Music is all about moods. If there has ever been a ‘mood’ album this is it. Yesterday I had no interest in listening to it at all. Today, with the car windows down, the temperature and the volume up, I couldn’t have been happier cranking this bad boy up.

For those that haven’t heard, Jack Chrome And The Darkness Waltz is the recording project moniker for Australian rock royalty Russell Morris and Rick Springfield – both a product of the Australian pop/rock scene of the late 60s.

Its rough, its gruff, its blues drenched dirty rock n roll, with a dark heart and even darker lyrics. Celebrating the festival ‘Day Of The Dead’, the album glorifies the ying and yang of life and death, with both artists represented equally over the 14 tracks.

Basically this is two EPs of the same style put together. Rick Springfield takes 7 tracks – all written and recorded by Rick on his own in LA – and by ‘on his own’ I mean ‘on his own’ – all vocals and instruments performed by Rick himself.

Russell and his band perform the other 7 tracks, with the sequencing moving back and forth between the two.

Style wise you get two very similar takes, which was obviously the point, but to break it down, Russell delivers his usual gruff, raspy bluesy vocals in the semi-acoustic driven blues rock style that his last 3 acclaimed solo albums have delivered.

For Rick, his half of the album takes the style of The Snake King another step (or two) further into the darkness. His vocals are rougher and raspier than ever for the occasion and the heaviest blues of his last solo album are even more pronounced here.

There is no doubting who either half of Jack Chrome is, but I can imagine many RS fans having a harder time appreciating this than Russell’s fan base.

Rick breaks into a more familiar melody on Death Drives A Cadillac and 50mg Of Hope, but for the most part, this is a solid, dark blues drenched rock record.

If one point is to be taken from this record – its that Springfield is one hell of a guitar player and can deliver a swaggering blues riff alongside the best of them.

The album may not be the style everyone on the commercial rock side of life might want, but its mixed and produced impeccably, it sounds a million bucks.

Singer James Durbin has been involved with several projects already that have recently come and gone (Quiet Riot, Durbin) and now his name has been thrown into the ‘Frontiers Random Band Generator’, throwing out the band Cleanbreak, again produced and arranged by in-house go to guy Alessandro Del Vecchio.

Do something often enough and you’ll get it right some of the time. For the projects like Skills that just haven’t worked, there are some that have. Iconic is one that has this year and now that’s joined by Cleanbreak.

I know how hard it is to keep up with all the projects and bands Frontiers throws at us, but Durbin teaming with Riot guitarist Mike Flyntz is his best collaboration yet. Not only do his vocals sound completely natural at last, but so do the songs he’s singing.

Needing employment while Michael Sweet is out doing his multiple projects, Stryper rhythm section Perry Richardson (Bass) and Robert Sweet (Drums) round off this project.

11 tracks, all rockers, no ballads might sound fairly intense, but there’s a good variety in pace and delivery here, so the album doesn’t get bogged down or repetitive.

Its just a good American sounding hard rock/melodic metal record with a strong lead vocalist, a great guitarist and a rhythm section that drives home the beat.

Frontiers Records continue their obsession with a Dann Huff-less Giant, something which for most fans just isn’t going to fly, no matter how you dress it up. It ain’t and never will be Giant guys.

Lineup changes are part of life, but there are specific circumstances when removing one member is akin to removing the soul of the band. And under those circumstances, its time for a new name, like when Giuffria minus David Glen Eisley morphed into House Of Lords for example.

Dann Huff is Giant. He’s not just one member being removed – he’s the vocalist, the main songwriter and guitarist.

Frontiers tried this once before with the Terry Brock/John Roth combo joining the original rhythm section. It wasn’t Giant either but at least was a solid American sounding melodic rock album I personally file alongside my Terry Brock solo CDs.

So now we have John Roth and Giant’s bass/drum combo returning with the great Kent Hilli (Perfect Plan) on vocals. Inspired choice you would think and yes, Kent sings his heart out, but he only replicates the Huff sound on a few tracks. Given his band’s amazing cover of the Giant classic ‘Stay’, I figured he would be closer to Dann’s vocal throughout.

