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Wed
29
Mar

SEVENTH CRYSTAL – Wonderland (Album Review, 2023)

information persons: 
content: 
96%
Label: 
Frontiers
Score: 
96
Categories: 
Reviews

The Swedes have done it again! Following on from a classy 2021 debut, Seventh Crystal have completely knocked it out of the park with this one.

Seventh Crystal was put together by singer Kristian Fyhr (Perpetual Etude), a guy who has a sensational, soaring, powerful and melodic voice, is perfect here, but it is the sum of all parts that makes this band great.

The album is dominated by big riffs, in a slightly progressive hard rock style that is driven by guitars but accompanied by some brilliant piano and keyboard parts and a hard-hitting rhythm section.

Best of all though – is the quality of the songs. Every single one is a winner, with a strong melody and chorus hook. Nothing better than prog-rock with choruses! More pleasing is that of the albums 13 songs, there is so much freshness and a dynamic production that really blows the songs up.

Its so great to hear something fresh and engaging and original, while still remaining true to the genre of music it represents.

I can’t recommend this one enough. Pure melodic bliss in a hard rocking package that should appeal to many.

Consider mixing the progressive elements of Threshold with the vocals of HEAT and the keyboards of One Desire. A tasty proposition.

 
Wed
29
Mar

STREETLORE - StreetLore (Album Review, 2023)

information persons: 
content: 
89%
Label: 
Art Of Melody Music
Artist: 
Score: 
89
Categories: 
Reviews

StreetLore comes to you courtesy of Art Of Melody Music & Burning Minds Music Group, who have put together this new Italian melodic rock project featuring a stack of great special guests.

Songs are from keyboardist Lorenzo "Lorerock" Nava, who approached his long-time friend, Burning Minds Music Group's A&R and producer Pierpaolo "Zorro" Monti (Raintimes, Shining Line, Room Experience, I.F.O.R., Charming Grace), with the proposal of some unreleased material he’d written through the years. From there the idea morphed into an all new recording, with guests from all over the melodic rock world.

The vocals are all performed by different people, so there is some variation in style and approach here. Some are more an acquired taste, while others are just stone-cold legends.

Names include Davide "Dave Rox" Barbieri, Satin, Terry Brock, Jesús Espín, Stefano Lionetti, Sue Willetts and Dion Bayman.

So the names behind this are quality, the vocalists are quality – what about the production and songs? I’m happy to report both are quality also. It is a big sounding production for a smaller label, plus I must single out the awesome guitar playing and keyboard sound throughout the record.

Classic and ‘typical’ European AOR/melodic rock, with an uptempo feel, with some memorable songs making the album a worthy addition to collections.

 
Fri
07
Aug

SHAKRA - Mad World (2020)

Score: 
86
Categories: 
Reviews

Not many words needed to sum up a new Shakra release. The Swiss hard rockers don't stray from their long established AC/DC-esque template - the only points up for debate are song and production quality.

It's hard to believe just how long the band has been around now, its quite the accomplishment.

Nothing to complain about here for long time fans and newcomers alike. A big hard and heavy sounding record with an enjoyable set of songs. I suspect I'm preaching to the choir here.

 
Thu
20
Aug

STEVE PERRY - Traces (2018)

Score: 
92
Categories: 
Reviews

The return of Steve Perry is one thing, but the avalanche of publicity for the immediate release of a single and a full album due October 5, has been something else.

Such is the rarity of new Perry work, I have been writing for 22 years and only covered one new studio album – Journey’s Trial By Fire.

But here we are – Traces is the new album – a 10 track chronicle of Steve’s recent life experiences and a 15-track deluxe edition available via direct online or USA Target stores. This is a review of the standard/international edition. It will be updated with word on the additional 5 tracks ASAP.

To many – me included – Steve Perry is the voice of AOR, the definitive authority on just how good vocals can be. You have to get past the pure excitement factor of just getting to hear his voice again before you can objectively critique new material. I have given most of my personal favourite artists a serve at one point or another over the years, however, I’m pleased to say there’s not much to be critical of here – provided fans understand the reality of Steve Perry 2018.

The voice is rougher, raspier and it isn’t as strong as it once was. But that’s almost stating the bleeding obvious. Who would be at nearly 70 years of age?

What I care about is performance and songs and ‘Traces’ gets a tick in each column.

I can’t imagine anyone is surprised to hear this is a ballad filled, slow to mid-tempo record. And while some may struggle with the pace, I doubt any long time Perry fan is going to be disappointed.

Steve Perry at 70 is still Steve Perry. Just like hearing Neil Diamond at any stage in his career, so too is the joy of hearing Steve Perry. It’s that distinctive voice and those trademark inflections, that tone and that unmistakable delivery of mood and emotion that no one does better.

The characteristics and familiar style of Steve Perry’s past is all over this record. You can hear parts of ‘Street Talk’, ‘Strange Medicine’ and of course ‘Trial By Fire’ and other Journey-isms.

Taking a look at the songs themselves:

‘No Erasin’' is the upbeat easy to like, catchy as hell lead track (and single). I’ve enjoyed it from the start and I’m still enjoying it. Immediately memorable and the layered Motown harmonies are trademark Steve.

‘We're Still Here’ is the second track and a ballad as expected. It’s very smooth, very moody and features a more direct and unfiltered lead vocal. Textured with modern production effects and soulful harmonies, the chorus isn't big, but it's cool. Compared to the rest of the album’s ballads, it almost feels ‘up’, especially with the chorus.

'Most Of All' is a co-write with the great Randy Goodrum. It features a wonderful heartfelt vocal; slower and very sparse and smooth, this time lead primarily by Steve's voice and a grand piano. The chorus lifts tempo slightly as does Steve's voice. I picked it as a favourite from the first listen and that’s stayed true. Not unlike Strange Medicine's slower moments, plus a nice guitar solo and plenty of soul.

'No More Cryin' is yet another ballad, but each track has its own vibe, making the album far more enjoyable overall. This track has a touch of the Memphis blues about it and immediately reminds me of old school Steve. The chorus lifts the tempo and has some cool modern guitar riffing.

