rejection, the single Shot In The Dark and Through The Mists Of Time all delivering great riffs and hooks.
Elsewhere it’s a pretty consistent run. Only track 8, Wild Reputation, drags significantly for me.
I do wonder how good this would have been with someone like Bob Rock or Kevin Shirley at the helm. The lack of urgency and a harder hitting sound is what I think it missing from latter day records.
Brian Johnson sounds as good as ever, which I’m really pleased about. He’s one of the good guys.
God bless AC/DC, may their reign over metal heads until the end of time itself.
Legacy Swedish AOR act Alien deliver their seventh studio album here, the first to see them turn their traditional style on its head in an attempt to reach a new crowd.
So Alien have ‘gone metal’ here, albeit metal with a strong melodic edge and the unmistakable voice of Jim Jidhed reminding us of their true AOR origins.
I’ve seen some very mixed fan responses to this and my initial reaction was very negative. However, despite an absolutely horrendous production (yes, that issue again and a pretty consistent theme of the last 3 Alien albums), there are some great songs on here to enjoy.
I do think the guys are having a bet both ways, with the album split between the new hard rock sound and several lighter AOR songs that could have come from any previous album.
It’s a hard call – do you fully embrace a new sound with all the risks that entails, or do you try and do something different and mix in the old sound to try and keep old fans happy.
Hard to make a cohesive album with two different styles and I think that’s what holds this album back. Not to mention that Jim really struggles vocally on some of the heavier numbers, especially the painful to listen to What Are We Fighting For and Into The Future.
Of the ‘metal’ songs I really like the opening salvo of You Still Burn and Night Of Fire, the band don’t sound any better than they do on these two tracks.
On the other hand, ‘classic’ Alien can be heard with the more keyboard friendly Time Is Right, Freedom Wind and Fallin Way Down.
It’s a mixed album with mixed results and yes, mixed feelings. I think I’ll probably pick a few tunes here and there for separate playlists, but as a start to finish album, there’s something not quite right about ‘metal’ Alien and the production/mix is very muddy to say the least.
I absolutely love this album. It has everything I love about the two principles behind it and a added freshness that has been missing in some recent AOR releases.
Art is Work Of Art – that is, vocalist Lars Safsund, who is his usual blindingly good self, delivering a classic vocal that gives me the best of WOA, but more so, I hear him stretching out with some of the more adventurous material on offer and he knocks it out of the park.
Illusion is one of my favourite pomp songwriters, Grand Illusion’s songwriter/producer Anders Rydholm. Fans of Grand Illusion can hear Anders’ trademark pomp AOR all over this record and there are a few tracks which could easily be Grand Illusion tracks.
But there’s so much more on offer here. There are a few tracks that are completely bananas. It’s part classic rock opera and part falsetto overture and it sounds so good. Lars is extraordinary in his varied vocal delivery. There’s Queen, ELO and Styx influences throughout.
But it isn’t every track – its mixed in and around some traditional WOA style keyboard-AOR mixed in with some typical Grand Illusion pomp. There is a good dose of piano and some sentimental ballads, but also a few driving guitar tracks.
All in all it is quite the mix, but the superb quality of the songs and the performances make it work cohesively.
I won’t make a point of highlighting any particular songs as id like the listener to hear it fresh start to finish. Just be assured that this is a quality piece of work.
::: NITRATE returns with “Renegade” on July 30th, 2021! :::
(c) Nitrate/ Nick Hogg
Nitrate is back with their third album; ‘Renegade’, a follow on to their previous highly rated albums ‘Realworld’ in 2018 and ‘Openwide’ in 2019, which achieved great success. Inspired by the late 80’s rock scene with bands such as Def Leppard, Europe, Motley Crue, and Bon Jovi, Nitrate is the brainchild of song writer Nick Hogg (bass guitar) from Nottingham England. Nick has this time changed the line-up and enlisted Alexander Strandell (Art Nation) to take over on Lead Vocals & has teamed up with Tom & James Martin (Vega) & Mikey Wilson (Kimber) to produce an album that has been heavily influenced by Def Leppard’s ‘Hysteria’. With Tom Martin playing all the rhythm guitars and James Martin taking over on Keyboards the album delivers a more melodic/AOR feel than ever before. Renegade delivers 11 Hook filled tracks with great melodies, walls of keyboards and backing vocals supplied by Alessandro Del Vecchio. Tracks were inspired from bands such as Def Leppard, Starship, Journey, Skid Row, and Roxette making for a true 80s sound. Taking over on Lead Guitar is Dario Nikzad (Hell to Play).