But he doesn’t. And this to me sounds less Giant than ‘Promise Land’ album did. This time with Alessandro Del Vecchio on production and co-writing and a range of Frontiers’ other European writing regulars involved, it sounds more like a typical Frontiers Euro-melodic rock project.

That said, the guys have only picked some high quality of songs available to them and there are a few highlights here that I happily say are among the best Euro-rock songs of recent times. More specifically, the rockers Don’t Say A Word and Never Die Young and the big ballad Anna Lee.

I don’t think the production is as tight as I expected. The guitar sound is quite hollow, and the drums lack major impact, two assets of Giant’s two main studio albums that were impeccable and remarkable.

Well performed and well written and a solid Euro-AOR album overall, that I will buy, but I’ll file alongside my Perfect Plan CDs, as for the most part, that’s what the sound most closely mimics.

H.E.A.T are back to prove they are the absolute gold standard when it comes to delivering instantly catchy, well-written melodic hard rock.

They’re also back with original singer Kenny Leckremo following the sad departure of mega-star vocalist Erik Gronwall who helmed the last 4 studio albums. The bad news was kept to a minimum with the announcement Kenny would return to add to his own legacy with the band, having fronted the first two records. I love it how these guys seem to manage to keep any line-up changes ‘within the family’.

So where does H.E.A.T go for their seventh studio outing? Back to the more AOR sound of the first two records or more commercial like Into The Great Unknown? Or do they keep the momentum of the cracking pace of the last album HEAT 2 and the harder hitting style of the ‘Erik years’?

While Kenny may bring a slightly different vocal style to the party, the songwriting and direction on ‘Force Majeure’ is very much a continuation of the last album and the ‘Address The Nation’/’Tearing Down The Walls’ style of the band. So this is basically H.E.A.T 3 – or H.E.A.T 2 Kenny-style. The same urgent tempo, the same big production and the same big melodies are all over this record.

It is nothing short of classic H.E.A.T through and through.

The format and structure of previous albums is also largely adhered to, with songs here reminding me of the band’s best moments on songs such as Point Of No Return, Breaking The Silence, It’s All About Tonight and Living On The Run.

Harder To Breathe dips into ‘Into The Great Unknown’ territory, but for the rest of the album I’m hearing ‘H.E.A.T 2’ meets ‘Address The Nation’.

Once again, it is killer song after killer song – this band can do (and has done) no wrong.

The three singles Back To The Rhythm, Nationwide and Hollywood all show what the band are capable of, but there’s another 8 classic rockers to look forward to.

Tainted Blood, Not For Sale, Hold Your Fire and Wings of An Aeroplane all deliver and Demon Eyes is the heaviest thing I’ve ever heard Kenny sing.

Only the dramatic and heavy ballad One Of Us slows the pace of the album at all, providing another big highlight. The big anthemic Paramount is something a little different for the guys but keeps in the spirit of the H.E.A.T sound.

With no surprise to any follower of the band, they have proved yet again, they are a magnificent outfit and haven’t let the change of vocalist slow them down in any way. Kenny sings his absolute heart out on this record – probably the best I’ve ever heard his voice.

11 new fantastic tracks to add to the band’s already magnificent career. The definition of force majeure is “irresistible compulsion or superior strength…” Yes, H.E.A.T are an indeed an irresistible compulsion with superior strength!

The debut First Signal album was a conceived partnership between Dennis Ward and Harem Scarem frontman Harry Hess, with a band formed around the duo including Eric Ragno on keyboards and German drummer Chris Schmidt. It was a very classy affair, with songs from Erik Martensson, the Martin Brothers, Mark Baker and some covers.

The follow up One Step Over The Line came after Dennis Ward’s co-operation with Frontiers came to an end, with Swedish producer Daniel Flores stepping in. The album wouldn’t reach the heights of the debut, but it was very good.