'In The Rain' is something very special. This is a very personal, very emotional piano ballad, formed with just a warm, soulful vocal, the piano and some lush orchestration. The vocal is amazing - very raw and haunting and Steve’s most ambitious high notes on the album. I can’t praise that enough and the vocal-melody makes the song.

'Sun Shines Grey' is co-written with John 5 and producer Thom Flowers. We've found the album’s other rocker, and it reminds me of modern day Rick Springfield mixed with Journey's Can't Tame The Lion. I could imagine Neal Schon playing on this, but John 5 is the man behind the riffs and also delivers a cool solo.

'You Belong To Me' is another soft piano ballad with accompanying string orchestration and an ultra-smooth and soulful vocal. There's some rasp in that voice its aged, but it’s still driven by those classic Perry nuances.

‘Easy To Love' is another stand out ballad. This one is characterised by some percussion and organ accompanying a slow, steady Motown style vocal. The chorus jumps in tempo with some classic Perry soul harmonies. This is definitely another ballad with a familiar vibe.

'I Need You' is a cover of the Beatles tune, a mere 2.59 in length, this ballad features the most familiar Perry vocal sound yet! Soft, slow, soulful...it’s the theme of the record.

Closing out the standard edition of this album 'We Fly' is another unique ballad. The first minute features just Steve's vocal. Talk about putting yourself out there! It’s an intense song that builds as it goes with atmospheric keyboards in the background.


And there you go. A very quick 40 minutes flies by as you immerse yourself in the music and lyrics of the maestro. It’s a very fine record, there’s no doubt. Immaculately produced and constructed, with equally impressive musical performances by the band assembled and also the orchestral parts. The soulful harmonies are classic Perry and lush in texture.

What I do like about this album is each ballad has its own style, its own emotion and its own unique energy. Overall, this is a very contemporary album. The two rockers are both very commercial and the ballads could be lifted from any era. It’s a mood album…but perfect for when you’re in that mood.

It's Steve ‘MF’ Perry. It’s also very very good.


Target Special Edition Bonus Tracks:

‘October In New York’ is a slow crooner of a song – a very authentic jazz/40s pop crooner complete with a stripped back jazz-ballad arrangement with orchestration and a simple piano to accompany. Not huge on this one – but the musical style is not my bag generally speaking.

‘Angel Eyes’ lifts the tempo a little – mid-range for this track, which quite honestly could have come straight off Street Talk. Gracious, this one should have been on all editions! A wonderful breezy tune with lots of Motown influences and the same feel as ‘I Believe’ and ‘Go Away’. The vocal is quite marvellous.

‘Call On Me’ takes on the third different style in 3 songs. Almost as if Steve has left the more adventurous tracks for the special edition. This one has another familiar feel to it, using a mid-tempo reggae beat in the same way as Steve has done before, with his soulful vocals just dripping over the instrumentation. Another fine vocal it must be said and another likeable song. I would have used this on the regular edition.

‘Could We Be Somethin’ Again’ is yet another left turn – a slow to mid-tempo pop/soul track with a tidy little beat and another warm vocal. Good song, but definitely a bonus track kinda tune.

The 3 minute ‘Blue Jays Fly’ is the 5th song with the 5th different style. Not sure how to describe this one. A softly sung vocal over sparse instrumentation – it’s almost in a meditative or lullaby state that doesn’t feature a lot of vocals. It closes out things nicely, but not one I’d choose for the main set of songs.

More songs are always welcomed – there’s a couple of great tunes here that could easily have been part of the main release. The other 3 make for likable bonus tracks and take Steve’s overdue comeback album to a better length.

My original review and rating remain intact.

 
Thu
29
Oct

SHAFT OF STEEL - Steel Heartbeat (2020)

Score: 
89
Categories: 
Reviews

Shaft Of Steel – surely a metal band with a logo like that…and cover art featuring a medieval candelabra and goblet and even a fish mounted on the wall! Let’s get ready to rocwhaaaat? This isn’t bang your head, it’s more rather gently nod your noggin. These British rockers defy the visuals and deliver a classy bright and breezy, pink and fluffy AOR record that’s more akin to Work Of Art than their name suggests.

Its well worth the time and the effort. For a debut, it delivers more than might be expected and while they aren’t yet in the same league as WOA, anything is possible with a start like this. Just fix the visuals and tighten up production a little.

 
Thu
29
Oct

SHINING BLACK - Shining Black (2020)

Score: 
55
Categories: 
Reviews

Shining Black should be a stand out record based on the names behind it. Another staged Frontiers partnership, the ‘band’ features vocalist Mark Boals (Yngwie Malmsteen, Ring Of Fire, Royal Hunt) and guitarist Ölaf Thorsen (Labyrinth, Vision Divine). Both are quality individuals, but for me this album doesn’t work.

It may be the songs don’t have the spark needed to be a high-profile release and it pains me to say, but Mark Boals doesn’t have any energy in his vocals. It sounds phoned in. He is a mile better than this. It’s a case of what could have been with this one.

 
Tue
15
Dec

SOTO - Revision (2020)

Score: 
90
Categories: 
Reviews

The extraordinary, uber-versatile Jeff Scot Soto has taken this opportunity to run over 10 tracks from his very varied and distinguished career in “unplugged” form.

Unplugged may be the easiest term to describe this, but it’s a little simplistic for what this actually is. The 10 tracks have been re-envisioned and totally re-worked to the point where a couple are almost new tracks.

Every track is a winner – not hard when you’re picking 10 amazing songs – but even then, some stand out as really surprising and might even rival their original versions for passion and performance.

JSS’ vocals here are nothing short of amazing and give the stripped back nature of the songs, you really get to hear him wail. For me, the voice is the lead instrument on this release.

As JSS fans, you’ll know the songs – but special mention goes to:

Eyes Of Love was one of the big songs that really launched JSS as a solo artist and it sounds fresh and vibrant here.