Nitrate is: Nick Hogg - Bass Guitar, Alexander Strandell - Lead vocals, Tom Martin - Rhythm Guitars, James Martin - Keyboards, Dario Nikzad - Lead guitars, Mikey Wilson - Drums p; & additional guitar and keyboards, Alessandro Del Vecchio - Backing vocals;
Produced by Tom & James Martin & Mikey Wilson; Mastered by Alessandro Del Vecchio; Engineered by Tom & James Martin, Mikey Wilson, Alexander Strandell, Dario Nikzad, Alessandro Del Vecchio & Paul J King
Music recorded at Strandell Studios - Sweden, Osborne Studios - UK, Ivorytears Music Works - Italy, Soundwave Studios - UK
Mixed by Mikey Wilson ; Mastered at Ivorytears Music Works
All songs written by Nick Hogg, Tom Martin & James Martin Except ‘Alibi’ & Children of the Lost Brigade’ Written by Nick Hogg & Rob Wylde & ‘Renegade’ written by Tom Martin, James Martin & Nick Workman
::: STEPHEN CRANE & DUANCE SCIACQUA team up for “Big Guns”! :::
Big Guns was formed in 1985 as a direct follow up to the record “KICKS” by Stephen Crane (MCA 1984). Due to Irving Azoff’s departure and the ensuing shake up at MCA that year, KICKS was left without any marketing or promotional funds and was basically ‘Dead on Arrival’ and did not chart. Although, interestingly enough, the record has subsequently been re-released two times in Europe and has received rave reviews!
As a result of MCA’s inability to promote the album and band, Stephen Crane and Duane Sciacqua continued their quest to write and record new songs that were, and still are relevant in the world of Rock! Joined by then band member, Johnny Burnett (RIP), Crane and Sciacqua soon enlisted fellow band mates Paul Daniel (drums), and Matt MacKelvie (guitars, keys, vocals) and created “BIG GUNS”. They began a series of recordings with engineer Brett Gurewitz at his Hollywood studio. Crane and Sciacqua wrote, or co-wrote, and produced the songs that would become their self-titled album “BIG GUNS”. The band became a staple playing around Hollywood at the ROXY, FM Station, and other well-known rock venues. They received label interest but could never reach an amicable agreement and their search waned - players moved on, lives changed and BIG GUNS faded into the Rock n Roll sunset.
Many years later as good fortune would have it, the once forgotten Stephen Crane album (KICKS) received its popular acclaim, and the search for the long forgotten tapes was on. Georg Siegl at AOR Heaven, sought out guitarist Sciacqua for material, and the re-emergence of BIG GUNS was underway. After searching through the archives of years past, Sciacqua found the missing BIG GUNS tapes and through careful remastering and some re-recording was able to render the 10 tracks that make up the album.
This project stands as a monument to the songwriters, the singers and the players who dedicated their time and talents to comprise their self-titled album “BIG GUNS”.
:::TUPLE releases new video for ”Welcome To Hell” today!” :::
“Welcome To Hell” (out today) is the follow-up to the highly-acclaimed “Wooden Box” album by TUPLE which was released in 2020 via AOR Heaven and resulted in a charty entry in the native country of this Finnish artist.
Finland is well-known for its Heavy Metal roots. Far and wide comes the list of Metal bands that are known all around the world. But there’s also a strong Melodic Rock/AOR community. Bands that rely, not only on heavy riffing, but also strong melodies and larger-than-life keyboards. TUPLE is a good example of it. Catchy songs, great melodies, fine artistry.
To celebrate today’s album release, TUPLE has released another video today:
Any Jim Jidhead record is a good record and to have the original Alien back together lifts expectations higher than normal.
Thankfully the Swedish AOR Gods deliver – big time. This album sees direct comparison to their hailed classic self-titled debut. They really seem to have recaptured the magic fans hoped for.
Pure Scandi-AOR, delivered with a strong production and layers of vocals over guitars and keyboards galore….it just doesn’t get better for the pink and fluffy brigade.
This is old-school AOR – mid-80s styled, with a good mix and some very catchy songs. Jim Jidhed sounds great, as does the rest of the band in their respective roles.
