For those unfamiliar with my affinity with Night Ranger, they’ve been close to my favourite band since 1985 and have rarely disappointed throughout their distinguished recording career.

They’re also responsible for a couple of my most loved live albums over the years.

Add in solo albums, favourite songs and general songwriting prowess and you should get the picture - Night Ranger are melodic rock royalty.

With that status, each album is therefore highly anticipated. For a band recording since 1982, with 12 studio albums to their name (yes, I’m including the marvellous Mojo record), they have a remarkably consistent catalogue. And in the last decade they have continued to prove that veteran bands can still deliver fresh, energetic and engaging new music.

The guys peaked with the flawless Somewhere In California in 2011 and followed it up with the also excellent High Road in 2014. Don’t Let Up slipped a little off the pace in 2017, so fans were anxiously awaiting the band’s 2021 statement.

And I’m sorry to deliver the point of view that the band has missed a step here, delivering for me at least, their weakest album since 2007s inconsistent, modern-rock dominated Hole In The Sun album. And the reasons are very similar to why. Basically, the band has again veered off path, leaving some of their much-loved trademark sound behind. There are less harmonies, much less keyboards and a whole lot less of Kelly Keagy on this record. And while the band’s most popular songs showcase their knack of delivering emotional uplifting mid-tempo anthems, here the band is either rocking hard, or not. There’s not much middle ground.

Track By Track:
Opening with the furious rocker Coming For You, the band are off to a flying start and make up for the lack of a sing-along chorus with added raw power.

Bring It All Home To Me adds those layered with harmonies, which is a plus and its dominated by some sterling shred work from Brad Gillis, which culminates in the closing minute, but overall the song straddles the line between styles. Strip the guitars and add a banjo and it wouldn’t sound out of place on country radio. A theme that makes repeated appearances on ATBPO.

Breakout sees a welcomed increase in keyboard presence and is another track that races along at breakneck speed. Being the lead single there are considerable public comment on this track and many bemoan the lack of a big chorus. I say that note and appreciate the excellent melodic bridge that leads into the short, sharp chorus. A track that sounds great to me.

Hard To Make It Easy is the first major left turn and will be one of the songs I edit out on my playback version. I simply don’t need honky-tonk Night Ranger and while the song ‘rocks’, it isn’t in a way I can appreciate and is another almost-country song.

On the first ballad of the album, Can’t Afford A Hero, the band stop hiding behind the pseudo-country hints and come out as a full country flavour acoustic driven track that’s more Shaw/Blades or Garth Brooks than Night Ranger. I’m sad to say it’s another hard pass for me.

Now, the start of Cold As December has my full and immediate attention. The opening riffs and melody hint at an anthem of epic proportions, with intricate keyboard and guitar parts lighting up my ears. But without warning at the 48 second mark, the song abandons the entire premise to become another pretty bland screamy hard rocker. The melodic refrain makes a brief return at 3.35 for a few seconds, but I’m left wondering where that song went and why we were left with the one here.

Dance is a feel good mid-to-up tempo rocker with another strong Shaw/Blades vibe and a reasonable chorus, but again, it’s not Night Ranger.

The ballad The Hardest Road sees the first appearance of Kelly Keagy on lead vocals. Where has he been? It’s a warm vocal, but the song is reminiscent of the other Beatlesque ballads Night Ranger have delivered on the last two albums.

The attitude filled hard rocker Monkey has some recent era Night Ranger familiarity to it, but the chorus is horrible. “‘Cause I’m your monkey, well I’m your money, I’ll be your junkie?” Guys…c’mon.

A Lucky Man is another decent track, but it’s another with a strong rock-n-country-pop vibe and I just don’t think this is Night Ranger.

Closing the album is a good rocker sung by Kelly again, which is welcomed. Tomorrow is one of the more traditional Night Ranger sounding tracks and will likely rate as one of the fan favourites.

And that is And The Band Played On. Honestly, as much as I love all things Night Ranger, I’m not afraid to make a stand when something doesn’t live up to my high expectations.

To me, this is more a Jack Blades solo album. And that isn’t meant as an insult in any way. Rather it is more a point of reference to describe what I think this album is. Less ‘Night Ranger’ and more dominated by outside influences and styles. Ones I’d rather hear on solo albums, than on a new Night Ranger album. We only get them every 3-4 years, so for me, I want to hear Night Ranger at their very best each time.

I might add for the record - I'm not at all opposed to a band trying something different, but to do that successfully, the songs really have to be there. For me, that isn’t happening here.

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.

Fee, where have you been?!! Fronting The Tubes reunion shows mostly… but it doesn’t matter – he’s back! And Richard Marx is with him once again. The singer/songwriter/producer is the foundation that this record is built upon, with a MVP performance delivered.

Popping up for a cameo is Michael Landau and Matt Scannell on a couple of tracks.

For physical collectors the package is a flimsy cardboard thing that you can barely pull the CD out of. My pet hate without doubt.

Musically though there are no disappointments here. From the opening hard rock of Faker to the anthemic masterpiece How Dare You (classic Fee), to the funk-riff-rock of Don’t Want To Pull The Trigger onwards through the album via a modern rock ballad in Say Goodbye, a lyrically biting Promise Land, the moody Man Of The World (more classic Fee) and three more classy rock songs.

Only 9 tracks here over 33 minutes, but there isn’t a filler in sight or a minute wasted. This is all Fee Waybill at his very best and Richard Marx does a superb job producing it and co-writing all tracks with Fee.