The big ballad If This Is The End is simply sublime here. A vocal that defies gravity and so much passion.

Holding On was another key solo track and here features an even more soulful touch.

Till The End Of Time is re-made for acoustic guitar and sounds great.

Don’t Walk Away is perhaps the biggest left-turn of this release – re-imagined here as a R&B soul anthem….very cool.

Somebody 2 Love from the original Eyes album is another twisted gem. Soulful vocals, acoustic guitars and…a twang? Love it.


In a year of financial hardship and lack of tours, support the artist with a digital download purchase: https://music.apple.com/us/album/revision/1544421246 or https://www.amazon.com/Revision-Soto/dp/B08QFW2XNL/ref=sr_1_1

Great fun, relaxed and laid back, soulful and passionate – lots to love about these 10 songs and the production behind the re-thinking is well worth the investment here.

 
Thu
11
Mar

STEVE LUKATHER - I've Found The Sun Again (2021)

Score: 
95
Categories: 
Reviews

The two new solo albums from Toto’s Joseph Williams and Steve Lukather were signed in tandem, released in tandem, but recorded in completely opposing ways. Putting the two together showcases two very different sides of the Toto musical spectrum and being solo albums, it lets the listener sink into those individual realms a little longer than on an normal band record where you get a more filtered view. Luke has gone on record saying playing parts of the two records on shuffle would give fans a new Toto record and he’s not far off that truth.

Given that Joseph and Luke make multiple appearances on each other’s records as do fellow Toto alumni, it’s a neat crossover and a double dose of songs for Toto fans.

However, the two records could not be more diametrically opposed.

Steve Lukather’s I’ve Found The Sun Again is the essence of raw, stripped back, live by the seat of your pants, live in the studio recording. Taking just 8 days to record with guests Williams, David Paich and a core band of drummer Greg Bissonette, keyboardist Jeff Babko, and bassists Jorgen Carlsson and John Pierce all playing live in the studio, this record has an organic energy that really captures the talents of all involved.

With songs running from just 3 minutes to an epic 10 minutes, there is something special happening here. There will be some that simply don’t get the jazzy, free-form rock vibe of the album’s 8 tracks, only one of which is a rocker in the traditional Lukather solo sense. The Opener Along For The Ride is a splash of targeted energy and a biting lyric typical of Luke’s sharp mind.

At the other end of the spectrum is the epic The Low Spark Of High Heeled Boys, a mid-tempo track that slides in and out of full jazz instrumental arrangements and moody vocals. The piano/percussion mid-song section is to die for, as is Luke’s slow riffing and soloing throughout the song.

Journey Through is one the finest Luke instrumentals I can recall and despite my firm love of vocals, is another album highlight.

A pair of 6 minute mid-tempo songs continue the raw, live energy, while never once feeling underdone or missing anything like multi-layered overdubs and other production effects.

Run To Me is the obviously ‘happy’ song of the album and has a full Beatles vibe going on, propelled by guest drummer Ringo Starr playing his part.

Another epic closes the album. The 8 minute Bridge Of Sighs is musically intense, drenched in organs and guitar and some brilliant solo pockets where the guys all get to shine.

Some won’t get this album. It’s not all rock and it’s certainly not a commercial record. it’s largely mid-tempo and its very loose. But dropped into the Lukather discography, it really is a perfect fit. It makes total sense and blends a little of everything from the legendary guitarist’s career.


And there you have it. One loose, raw and live record paired with a highly structured, methodical production piece. Both records have unique personalities and distinct characteristics but also intrinsic crossed-over musical alliances and both work equally well in their own right and shuffled together. It is a unique situation and I hope fans embrace both records for what they are.

I’m equally comfortable playing one individually and the other the following day, but also back to back for two glorious hours of perfectly executed musical genius.

 
Sat
01
May

SECRET SPHERE - Lifeblood (2021)

Score: 
90
Categories: 
Reviews

Italian power/progressive metal outfit Secret Sphere return with their 9th studio album since their debut in 1997. Quite a feat considering how many bands come and go in just half the time the band has been active. This album sees the return of vocalist Roberto Messina to the fold, whom fronted the band from 1997 – 2012.

To be honest, I’ve overlooked these guys apart from an occasional glance, but Lifeblood has got my attention.

To be spoken of in comparative terms to Dream Theater for their prowess, or Masterplan for their power gives you a decent indication of what’s happening here.

Production and mix are both flawless and give the energetic songs their best chance to shine.

Vocalist Roberto is a powerhouse without sign of a heavy accent, giving the band a true international flavour and at 10 tracks clocking in under 50 minutes in total, there are only room for 2 longer tracks here, the rest get to the point fairly quickly. That means you’ve got hooks and progressive noodling competing for time, which is a winning combo for fans of a great song.

Its fast and sometimes furious, the double kick drum gets a real beating, but with strong vocals and an emphasis on melody, Lifeblood makes a big play for one of the best metal albums of 2021.

SCORE
92%
 
 
Wed
02
Jun

SHAD - 5ive (2021)

Score: 
90
Categories: 
Reviews

US melodic hard rockers SHAD should be well known to readers of MelodicRock. Their 2 singles to date have created solid interest, but now that’s all going to go into overdrive thanks to one of the classiest EPs I’ve heard in a long while.

I generally avoid EPs as I like a full plate of music, but the 5 tracks offered up here on ‘5ive’ – all powered by hotshot producer Bob St. John – pack the equivalent punch of many full albums.

Produced & Engineered by Bob St. John at PDQ Studio, Miami and then backed up with mastering by Ted Jensen at Sterling Sound, SHAD’s new EP puts them on the same playing field as the big boys.

Not only with the sonic quality and expert mix, but also by delivering 5 compelling, enjoyable solid rock anthems.

Back To You, Fool, Belittle, Today & Poor Excuse are five different tracks that work alone and also together, as the sound and the sequence of the tracks takes the listener on the same kind of journey a full album normally would.