The third album was again solid, this time with songs from the likes of Stan Meissner, Harry Hess, Andreas Johansson, Carl Dixon, Bruce Turgon and others, it stood up well. And it sounded well produced.

Sadly, for album number four, the situation has changed again, and Frontiers roll out their all-too-familiar crew of in-house writers to deliver an album that not only lacks the distinct vibe of the debut, but any originality whatsoever.

Daniel Flores own production lacks the crispness of past efforts, the emphasis again here is on an in-your-face audio onslaught of keyboards and guitars just flood your ears, with Harry struggling to be heard underneath. But to be honest, there’s not a lot to hear within the songs. It’s another dose of paint by numbers Euro-AOR, that the label has spent the last few years saturating the market with.

You could almost take my recent review of the upcoming Skills project and substitute the text here.

Bland, lacking personality and much like the Find Me album, if it wasn’t for the lead singer in question, musically speaking, the album wouldn’t raise the attention of anyone.

Half an album of decent songs that are only borderline ok thanks to the keyboard saturation, but the rest of the songs could be anyone, anywhere, anytime.

The label’s PR for the album lists only Hess and Flores as part of the lineup. I guess fans have to wait to actually purchase the album (and risk being disappointed) to see who else appears on the album.

Whoever is responsible for the guitars should be immediately removed from any future recording opportunities. Just so bland and uninspired and totally derivative of an already well-milked sound.

In fact, the press kit only contains 8 pictures of Harry Hess. And there’s your problem folks. Rather than a band project, this new First Signal is just another faceless, nameless project, fed to fans of the strength of the frontman alone. But without the songs or soul, it falls flat. Again.

Take a listen to the brilliant debut or either of the two that followed. Just so far ahead of this record in every sense.

Its all anyone keeps asking – ‘what do you think of the Nestor’?! Well, folks might remember me championing the band from the time their first official single was released, so it should be no surprise that I rate the album very highly indeed and think the guys have done an amazing job of recapturing the glory days.

While the album might sound very familiar, with the various nods to classic songs of the past and some refurbished refrains, it still manages to sum up the fun elements of 80s melodic rock and the days of anthemic radio friendly hits and big soaring ballads.

The vocals are a strong point as is the equal mix of guitar and keyboards and a big production that has had some time and effort put into it.

Some have called Nestor the future of melodic rock, but I think they are providing a different service for fans - delivering one of the best albums of classic yesteryear classic AOR and melodic rock. A throwback to the glory days rather than being a band that pushes boundaries forward into the future as some other acts do.

The fast is we need both, and Nestor certainly have delivered one of the highest quality albums of this kind in recent memory. Its such a fan album with a few heartfelt ballads, it really is almost impossible to find any faults. Here’s to more glimpses into the past from the guys.

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.

British AOR legends Dare return after their customary long break between records, with an album that I can guarantee will please fans of all eras of the band.

Recording again with original guitarist Vinny Burns, who has now been back in the band nearly a decade now, but not fully utilised until now. This is the first time I’ve really felt his musical muscle used in the same way as the debut album.

Continuing with the band’s reputation for creating lush and expansive soundscapes, the ultra-moody AOR stylings of Darren Wharton are matched with Vinny’s intuitive guitar work, which weaves in and around the vocals and keyboards of Wharton in a way not hear since Calm Before The Storm and the all-time OAR classic Out Of The Silence.

So you get the best of both worlds here – the moody classic Dare mixed with a generally more uptempo vision, with guitars taking a more prominent role and really driving home these songs.

Songwriting is as usual, quite exquisite, capturing a mood unlike any other. Production is mostly superb, the only thing I would add is a more impactful drum sound to match Vinny’s piercing guitars.

Nothing but compliments and praise for this record, which I expect will be the consensus from all. Don’t keep us waiting so long until next time guys, killer work!

This is just the kind of record the rock world needs right now. Fresh, original, engaging, head-spinning and pushing the definitions of the genre.