This is a very consistent album with enough differences between the songs to make things interesting. The tempo is largely up, aside from a couple of big ballads – I Believe and the stark In Truth are both excellent. The mid-tempo ballad I’m A Fighter also appeals.
Elsewhere around the album, highlights include the terrific opening In Love We Trust; the fast moving Unbroken; the classic AOR of Love Will Lead Me Home and the warmth of Summer Of Love plus the feel good Liar Liar.
The only song that doesn’t really strike a chord with me is the jangly keyboard driven What Goes Up, whose chorus and keyboard fill are both kinda of annoying.
The Bottom Line
Strike another one up for the Swedes. Surely it can’t keep coming without end in sight? Well, regardless of that, let’s enjoy these releases while we can. Quality like this helps fans of the glory days of the 80s continue without any need to move into the now. Welcome back Alien – nice to have you around again.
Legacy Swedish AOR act Alien deliver their seventh studio album here, the first to see them turn their traditional style on its head in an attempt to reach a new crowd.
So Alien have ‘gone metal’ here, albeit metal with a strong melodic edge and the unmistakable voice of Jim Jidhed reminding us of their true AOR origins.
I’ve seen some very mixed fan responses to this and my initial reaction was very negative. However, despite an absolutely horrendous production (yes, that issue again and a pretty consistent theme of the last 3 Alien albums), there are some great songs on here to enjoy.
I do think the guys are having a bet both ways, with the album split between the new hard rock sound and several lighter AOR songs that could have come from any previous album.
It’s a hard call – do you fully embrace a new sound with all the risks that entails, or do you try and do something different and mix in the old sound to try and keep old fans happy.
Hard to make a cohesive album with two different styles and I think that’s what holds this album back. Not to mention that Jim really struggles vocally on some of the heavier numbers, especially the painful to listen to What Are We Fighting For and Into The Future.
Of the ‘metal’ songs I really like the opening salvo of You Still Burn and Night Of Fire, the band don’t sound any better than they do on these two tracks.
On the other hand, ‘classic’ Alien can be heard with the more keyboard friendly Time Is Right, Freedom Wind and Fallin Way Down.
It’s a mixed album with mixed results and yes, mixed feelings. I think I’ll probably pick a few tunes here and there for separate playlists, but as a start to finish album, there’s something not quite right about ‘metal’ Alien and the production/mix is very muddy to say the least.
Any Jim Jidhead record is a good record and to have the original Alien back together lifts expectations higher than normal.
Thankfully the Swedish AOR Gods deliver – big time. This album sees direct comparison to their hailed classic self-titled debut. They really seem to have recaptured the magic fans hoped for.
Pure Scandi-AOR, delivered with a strong production and layers of vocals over guitars and keyboards galore….it just doesn’t get better for the pink and fluffy brigade.
This is old-school AOR – mid-80s styled, with a good mix and some very catchy songs. Jim Jidhed sounds great, as does the rest of the band in their respective roles.
This is a very consistent album with enough differences between the songs to make things interesting. The tempo is largely up, aside from a couple of big ballads – I Believe and the stark In Truth are both excellent. The mid-tempo ballad I’m A Fighter also appeals.
Elsewhere around the album, highlights include the terrific opening In Love We Trust; the fast moving Unbroken; the classic AOR of Love Will Lead Me Home and the warmth of Summer Of Love plus the feel good Liar Liar.
The only song that doesn’t really strike a chord with me is the jangly keyboard driven What Goes Up, whose chorus and keyboard fill are both kinda of annoying.
The Bottom Line
Strike another one up for the Swedes. Surely it can’t keep coming without end in sight? Well, regardless of that, let’s enjoy these releases while we can. Quality like this helps fans of the glory days of the 80s continue without any need to move into the now. Welcome back Alien – nice to have you around again.
Proof that everything happens eventually, here’s a brand-new AC/DC album, designed to drop some rock n roll healing on a shitty year. Could this be the last ever new AC/DC studio album? Never bet against accadacca but given it has been 6 years since the last album, it’s entirely possible.
Having cranked the contents of ‘PWR/UP’ several times in quick succession, I wouldn’t say the band have delivered a career defining record befitting a grand exit, but they have exceeded expectations to deliver a very credible late-career record that I think will please most fans.