Crunchy guitars, real drums, thumping bass are all clearly audible in the mix, then add some big layered chorus harmonies.

The sound is hard rock, commercial American – not necessarily 80s – but an amalgamation of what made the late 80s/early 90s so good with an updated feel. There’s a touch of blues, a little funk, but mainly its just all rock. Very loud, very good rock!

 
Wed
04
Aug

SEVEN RAVENS - Barely Hanging On (2021)

Score: 
90
Categories: 
Reviews

One of my main objectives of running MR over the years is to give a voice to independent artists who otherwise might fly under the radar of potential fans.

Seven Ravens is a self-funded, self-recorded, self-released album featuring guitarist/producer James LePack and songwriter/producer Scott Bazzett – the very definition of an indie release, but one that demands your attention.

No expense has been spared on this record, with powerhouse vocalist Michael Bormann hired to sing, Matt Starr is on drums, the album was mixed by Pete Newdeck and mastered by Harry Hess. Also on board is the always brilliant Tony Franklin on bass and Bobby Jarzombek on drums.

Over the years I have seen names brought into a project to cover up inadequacies within, but the sum of all the names involved here only enhances what is already a monster base.

This is a big sounding hard rock record, in the traditional American sense, Bormann singing like the legend he is, but the album is founded on a huge guitar sound and a really tough production, putting it into the quality of material a major artist might be proud of.

The songs aren’t necessarily instant, but they are there, and repeated listens uncover those layers and melodies and also unlock so much more riffing!


This is a record for fans of classic Dokken and heavier Jaded Heart, with all bases covered as far as production, mix and even packaging. It’s a class release from top to bottom.

https://www.rathole.com/7RAVENS/

 
Mon
21
Nov

SUNSTORM - Brothers In Arms (Album Review, 2022)

Score: 
75
Categories: 
Reviews

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

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

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

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

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

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

 
Thu
17
Mar

SKILLS - Different Worlds (2022)

Score: 
50
Categories: 
Reviews

The Frontiers Records’ patented Random Band Generator was put into action once again, this time spitting out three new rock star names to be partnered together in another silly name project and dished out to the masses, with songs all written by Frontiers’ current favourite writers.

This week’s band is SKILLS and it features bass legend Billy Sheehan, guitar legend Brad Gillis and fan favourite drummer David Huff. On vocals is Brazilian singer Renan Zonta (Electric Mob), a guy with a huge set of lungs, but the least appealing look. Especially up against the other 3 guys. Big voice, but hardly distinct – he’s from the Ronnie Romero school of raspiness and not really suited to this project.

With a lineup like this, you could be forgiven for expecting something truly special. But there is nothing organic or magic about these projects and the way they are assembled gives no room for chemistry or natural comradery to grow. Especially when the band aren’t given the opportunity to write any material themselves. It’s just a paycheck to play a set of songs delivered by the label. Like one of many.

I’d be surprised if any of them met during this whole process. The videos and lineup pictures are pasted together to look natural, but they’re far from it. But that’s just the way it is and as long as the buying public accepts it, they’ll keep coming.

Production and keyboards come from Alessandro Del Vecchio. The mix is fairly even, but the sound lacks punch and once again, Frontiers Records have a huge issue with overall sound and song blandness and the lack of a killer drum sound.

There’re 4 or 5 great songs here, but there are more that simply slip by without much notice. I’ve played this record a lot in the last week or so and I probably won’t go back to it now the review is done.

The album is expertly played, that was never going to be in doubt, that’s what you get when you pay for the likes of Sheehan/Gillis & Huff. But the individual personalities of these great musicians rarely shine through. If you are going to hype a band on its members, then those members better stand out.

On all but 3 or 4 tracks, anyone could have been on bass here and I only hear Brad Gillis really break out of his shell a few times. Drums I’ve already mentioned as an issue with most of these projects.

I think the two songs released to date have been pretty average to be honest – there are better within the album.

But this isn’t Mr. Big or Night Ranger. It’s not a whole world away from the sound of the new Giant record or Revolution Saints or any of the other manufactured supergroups of late. It doesn’t have the personality of either of those bands, nor its own identity.

Fans must accept it as another European sounding hard rock project from the Frontiers production mill. Do that and you’ll probably enjoy it. Look for something special from the sum of the ingredients and it falls completely flat.

 
Mon
21
Nov

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

Score: 
94
Categories: 
Reviews

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

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

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

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

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

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

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

 
Mon
21
Nov

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

Score: 
70
Categories: 
Reviews

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

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

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

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

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

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

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

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

 
Mon
27
Feb

SKID ROW – The Gang’s All Here (Album Review, 2022)

information persons: 
content: 
94%
Release Date: 
2023
Released: 
World
Musical Style: 
Melodic Hard Rock
Label: 
earMusic
Artist: 
Score: 
94
Categories: 
Reviews

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

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

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

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

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

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

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

 
Mon
17
Sep

STEVE PERRY - Traces (Full Feature Review)

information persons: 
content: 
92%
Produced By: 
Thom Flowers & Steve Perry
Running Time: 
40
Release Date: 
October 5
Released: 
Worldwide
Musical Style: 
AOR, Soul
Label: 
Fantasy
Artist: 
Score: 
92
Categories: 
Reviews
 
The return of Steve Perry is one thing, but the avalanche of publicity for the immediate release of a single and a full album due October 5, has been something else.
Such is the rarity of new Perry work, I have been writing for 22 years and only covered one new studio album – Journey’s Trial By Fire.
But here we are – Traces is the new album – a 10 track chronicle of Steve’s recent life experiences and a 15-track deluxe edition available via direct online or USA Target stores. This is a review of the standard/international edition. It will be updated with word on the additional 5 tracks ASAP.
 
To many – me included – Steve Perry is the voice of AOR, the definitive authority on just how good vocals can be. You have to get past the pure excitement factor of just getting to hear his voice again before you can objectively critique new material. I have given most of my personal favourite artists a serve at one point or another over the years, however, I’m pleased to say there’s not much to be critical of here – provided fans understand the reality of Steve Perry 2018.
 