Of course, it’s not Ghost pushing the boundaries of melodic hard rock, but rather Ghost pushing their own style boundaries, which on this occasion, happen to fit into the realm of the melodic rock world.

On the surface, this looks like another gothic, alt-metal, fringe dwelling record from one of Sweden’s more menacing outfits. At its heart though, it is in fact a stadium rock album with a huge dose of 80s anthemic thinking, mixed with a modern moody and at times gothic vibe, with some prog-metal influences.

It is a masterpiece, no question about it. The originality of Ghost’s past sound mixing with a more commercial template is an absolute winner for fans craving something that actually sounds different – that stands out from the pack.

There’s a touch of everything here – 9 tracks and 3 short instrumental passages of anthems, moods and grooves – nothing repeating itself and like all great works of art, just a little nuts at times.

It’s one of the most played records of the year for me already and easily the standout record for originality, captivating lyrics, dark themes and rich harmonies and a production quality to rival the biggest sounding records of the 80s and 90s.

Only gripes - the fadeout for Watcher In The Sky runs over a minute when half that would have been plenty and a 23 second segue is a little pointless. But how about that hook in the bridge to Hunter's Moon? Wow.

Part Def Leppard, part Motley Crue, part Sisters Of Mercy, part Threshold and part Jim Steinman, this is how rock n roll needs to grow and build an audience in 2022.

If Spillways isn’t my song of the year, it will take a monster track to displace it.

Amazing!

Heartland’s latest incarnation is the first since 1995 to be without frontman Chris Ousey’s musical partner Steve Morris. While Steve continues a break, the album has been co-written and performed by Chris with Barish Kepic (ex Jaded Heart) and the most legendary Mike Slamer. The album also features Ged Rylands, Wayne Banks and David Anthony, who round out the recording lineup.

While Ousey is obviously the main man behind Heartland’s sound, he isn’t the only ingredient that made so many wonderful albums over the years. Thankfully everyone else involved have slipped into place nicely and the sound of Into The Future isn’t a great departure from previous records.

Mike Slamer can be heard adding his touches all over the record – his style fitting this record perfectly. At the same time, he hasn’t transformed the band into a Slamer project. This is not as typical as he has sounded on his records over the years. All in all, it is a nice amalgamation of personalities.

At the heart of the matter is we have a great new 12 track Heartland album here, that sounds like Heartland. As is always the case with any Heartland record, the melodies and hooks take several listens to evolve and develop into the ear worms they end up being.

At times the band stretch the tempo into a heavier realm, Slamer making his mark such as on Caught Up. The pure AOR of A Living Thing is about as instant as any Heartland hook gets and is an immediate stand out.

Plenty of highlights throughout – Not Guilty, A Foreign Land, Climbing Your Wall and When The Band Plays to name a few.

Another great Heartland record. This time featuring two of my favourite people in the melodic world – vocalist Chris Ousey and the versatile Mike Slamer. It’s a no brainer!

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.

I doubt you’ll hear a finer female fronted AOR album this year. The beautifully recorded and performed album was recorded over the last 12 months with the help of Steve Price of ARfm fame, plus musical muscle from Steve Newman (co-writes, production, instrumentation), Rob McEwan (drums), Stephen Chesney (guitar) and Soren Kronqvist (additional keyboards).

Essentially it sounds like a lost classic from 1988, polished up for a fresh release, but it is entirely new, although the heart of the album is definitely from the 80s.

Jane Gould (ex-Iconic Eye) has a fabulous voice in the best tradition of Robin Beck, Carol Decker and Fiona and musically reminds me of the writings of Robin & Judithe Randall. The flurry of uptempo, smooth AOR reminds of the Marcie Free classic Long Way From Love.

There is a nice mix of rockers and mid-tempo AOR here, with a couple of pretty special emotional ballads, for a perfectly balanced album. Some every tasty guitar solos to check out, adding that bit of muscle to the album.

Released now on AOR Blvd Records, it comes with a high recommendation from me and recommended for all fans of pure 80s AOR and female fronted rock – with a strong British AOR vibe going through the songs.