Sharp, snappy, loud – everything you could wish for from a Fee Waybill record. Another essential purchase here I dare say.

What a way to make your solo debut. Overshadowed by the recent death of his legendary father, Wolfgang Van Halen has to balance shifting focus on to his own long planned career, while still in deep mourning for his dad – his biggest fan. Helping the two worlds connect is a very personal single, clearly written with Eddie in mind.

What pressure it must be to have literally millions of Van Halen fans standing by to critique every second of your first solo offering to the world.

I think some of that angst is wrapped up in this song, which I honestly think is remarkable for all of the above reasons, and for the most important reason – it’s a fucking great song.

‘Distance’ features a warm vocal with Wolf’s own unique tone immediately evident. There’s some space for it to soar towards the close, a very melodic yet powerful sound on offer, mixing acoustic and electric guitars with a modern beat, yet a very classic rock feel. Its modern rock with a huge commercial edge. Great production too.

There’s a lot to absorb here – all of it good. Can’t wait for the full album, I love songs like this.

A nice nod to the past with the name also.

Rock Sugar’s debut was one of the finest records and without doubt the most fun record of its time. It’s taken what seems like a decade for a new album to appear – wow, it really has been a decade and a touch! Yes, 11 years since the debut, the class clowns from the school of rock are back and firing on even more cylinders than ever.

If the debut was an experiment gone right, then Reinventinator is a mad-scientist’s end of year ball.

Why restrict yourself to mashing two or three songs together when you can do five or six or even - holy shit – 10!! This is a sure-fire party favourite and it takes many listens to unweave the madness that is each song and the ultra-complicated structures within.

True genius or utter madness will be up to the individual listener, but I can’t say enough, just how good the band performances are and just how well Jess Harnell is able to inhibit the personality of each vocalist on the many songs featured.

And the production is top shelf-big dollar stuff – clear, crisp and loud.

Where else are you going to hear classic songs by Guns N Roses, Motley Crue, Heart, Led Zeppelin, Queen alongside (or inside?) others by Survivor, Toto, Adele, Tears For Fears and Stevie Nicks.

We all need a laugh, and this record is funny but it’s no joke. Its just killer classic hard rock in a fun, non-stop party kinda vibe.

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.

Unruly Child are one of those bands that should have received more due. Marcie Free is an international treasure and the core duo of Guy Allison and Bruce Gowdy are two very fine musicians who deliver every time.

A band who started with a hard edge but veered more AOR and were accused by some of being too soft have found their grunt again, with this being the heaviest album since the classic major label debut back in 1992.

I love that there’s almost a prog edge to some of the band’s material, their songwriting definitely holds more complexities than the average melodic rock outfit. 12 tracks at 60 minutes means there is a lot to absorb. 10 brand new tracks and two semi-acoustic remakes of To Be Your Everything and Let’s Talk About Love.

What I find distracting is the production quality. The mix is muddy and the programmed drums lack punch and well, lack authenticity. There’s no replacement for a real live drummer.

Playing the album at high (really high) volume, as it deserves, isn’t very easy on the ears.

I love that the album has the moody groove of the debut and there’s some great lyrical angst and antagonism as has been scattered throughout.

Of course, when you think Unruly Child you think hooks and they are delivered throughout – just not as quite as obvious as the past, but a few listens and you can hear them all over the place.

Lots to soak up here and a lot of music to appreciate. Not an instant record, but I like the kind of albums that grow over time much better. If only the production quality was that somewhere close to the debut – then this would have been a monster.

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’ve actually passed the point of being sick of hearing Ronnie Romero’s name connected with every damn release coming from the metal world. In the last year or so we’ve had Vandenburg, Rainbow, Magnus Karlsson’s Freefall, MSG, Core Leoni, The Ferrymen and now in 2021 he’s fronting another project. Enough already?

I think so, but Lords Of Black is actually his band and Ronnie (together with guitarist Tony Hernando) is back where he started here and this is where I want to hear his voice and where think he sounds most natural. After all, he does have a killer voice.

The 4th Lords Of Black album is an onslaught of classic European melodic metal – mixing Dio, Maiden, Helloween and the other usual suspects into a nice blend of high octane, guitar and rhythm fuelled, uptempo metal with a strong commercial bent, not to mention offering both traditionalists and contemporary metal fans something to like.

It’s a very well-produced and mixed sounding record. Its frustrating to hear metal so well executed when so many AOR records have questionable production quality. Of course, that is a side issue to this. Can’t fault it – Lords Of Black deliver once again.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Absolutely essential for Toto fans.

Treat are exactly that. Just a treat to listen to as they further enhance their status as one of the world’s best and most consistent anthemic melodic rock acts.

Their golden run of high energy, harmony drenched, AOR anthem filled albums that began with the classic Coup De Grace, followed by Ghost Of Graceland and Tunguska. Add this in and its 4 essential albums for 4 in a run going back to 2010.

The album follows the slightly more modern edge of the last 2 albums, fitting seamlessly into their catalogue.

The Swedish melodic rockers deliver another 12 songs to digest, most of which are uptempo and layers deep in harmonics, guitars and groove.

I’d place this album third of the last 4, with Tunguska in 4th place, but that’s still rating all 4 albums above 95%. For the record, Coup is #1 and always will be!

They just don’t get better than the songs, style and production delivered by Treat.

This doesn’t require a long review, as there is no reason to debate brilliance. Just be assured that if you are a fan of the band in the last decade, this just serves to continue their glorious run. Essential!