The voice is rougher, raspier and it isn’t as strong as it once was. But that’s almost stating the bleeding obvious. Who would be at nearly 70 years of age?
What I care about is performance and songs and ‘Traces’ gets a tick in each column.
 
I can’t imagine anyone is surprised to hear this is a ballad filled, slow to mid-tempo record. And while some may struggle with the pace, I doubt any long time Perry fan is going to be disappointed.
Steve Perry at 70 is still Steve Perry. Just like hearing Neil Diamond at any stage in his career, so too is the joy of hearing Steve Perry. It’s that distinctive voice and those trademark inflections, that tone and that unmistakable delivery of mood and emotion that no one does better.
The characteristics and familiar style of Steve Perry’s past is all over this record. You can hear parts of ‘Street Talk’, ‘Strange Medicine’ and of course ‘Trial By Fire’ and other Journey-isms.
 
Taking a look at the songs themselves:
 
‘No Erasin’' is the upbeat easy to like, catchy as hell lead track (and single). I’ve enjoyed it from the start and I’m still enjoying it. Immediately memorable and the layered Motown harmonies are trademark Steve.
 
‘We're Still Here’ is the second track and a ballad as expected. It’s very smooth, very moody and features a more direct and unfiltered lead vocal. Textured with modern production effects and soulful harmonies, the chorus isn't big, but it's cool. Compared to the rest of the album’s ballads, it almost feels ‘up’, especially with the chorus.
 
'Most Of All' is a co-write with the great Randy Goodrum. It features a wonderful heartfelt vocal; slower and very sparse and smooth, this time lead primarily by Steve's voice and a grand piano. The chorus lifts tempo slightly as does Steve's voice. I picked it as a favourite from the first listen and that’s stayed true. Not unlike Strange Medicine's slower moments, plus a nice guitar solo and plenty of soul.
 
'No More Cryin' is yet another ballad, but each track has its own vibe, making the album far more enjoyable overall. This track has a touch of the Memphis blues about it and immediately reminds me of old school Steve. The chorus lifts the tempo and has some cool modern guitar riffing.
 
'In The Rain' is something very special. This is a very personal, very emotional piano ballad, formed with just a warm, soulful vocal, the piano and some lush orchestration. The vocal is amazing - very raw and haunting and Steve’s most ambitious high notes on the album. I can’t praise that enough and the vocal-melody makes the song.
 
'Sun Shines Grey' is co-written with John 5 and producer Thom Flowers. We've found the album’s other rocker, and it reminds me of modern day Rick Springfield mixed with Journey's Can't Tame The Lion. I could imagine Neal Schon playing on this, but John 5 is the man behind the riffs and also delivers a cool solo.
 
'You Belong To Me' is another soft piano ballad with accompanying string orchestration and an ultra-smooth and soulful vocal. There's some rasp in that voice its aged, but it’s still driven by those classic Perry nuances.
 
‘Easy To Love' is another stand out ballad. This one is characterised by some percussion and organ accompanying a slow, steady Motown style vocal. The chorus jumps in tempo with some classic Perry soul harmonies. This is definitely another ballad with a familiar vibe.
 
'I Need You' is a cover of the Beatles tune, a mere 2.59 in length, this ballad features the most familiar Perry vocal sound yet! Soft, slow, soulful...it’s the theme of the record.
 
Closing out the standard edition of this album 'We Fly' is another unique ballad. The first minute features just Steve's vocal. Talk about putting yourself out there! It’s an intense song that builds as it goes with atmospheric keyboards in the background.

And there you go. A very quick 40 minutes flies by as you immerse yourself in the music and lyrics of the maestro. It’s a very fine record, there’s no doubt. Immaculately produced and constructed, with equally impressive musical performances by the band assembled and also the orchestral parts. The soulful harmonies are classic Perry and lush in texture.
 
What I do like about this album is each ballad has its own style, its own emotion and its own unique energy. Overall, this is a very contemporary album. The two rockers are both very commercial and the ballads could be lifted from any era. It’s a mood album…but perfect for when you’re in that mood.
 
It's Steve ‘MF’ Perry. It’s also very very good.

 
Target Special Edition Bonus Tracks:
 
‘October In New York’ is a slow crooner of a song – a very authentic jazz/40s pop crooner complete with a stripped back jazz-ballad arrangement with orchestration and a simple piano to accompany. Not huge on this one – but the musical style is not my bag generally speaking.
 
‘Angel Eyes’ lifts the tempo a little – mid-range for this track, which quite honestly could have come straight off Street Talk. Gracious, this one should have been on all editions! A wonderful breezy tune with lots of Motown influences and the same feel as ‘I Believe’ and ‘Go Away’. The vocal is quite marvellous.
 
‘Call On Me’ takes on the third different style in 3 songs. Almost as if Steve has left the more adventurous tracks for the special edition. This one has another familiar feel to it, using a mid-tempo reggae beat in the same way as Steve has done before, with his soulful vocals just dripping over the instrumentation. Another fine vocal it must be said and another likeable song. I would have used this on the regular edition.
 
‘Could We Be Somethin’ Again’ is yet another left turn – a slow to mid-tempo pop/soul track with a tidy little beat and another warm vocal. Good song, but definitely a bonus track kinda tune.
 
The 3 minute ‘Blue Jays Fly’ is the 5th song with the 5th different style. Not sure how to describe this one. A softly sung vocal over sparse instrumentation – it’s almost in a meditative or lullaby state that doesn’t feature a lot of vocals. It closes out things nicely, but not one I’d choose for the main set of songs.
 
More songs are always welcomed – there’s a couple of great tunes here that could easily have been part of the main release. The other 3 make for likable bonus tracks and take Steve’s overdue comeback album to a better length.
My original review and rating remain intact.
 