It is true that the guys could possibly have written this album in their sleep and there is no deviation from the style or delivery of the last several records, but there is something very comforting about new AC/DC tunes.
Twelve tracks at 41 minutes in length should give an accurate summary of the contents here. I am comfortable stating that the first 4 tracks are amongst their best in many a year. Realize is a superb opener, with Rejection, the single Shot In The Dark and Through The Mists Of Time all delivering great riffs and hooks.
Elsewhere it’s a pretty consistent run. Only track 8, Wild Reputation, drags significantly for me.
I do wonder how good this would have been with someone like Bob Rock or Kevin Shirley at the helm. The lack of urgency and a harder hitting sound is what I think it missing from latter day records.
Brian Johnson sounds as good as ever, which I’m really pleased about. He’s one of the good guys.
I could be a lazy reviewer and just write 'Axel. Rudi. Pell'. You’d still know exactly what to expect from the German guitar wiz and his right-hand man, Johnny Gioeli. I’ve expressed some disinterest in the last couple of albums, due mainly to the restrictions of delivering the same formula album after album, but I’m very happy to declare this album head and shoulders above the last couple of records, with stronger songs and some terrific melodies – delivered by both guitar and vocals.
While there are no surprises, this album’s surge of urgency has definitely re-sparked my interest in Axel’s unmistakable style. I think fans will be more than happy.
Most should be aware of my admiration for all-star melodic rockers Alliance. The pitch perfect AOR vocals of Robert Berry are always welcome, but when he teams with David Lauser (Sammy Hagar) and class guitarist Gary Pihl (Boston, Sammy Hagar), there’s no stopping the flow of intelligent, well-crafted and challenging melodic rock music.
Fire And Grace is no different. Although a little rougher around the edges this time around, the album (minus past member Alan Fitzgerald) delivers the same classic sounding album you might expect. Berry provides all keyboard parts this time.
While the album is melodic rock and AOR with a prog twist at its best and harkens back to a simpler era of the early 80s, the sound isn’t dated – its just classic.
There are some stupidly good songs here. The driving opener Don’t Stop The Wheel Turning; the feel good anthemic 80s buzz of Good Life and the epic, mood driven dramatic ballad Uncertain all give the album a flying start.
Elsewhere the rhythmic free flowing Fire And Grace; hands in the air Raise Your Glass and the AOR perfection of Reason To Walk Away are all standouts amongst an album lacking any sign of filler.
Alliance have delivered one of the best AOR albums of the year so far, with track after track of engaging, intelligent songwriting here. No Alliance album has ever been a one-play and understand affair. They require a little effort and a little time, with the listening richly rewarded with layers upon layers of musical melody and brilliance.
Art Nation is an absolutely superb slice of glorious Scandi-AOR. Yes, another Swedish masterpiece is upon us. Anyone who purchased or heard the very highly rated Diamond Dawn debut album needs to sit up and pay attention here.
The band features former vocalist of that band Alexander Strandell and all of that band’s best qualities – big keyboards, big guitars, big hooks, big harmonies and big attitude.
The album rocks pretty hard in places (for an AOR release at least), with a couple of tracks going into double kick drum territory.
The bulk of the songs however are just perfect, sweet, anthemic melodic rockers, with the tempo and feel good factors both “up”.
There’s a little Brother Firetribe and a little H.E.A.T sound to these guys, which I’m sure will bother absolutely no one reading this.
It’s song after song; chorus after chorus here. The record doesn’t let up for a minute.
At this time of year I have to push out too many reviews that deserve more space and time, but don’t let the brevity of this one stop you from checking out one of the year’s best pure AOR, 80s influenced releases.
A new live Asia album/DVD is right up there with those other fan-craved items such as another Styx DVD, a Bret Michaels country album and a new vocalist in Red Dragon Cartel.
But here it is anyway – their 5th live release since reforming and following the quite turgid High Voltage Live release.
Thankfully this is a far superior release. Everything that was wrong with High Voltage is corrected here.
The band is awake, the audio is pro-recorded and the set list an expanded full-show experience.
Naturally it’s die-hards only that are going to be remotely interested in this, especially as it is live album number 5, but the longer set list and the far better production quality has put this release well ahead of the other competing titles.