Thu
23
Aug

STEVE PERRY - 'Traces' (First Playback Pre-Review)

Label: 
Fantasy
Artist: 
Friday, October 5, 2018
Categories: 
Reviews
 
STEVE PERRY will release his brand new 10 track studio album 'Traces' on October 5 worldwide via Fantasy Records (a division of Concord Records/UMG)
 
I was fortunate enough to get a secure audio stream of the new Steve Perry album ‘Traces’, thanks to Universal. Below are my first impressions, written while listening to the album for the very first time. A full feature review will appear here in due course and in the upcoming issue of Fireworks Magazine.
 
01. No Erasin' 04:07
Writers: Steve Perry, David Spreng
 
I’m still enjoying the lead track and first single 'No Erasin'. Immediately memorable and how good is it to hear this voice again? So we've all heard the song...what's next is THE question!
 
02. We're Still Here 04:06
Writers: Steve Perry, Brian West
 
'We're Still Here' is the second track, written with Brian West. It's a ballad as expected. It is a very smooth, moody ballad with a more direct and unfiltered lead vocal. The chorus isn't big, but it's cool. Laid back and textured with modern production effects. Steve sounds great. Soul harmonies pop up here and there.
 
03. Most Of All 04:23
Writers: Steve Perry, Randy Goodrum
 
'Most Of All' is another very sparse, soft and smooth ballad, this time lead primarily by Steve's voice and a grand piano. The chorus lifts tempo slightly as does Steve's voice. I'm guessing this is going to take some time to get to know but will be a favorite. It is a very smooth track and not unlike Strange Medicine's slower moments, a nice guitar solo and plenty of soul.
 
04. No More Cryin' 04:29
Writers: Dan Wilson, Steve Perry
 
'No More Cryin' is another ballad, but at least all 3 so far have each had a different style. This one is more bluesy with a touch of Motown to it. The chorus lifts & has some modern styled guitar riffing. Co-written with Dan Wilson, this is going to be another highlight.
 
05. In The Rain 04:06
Writers: Steve Perry, David Spreng
 
'In The Rain' is written by Steve & David Spreng. It has starts off as another slow piano ballad, with a warm, soulful vocal and here comes some orchestration... It is very sparse...almost no percussion, just piano and vocal. Some great vocals here.
 
06. Sun Shines Gray 03:57
Writers: Steve Perry, John 5, Thom Flowers
 
'Sun Shines Grey' is co-written with John 5 and producer Thom Flowers. We've hit an uptempo one folks! The song reminds me a little of Journey's Trial By Fire sound: almost a Can't Tame The Lion vibe, but modernized. I could imagine Neal Schon playing on this. John 5 is delivers a cool solo and can be heard throughout, albeit in an understated role.
 
07. You Belong To Me 04:07
Writers: Steve Perry, Barry Eastmond
 
'You Belong To Me' is another slow, soft piano ballad with some more string orchestration in place and of course, an ultra-smooth and soulful vocal. There's some rasp in that voice and yes, it's aged, but still full of those classic Perry nuances.
 
08. Easy To Love 04:03
Writers: Steve Perry, Thom Flowers
 
'Easy To Love' is yes, another ballad...a little different this time. Percussion and some organ accompany another slow, steady vocal. The chorus jumps in tempo with some classic Perry soul harmonies. This is definitely another ballad with a familiar vibe.
 
09. I Need You 02:59
Writer: George Harrison
 
'I Need You' is a cover of the Beatles tune, a mere 2.59 in length, this ballad features the most familiar Perry vocal sound yet! Soft, slow, soulful...it’s the theme of the record.
 
10. We Fly 03:56
Writers: Steve Perry, Jeff Babko
 
Closing out the standard edition of this album 'We Fly' is...wait for it...wait for it...a ballad! The first minute features only Steve's vocal. Talk about putting yourself out there! An intense song that builds as it goes with atmospheric keyboards in the background. Should be another favorite in time.
 
Album Produced by: Steve Perry & Thom Flowers
 
Well folks, that's that! Obviously, one should not ever pass judgment on a record after just one listen, so stay tuned for my full, detailed review soon. Much more listening to do here.
Upfront I'll say that it sounds great but is a very slow paced record. Not unexpected I guess with the subject matter in mind and the time passed since we last heard from “the voice”.
All but 2 tracks are ballads and overall the tempo and the soulfulness of the songs clearly makes this a mood listening album. Perfect for when the situation calls for it, but not for all situations.
 
Thank You Steve Perry for coming back to share your voice with us fans.
 
RELEASE DATE: October 5th, 2018
 
TRACK LISTING:
1. No Erasin’
2. We’re Still Here
3. Most Of All
4. No More Cryin’
5. In The Rain
6. Sun Shines Gray
7. You Belong To Me
8. Easy To Love
9. I Need You
10. We Fly
11. October in New York (Deluxe edition only)
12. Angel Eyes (Deluxe edition only)
13. Call On Me (Deluxe edition only)
14. Could We Be Somethin’ Again (Deluxe edition only)
15. Blue Jays Fly (Deluxe edition only)

 

 
Wed
15
Aug

STEVE PERRY - No Erasin' (Single Review)

Artist: 
Categories: 
Reviews
 
The first line of No Erasin’ says it all – I know its been a long time comin’… - the same line Steve Perry teased fans with just yesterday. Who thought we’d be listening to the first single and watching the new video just 24hrs later?
 
No Erasin’ is a triumphant return – Steve’s first new song in 20 years – and it’s classic Perry all the way. This is a GREAT song. That’s the most important aspect. It’s a personal message, which I will presume is going to be the continued theme of the album as a whole.
 
The voice? It’s there, it’s absolutely there. It’s different, yet so familiar.
 
Twenty years since we last heard Steve on record and you can hear the differences. In the same way Steve’s voice matured from the insanely high notes of Escape and Frontiers, to the deeper and more soulful Street Talk, Trial By Fire and Strange Medicine albums, so to has it further matured to be an understandably older voice. Raspier and yes, more fallible, but each time I play this song I have to pause afterwards and just appreciate how good he still sounds.
 