The enthusiastic San Francisco audience laps up all the usual fan favourites such as Heat of The Moment, Only Time Will Tell, Wildest Dreams, Don’t Cry and The Smile Has Left Your Eyes.
Thrown into the mix are some of the better new tracks, which form a seamless bond with the classics. Face On The Bridge and Extraordinary Life faring the best.
I could well do without the 10 minute drums solo, thankfully the acoustic guitar solo is but one third that length. Definitely better value watching the DVD than on the CD for those two.
Great musicians these guys, but not the most mobile or visually enthralling act around. But with this value for money set, you can tune in with your ears or eyes depending on mood and appreciate the best songs of this classic rock act.
If you have the other 4 live releases, this won’t surprise, but it will impress.
This will be a shorter review than what it should have been had I reviewed this album when it was originally released. But…it’s never too late to discover or to be reminded of great music and this IS great music!
This all-star Swedish band is fronted by former Wig Wam vocalist Age Sten Nilsen along with Erik Martensson on guitars and production plus his Eclipse band mate Robban Bäck on drums.
Hal Patino rounds out the group on bass plus Lasse Finbråthen from Wig Wam on keyboards.
Let’s not beat around the bush – if you own Eclipse, you need this. If you own any Wig Wam album, you need this. If you own anything by Erik Martensson, you need this.
This is big budget, big sounding, big melodic hard rock with guitars, keyboards and hooks everywhere you look.
Age puts a very positive step forward for his first release outside Wig Wam; in fact, he comes close to releasing the best thing he’s ever done and a long way clear of the last couple of Wig Wam albums.
Highlights are plentiful – the stomping hard driving Silverback; the anthemic glory of Give Me A Sign; the mid-tempo harmony filled Shanghaied; the swagger and attitude of the rocking Tie Me Down; and then there’s the entry for song of the year Wild Card. What a blazing anthemic slice of AOR heaven!
The big bluesy ballad Heart’s Not In It is another highlight and Strung Out closes the album with an energetic blast.
The bonus track for some territories is the anthemic Sucker For Anything – essential if you can find it – it’s one of the album’s best tracks!
If you didn’t already pick up on it – this album is BIG. It’s a big, loud, anthemic, dirty and melodic rock n roll record with a touch of AOR/melodic rock/hard rock and glam.
Axel celebrated his 25th Anniversary last year with an all-star concert event featuring guests from throughout his esteemed career.
From his early days in Steeler, to his early solo career with Jeff Scott Soto, through to today, continuing on with Johnny Gioeli.
The concert takes a cool snapshot of that entire span in chronological order.
Unfortunately it starts with the worst segment of the night, the Steeler reunion, all mainly due to the rough and largely unlikable vocalist Peter Burtz.
Thankfully we go from the basement to the penthouse after just 4 tracks, when Rob Rock jumps onboard for Nasty Reputation, the title track of the album he fronted.
Then it’s on to Jeff Scott Soto, who slays the crowd as usual with Warrior and Fool Fool.
The current ARP band is then ushered to the stage to deliver some Axel goodness. 3 of the next 5 tunes are over 9 minutes in length and one is 7. It’s Axel at his epic best, with Johnny singing his heart out. Strong As A Rock and Long Way To Go are both high energy delights and a 9 minute Hey Hey Now Now is the very definition of epic.
30 minutes of crossover tracks and live favourites follow until a few more covers appear – Montrose’s Rock The Nation is short, sharp and to the point; Ronnie Atkins joins in for Black Night; Tush features John Lawton and a 14 minute Mistreated features Doogie White, Tony Carey and Johnny Gioeli.
Graham Bonnet, Michael Voss, Doogie White tear down Since You’ve Been Gone, with Long Live Rock n Roll and completely over the top Smoke On The Water close out this truly epic event.
3CDs or DVDs might not be enough for flag waving ARP fan club members, but for the general populace, it’s more than enough and a fitting high quality way to pay tribute to one of Germany’s finest ever guitarists and metal legends.
AC/DC shrugs off recent bad news (Malcolm Young) and bad press (Phil Rudd) to deliver another riff heavy volume of music to their incredible catalogue of tunes.
What hasn’t changed in decades is the band’s sound, style and lyrical naffness (can that be a word please?).
But that naffness is forgiven with the first riff of Angus’ guitar, which is as essential to rock n roll life as oxygen and electricity.
On Rock Or Bust we are faced with a very quick fire 11 track/35 minute blast of classic rock, with the screechy vocals of Brian Johnson taking us back in time once again.
Unfortunately we aren’t propelled far enough back in time to when Brian was in better voice, but I’ll still take it.
I’m not sure, but maybe the theme of this album is….er….”rock”? (Rock Or Bust, Rock The Blues Away, Got Some Rock N Roll Thunder, Rock The House).
Well….not unexpectedly, it does rock. The band sounds energized and while they’ll never touch the classic material of the 70s or the stadium anthems of the 80s, they can still deliver a good tune.
It’s a pretty solid album – it would want to be for only 35 minutes – there’s a few stand outs, but also a couple of tracks that really do plod along.
On the winners list are the first 4 tracks, which all rock along at a good pace, especially Play Ball and Rock The Blues Away.
Baptism Of Fire is a good bar room rock-n-boogie; Sweet Candy is cool and Emission Control is an old-school rocker.
Missing the mark for me are the tracks where the band just plods along a little too much - Got Some Rock & Roll Thunder and Hard Times in particular.
A decent album. You can’t expect too much more after all these years. The band can still deliver some old school songs and some memorable guitar riffs. They might be a bit rusty and predictable, but it ain’t noise pollution, so moderate thumbs up from me.
It appears that British AOR is alive and well. With the recent acclaim for new comers In Faith and 3 Lions as well as high praise for new albums from the more established Vega, Night By Night and Ten; it seems the Swedes don’t have a monopoly on good quality AOR and Melodic Rock. Angels Or Kings are another newcomer to the scene and on the face of things, they are set to gain the attention of fans of the aforementioned artists.
The British band, with origins dating back to 1988, split up over a decade ago but recent reformed to record this debut. They were voted onto the final Firefest lineup with over 3500 votes. The album is on the heavier side of classic 80s inspired AOR.
Baz Jackson is a memorable frontman. His passionate raspy vocals are at the forefront of each song. At times he appears to be pleading with the audience, such is the power of his emotional delivery.
There’s a veritable flood of keyboards throughout but the songs remain driven by guitar and those big vocals.
The tempo is largely uptempo and consistently delivers that classic British sound.
Musically the band sounds in the same territory as British legends FM, Shy and Heartland with a dash of White Widdow and HEAT.
Highlights are easy to find, the cream of the crop being Any Other Girl, A Harder Place, Same Star, Someone To Save Me and Same Old Love.
All good stuff really.
Yet another promising debut from a seasoned UK outfit. Traditional 80s melodic rock is alive and well. While this album may not be as groundbreaking or as unique as some others, it definitely has that charm of familiarity and is comprised of a good set of songs.
Despite the appearance on the CD of as 5 piece band, the recorded side of Swedish rockers Adrenaline Rush is down to the partnership of vocalist Tave Wanning and master songwriter/producer/multi-instrumentalist Erik Martensson, who provided all instruments, all but 2 of the songs and all mix and production duties here.
So essentially this is a new Martensson project with a female vocalist this time, giving it a new fresh dynamic over past albums with Toby Hitchcock, WET and of course Eclipse.
As with everything that Erik Martensson touches, this sounds a million bucks, with a big powerful production and clear mix.
Musically it’s a little different for Erik, the material sounds like a mix of recent Eclipse and old school Motley Crue styled LA hard rock. In fact both Girls Gone Wild and Hit You Like A Rock both sound like they were lifted straight off Motley’sDr. Feelgood album. Girls Gone Wild borrows heavily from Kickstart My Heart!
It’s a big groovy melodic hard rock record with some fast moving stadium anthems like Want It All, Change and Playin’ To Win.
There are a couple of melodic rock anthems like Too Young To Die, No No No and Black N Blue.
When We’re Gone is the darker, moodier mid-album circuit breaker.
There are some really attractive elements in this album. The sound is huge, the mix is crystal clear and there are a few monster songs.
I don’t think it is quite as memorable as past Martensson projects, but that is maybe down to the style of singer Tave Wanning. Erik has received a couple of perfect 100s and a few very high 90s in the last few years, so he’s still my favourite producer of recent years.
Well worth checking out for fans of Erik’s material and fans of female fronted ass kicking melodic rock.
A new Allen/Lande release without mastermind Magnus Karlsson involved? Not sure about that. Timo Tolkki to take over as chief architect? Definitely know how I feel about that.