The production is first rate – the mix is exquisite, and every musical nuance can be heard. On the surface it seems a pretty simple song, but depth comes with time and there is so much depth here. From the classic Steve Perry soul-harmonies of his solo work and the many layers of backing vocals, to the vocal inflections such as at 1.05 and 1.40 in the song – it’s just classic “solo” Perry all the way. And the melody bridge at 3.50 – perfection.
 
The video is a joy to watch, just look at Steve’s face – you know he’s loving this and you can feel it.
 
It’s a huge sound. It may not be the faster, heavier album intro that was You Better Wait and it may well be that the album is fairly laid back and ballad heavy, but with this raspy tone and the personal lyrical style Steve does, that makes for a really compelling album and I can’t wait to hear more.
 
Putting aside the fanboy happiness to hear Steve back again, this single has already surpassed my expectations. Thank you Steve Perry.
 
Wed
25
Oct

STEELHEART - Through Worlds Of Stardust (Review)

information persons: 
content: 
70%
Produced By: 
Miljenko Matijevic
Release Date: 
2017
Released: 
Worldwide
Musical Style: 
Hard Rock, Modern Metal
Label: 
Frontiers
Artist: 
Score: 
70
Friday, September 15, 2017
Categories: 
Reviews
 
This is an odd little album. There’s virtually no recognizable sign of the MCA signed Steelheart that produced two cracking albums in the early 90s before shedding members and changing musical format in the late 90s.
Rather, this is a continuation of frontman/onlyman Miljenko Matijevic’s preference towards alt-modern hard rock, with some seriously loud, sometimes screechy vocals.
 
Song wise it’s a pretty strange set up, with 4 intense semi-industrial metalized hard rockers followed by three ballads then another intense metal track followed by two more mellower tracks.
 
Taken as a whole, it’s pretty interesting listening and a musical statement has definitely been made here, but how many Steelheart fans will be receptive to this?
 
And what’s with the same melody being used on three different tracks?? Check out My World, You Got Me Twisted and Got Me Running. Eh?

Tracks I will probably revisit for enjoyment – You Got Me Twisted, My Dirty Girl and the Led Zeppelin goes alt-metal opener Stream Line Savings. But the rest….no thanks.
 
Mon
28
Aug

SNAKECHARMER - Second Skin (Review)

information persons: 
content: 
80%
Produced By: 
Snakecharmer
Release Date: 
2017
Released: 
Worldwide
Musical Style: 
Classic Rock
Label: 
Frontiers
Artist: 
Score: 
80
Friday, May 12, 2017
Categories: 
Reviews
 
Well it’s a lot better than the one-paced and rather bland debut, that’s for certain. Tighter production, clearer mix and much better songs. And the band has moved away from the Whitesnake heritage, swinging into a more straight up classic rock vibe. Maybe because Neil Murray is the only snake left after Mickey Moody departed.
 
Chris Ousey as usual sings his heart out, belting out his best on tunes such as the rocking opening Sounds Like A Plan and the sweeter feel good That Kind Of Love and the fast moving Follow Me Under, which continues a more varied tempo than the debut.
 
The blues kick in with some hard edged riffing on Hell Of A Way To Live, continuing into the slow burning ballad Fade Away.
The acoustic driven pop/rock ballad Punching Above My Weight is a tail end highlight amongst a few songs that don’t carry their weight.
 
I’d still much prefer Chris Ousey fronting The Distance, or teaming again with Mike Slamer like he did for his debut solo album. Still, it’s always good to hear his voice.
 
Snakecharmer have lost a little of their ‘snake’ and gained a little more ‘charm’, but they are still a ways off a classic album. More work on hooks and choruses next time – everything else seems to be in place.

 

 
Mon
17
Oct

SEVEN - Shattered (Review)

information persons: 
content: 
92%
Produced By: 
Lars Chriss
Running Time: 
49
Release Date: 
2016
Released: 
Europe
Musical Style: 
Melodic Rock
Label: 
Escape
Artist: 
Score: 
92
Friday, September 23, 2016
Categories: 
Reviews
 
Given that the debut album was songs mainly gathered from the past, I wasn’t sure we’d even get a second Seven album. But here it is and it’s great!
Vocalist Mick Devine as one of those ‘born for AOR’ voices and the music – even though delivered by a slightly different lineup, this is almost as good as the brilliant debut.
 
This time around only vocalist Mick remains, but the team of Andy Loos (bass), Fredrik Bergh (keys) and Lars Chriss (production, guitars, drums) who helped reconstruct the debut are present again, so the sound remains intact.
Up tempo Foreigner/Heartland/Signal style AOR and melodic rock is what we have here.
 
Light Of 1000 Eyes may be a good opener, but A Better Life is pure brilliance; while a moodier Fight has Mark Free written all over it. Other highlights include the high impact keyboard drenched Shattered; the anthemic High Hopes and the intense Last Illusion.
But that said, there’s no fillers here and folks are going to like different tracks more than others depending on mood.

It just needs to be stated that this is a very fine album indeed and a worthy sequel to the debut, if not quite as catchy, but still a great sound and a very well-produced example of classic AOR with a contemporary production.

 

 
Wed
11
May

SUNSTORM - Edge Of Tomorrow (Review)

information persons: 
content: 
77%
Produced By: 
Alessandro Del Vecchio
Release Date: 
2016
Released: 
Worldwide
Musical Style: 
Melodic Hard Rock
Label: 
Frontiers
Artist: 
Score: 
77
Friday, May 13, 2016
Categories: 
Reviews
 
 
It’s funny how these things line up. Two Alessandro Del Vecchio helmed albums released the same day. This time Ale teams with fellow Italian – guitarist Simone Mularoni, guitar player of Italian prog-metallers DGM to write and produce the new Sunstorm album for Joe Lynn Turner, who requested a harder edge to the fourth album in this project’s lifespan.
I don’t have by track writing credits, but Soren Kronqvist and Daniel Palmqvist also contribute songs.
 
Joe Lynn Turner never sounds less than on-form when delivering his vocals, as he is again right here. He sounds as good as ever, so it’s all down to the songs and the sound employed to do so.
Edge Of Tomorrow is a heavier, more guitar dominated record, with keyboards way back in the mix this time around. And without Dennis Ward, as well as the style shift, it’s a pretty different record than the trilogy of albums before it.
 
The first two Sunstorm albums are brilliant. The third was good, but to be perfectly honest, this is going to rank last compared to those. I think the Sunstorm brand has lost some of its personality here. There are some fine songs that kick things along, but several others that I’m struggling to appreciate and despite all albums featuring songs gathered entirely from outside writers, the ones here don’t have the hook impact expected.
 
Don't Walk Away From A Goodbye is a powerful opener with a decent uptempo pace which leads well into the pick of the album - Edge Of Tomorrow. This is one of the best songs of the year if I’m honest. I just wish there was more like it.
Nothing Left To Say doesn’t really go anywhere and fails to deliver a memorable chorus.
Heart Of The Storm is a feisty rocker that I do like, but the chorus and lack of harmony vocals where there should be some leaves it a little flat.
The Sound Of Goodbye is very much the same. The slower ballad shows promise but ultimately sounds really raw as if something is missing.
 
The Darkness Of This Dawn is a slower and more soulful tune with some classy Neal Schon inspired guitar riffs and brings back the harmony vocals which do make a difference.
You Hold Me Down has a decent chorus and a good pace which is followed by the piano ballad Angel Eyes, which I think most will enjoy.
Everything You’ve Got and Tangled In Blue roll along nicely, the chorus’ could have been bigger, but it’s just not the style of this album.
I find the closing track Burning Fire is another that just doesn’t go anywhere sadly.

 
In a word – disappointing. But that’s comparing this to what has come before and what we expect from a JLT project. It’s a little heavier, rawer and without much padding as far as harmonies and keyboards. So it is what it is. Some might even prefer it this way. 
But for me – regardless of style direction, I think the album is missing additional knockout tunes such as the title track.
 

 

 
Mon
18
Apr

SHIRAZ LANE - For Crying Out Loud (Review)

information persons: 
content: 
70%
Running Time: 
51
Release Date: 
2016
Released: 
Worldwide
Musical Style: 
Hard Rock
Label: 
Frontiers
Artist: 
Score: 
70
Friday, April 15, 2016
Categories: 
Reviews
 
 
It’s always good to welcome new talent onto the scene and we need more of it.
Finland has already delivered some impressive bands over the last few years and Shiraz Lane are the latest to arrive.
The guys compare themselves with US giants Guns N Roses, Skid Row and Aerosmith; as well as local favourites The 69 Eyes, Amorphis, Lordi and Sonic Syndicate. The basic premise is therefore easy to understand.
These youngsters in their twenties embody the kick ass, free rock n roll spirit that drives so many.
 
Songs like Momma's Boy and House Of Cards certainly have that GNR spirit and swagger to them. I can hear some Faster Pussycat too.
Begging For Mercy heads towards The Darkness thanks to some falsetto vocals and general silliness.
 
I guess now is as good a time as any to discuss vocalist Hannes Kett. If the band is to reach stardom, they either need to rein this guy in or move on without him. He is the clear weak link on this record.
The really classy ballad Same Ol' Blues is a phenomenal tune, but the vocals are a big distraction. And elsewhere (such as the high energy Mental Slavery), the vocals are so high, my dog runs from the room every time I play it. Not to mention the whiney tone.
The vocals are just too high, too often and mainly squealing. It takes away from some otherwise really strong material, such as the GNR inspired For Crying Out Loud and the 7 minute bluesy ballad Bleeding.

Great potential here. But they’re not Guns N Roses and they’re not The Darkness. And they are not in the league of their heroes just yet. Especially with the vocals, which for me are a massive distraction to the point that I can’t enjoy the album as I might normally.
The band is nearly there with the songs and production, but vocally, there’s a long way to go.
 
 
Mon
07
Dec

STATION - Station (Review)

information persons: 
content: 
90%
Produced By: 
Anthony Lopardo, Ray Marte & Station
Running Time: 
71
Release Date: 
2015
Released: 
USA
Musical Style: 
Melodic Hard Rock
Label: 
Electric Cheetah
Artist: 
Score: 
90
Release Year: 
2015
Categories: 
Reviews
 
Finally proof that not all new artists playing classic 80s hard rock come from Sweden! The USA used to be the hotbed of the genre, delivering platinum selling band after band. Then it all dried up and the great Scandi take-over began.
But New York rockers Station won’t be denied their place in history!
This high energy outfit deliver their debut album in 2015, boasting a sound born out of 80s American rock – think Sunset Strip.
In fact, this album could be one of those gems, previously lost in a vault somewhere for 20 years, but no, it’s all new and sounds great.
Better even that the guys nail some really catchy tunes.
 
I Don’t Want To Know Your Name is a perfect anthemic Winger/Slaughter screamer to open the album; Everything is deep in harmonies and a catchy chorus and big riffs; Dressed To Kill actually has a Kiss vibe to it despite no direct connection to the title; its high energy, face paced, hard rocking fun.
The tempo stops briefly for one of the great anthemic ballads of recent years. Are You Sleeping Alone is a masterpiece for fans of the high-sentiment 80s rock genre.
The brilliant, very melodic and somewhat moody True Believer kicks the pace into the highest gear yet; With Me Tonight is another mid-tempo moody number; More Than Enough reminds me of the Bulletboys; Waiting For You is another solid ballad; Never Say Never takes the high notes over the top and I Can’t Live Without You is the most circumspect numbers included here.

There are 15 tracks included – great value for money – but this is also the one downside to the album. It’s pretty long already with most tracks in the 4 and 5 minute range, so to have 15 included for 71 minutes of music is probably 3 tracks too many. I’d have preferred this to be a 55 minute album and be left wanting more.
But, you can always skip or edit a playlist to your liking and the basic fact is there are at least 10 cracking hard rock tunes on here that warrant high praise and have been on high rotation with me for some time now.
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