I came into this release – the 4th overall – with very low expectations. After Timo’s recent twin Avalon releases, I expected a bad production and some bland songwriting.
But I was wrong and I’m happy to announce that.
While I don’t think the album has the same wall of sound that Karlsson delivered or the same intensity in the vocals, it is still pretty good.
Interestingly, 6 of the 10 tracks feature just the one vocalist. Jorn on 3 and Russell on 3. Just 4 of the songs feature both vocalists and that’s a weakness of the album and shows how well Karlsson worked with both singers on all songs and intertwined their vocals on the first 3 records.
Thankfully the production is far better than the Avalon releases, with Dennis Ward brought in to mix the end results.
Anything featuring Russell Allen and Jorn Lande in full attack mode is going to appeal, so I’m glad everyone involved got it right.
Timo is responsible for writing all songs – with Jorn co-writing several with him. Timo is also responsible for the guitars, bass and keyboards. So it’s an impressive performance here and I’ll now expect more from him.
After 3 pretty similar releases (which I all rate highly), perhaps it is nice to hear these class vocalists at it once again, but with a different sound behind them.
The strong opener Come Dream With Me and the belting impact of the fast moving Down From The Mountain (both tracks featuring duel vocals) and In The Hands Of Time (featuring Russell) get the album off to the best possible start, with both singers in full fight.
It’s not until the quality metal ballad Lady Of Winter (featuring Jorn alone) do things slow down a little.
Dream Until Tomorrow is a song featuring both singers belting it out and is followed by another duet in the intense Hymn For The Fallen.
Russell closes the album with a pair of songs – one highly quality rocker and the other a powerful metal ballad called Bittersweet.
As much as I like the results here, I still haven’t played the album as much as I did the first three. I think the sonic impact of Magnus Kalrsson is the obvious missing ingredient here, plus the lack of interplay between vocalists, but otherwise, Timo far exceeded my expectations and this is still an enjoyable melodic metal / hard rock album worth of the Allen/Lande name.
Adriangale are another band back in quick time with another new studio opus after firing back to life in 2013.
Defiance is a fitting title for a band that has overcome the odds and continues to deliver.
There’s nothing better than a band that learns and keeps getting better and better with each album. And as enjoyable as each album from these guys has been, they have continued to get better and I’m pleased to say that Defiance is in my eyes, their best and most accomplished album to date. I’m being tougher with scores since the new site launch, so the 93% here is truly well deserved.
Taking the best anthemic AOR qualities of their past and toughening up the sound a little, upping the production value and delivering a crystal clear mix is what this album is all about.
Jamie Rowe sounds as comfortable singing here as I have ever heard him and the quality of Vic Rivera’s guitar playing on this album is world class.
I’ve always told him he needs to continue showing the world what he can do, as far back as his blazing work on the Rick Springfield tribute cover of Souls.
There’s not a weak or filler track on this album. Just 10 really enjoyable songs. No padding – just straight to the point.
The opening (and title) track Defiance sets up this album beautifully. Darker, a little heavier and a killer moody chorus.
Back To You is similar – a brooding moody verse that leads to an anthemic layered chorus. Love it. Adriangale at their best.
What About Love is a gritty guitar fueled rocker with lots of vocal harmonies once again.
Sometimes has a heavier than usual guitar riff which I love, added to with a blindingly good anthemic chorus.
The only big ballad of the album is the perfect moody Last Of My Heart. It has a great sentimental feel and lots of harmonies.
The closing track demonstrates that if Billy Idol is ever looking for someone to stand in for him, he should give Jamie Rowe a call and Vic Rivera can stand in for Steve Stevens.
Speed replicates the original Idol tune in pretty faithful fashion. It’s a cool addition to the original material.
Another album, another winner. Arguably the band’s best effort yet – at least in my eyes. There is no doubt that all fans of melodic rock should find something very tasty about this album, the songs and the layers within.
The world does not need another live Asia album. Not even the most hardened Asia lovers need another live album. But, if we must….as least make it one that’s half listenable.
This is not the best live recording, which at times sounds like an audience recorded bootleg. The vocals are hollow and the bass thumps along above the guitars and drums. A dreadful mix.
The band sadly sounds its age here. John Wetton’s once silky smooth vocals are pretty raspy in places.
The band has some incredible songs – several from the debut album here and mixed with a few from recent years, but this is not an advert for the band at its best.
The accompanying DVD adds a little more value, but this is not the most visually active band around. Drummer Carl Palmer is the most animated on stage throughout the show. Guitarist Steve Howe continues to give Stones drummer Charlie Watts a run for his money in the ‘awkward skinny old white dudes in rock’ race.
I can’t be sure, but I think the guys are having fun on stage…I think I saw a smile during Heat Of The Moment.
Avoid unless you desperately need to make up your CD quota for the month or you are a card carrying member of the Asia-Forever fan club.
This is a solid melodic rock release indeed. The idea for Acacia Avenue began back in 2008, the brain child of guitarist Torben Enevoldsen (Fate, Fatal Force, Section A).
This is his second album and again sees Torben delivering some melodic rock tunes instead of his normally more metal-themed music. To handle vocals, Torben has gathered a number of guest vocalists to fill frontman duties.
These kinds of albums can appear very disjointed, but the quality of the production here is such that it all flows pretty seamlessly.
Torben takes care of all the bass, keyboards and guitars, as well as singing background vocals on a few songs. New drummer, Dennis Hansen (Fatal Force) appears on drums. Good man for hiring an actual drummer, not a machine!
Song wise there are many highlights.
Time (feat. Steve Newman) is a first rate hard rocker, with Newman again getting heavier and sounding very comfortable doing it.
Love Will Survive (feat. Rob Moratti) is typically Moratti styled AOR with a very high vocal (of course) and a great chorus.
It's Over (feat. Albin Ljungqvist) is a wonderful little keyboard driven AOR number with a high pitch vocal and a highly memorable chorus.
Out Of The Business (feat. Mikael Roup) is another very catchy track that sounds more like Uriah Heep/Y&T. A little out of place here in the scheme of things, but catchy!
Signs Of Love (feat. Rob Moratti) is a melodic rock style track but doesn’t match the quality of his earlier track.
Cold (feat. Torben Lysholm) is about the same – ok, but not a highlight.
Angelina (feat. Steve Newman) is moody, but guitar driven and another great Steve Newman vocal.
You And I (feat. Mikael Roup) and Calling Out (feat. Nicklas Sonne) are skippers I’m afraid. They lack the hooks of previous songs.
How Many Nights (feat. Torben Lysholm) is better, but again is part of a group of songs that don’t match the quality of the first half of the record.
Freedom From Doubt (feat. Peter Sundell) features a strong bluesy vocal from Sundell and finishes the album with a different kind of song than anywhere else on the record.
A great first half of the album and an ok second half that requires a bit more attention to draw out the melodies. A solid record overall, which will stand comfortably alongside the debut. The best tracks are really special and worth the price of admission.
Very good production/mix quality lifts the results.
This is a really painfully slow album to get through. I spoke of the occasional joys of a nice mellow album, but in this case, the songs are simply frightfully dull and lacking any enthusiasm by those performing them. The production and style of the album is as close to classic 80s Asia as you could imagine, but it's wasted on some tepid pacing and dull songs.
Asia delivers another new album in pretty quick time following their acclaimed XXX album in 2012. Gone is guitarist Steve Howe and in his place is young gun Sam Coulson.
The band has stuck to its mantra of slick, polished AOR, staying true to their original early 80s style.
Unfortunately the band seems to have slipped back into the slow to mid-tempo slumber that has been an issue in recent albums. The brief sojourn into a more uptempo realm on XXX is once again abandoned in favor of a moped in first gear here.
The production of course is super smooth and multi-layered, but the songs….dull I'm afraid.
Kicking off with what is possible the most annoying chorus in at least a decade, Valkyrie has a nice laid back verse reminiscent of the band's debut album, but that chorus makes you want to stick cacti in your ear.
Then comes 8 minute title track, where there's no sign of life until near the 3 minute mark. Followed of course by an ultra-slow ballad, a painfully slow song followed by the mid-tempo quirk of Nyctophobia which is kind of annoying also.
Russian Dolls is then another slow song before Heaven Help Me Now finally hits second gear.
That's followed by the album's best track – the slightly anthemic (in a mellow way) I Would Die For You.
That's followed by the horribly slow and dull Joe Di Maggio's Glove and the slightly more dramatic Till We Meet Again to close the album.
