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Latest Review Summary
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| Lou Gramm Band The Lou Gramm Band | Frontiers Records FRCD414 |
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The great Lou Gramm returns after far too long in the recording wilderness. A great many things have happened in Lou's life since he was last heard on CD and even more so since he last fronted Foreigner. There was his departure from the band; a life-threatening brain tumor and recovery from that; getting his voice back in shape and along the way he also became a born again Christian. Lou Gramm is a survivor and it is with this new Lou Gramm Band line-up and CD that he re-launches his recording career and firmly stamps his new beliefs at the very heart of the record. This is in every way a Christian rock album, with the lyrical theme consistent and prominent throughout. Some may take issue with that, as there are many Christian recording artists out there that write lyrics with far more subtlety (Giant, Guardian, Jim Peterik), but at the same time you have to respect Lou for the direction he has taken here. He obviously believes very strongly in his faith and part of his return to the scene is bringing that message to old and new fans alike. The lyrical theme does affect my listening preferences for this record. It is not off-putting at all, as I find some of the lyrics very inspiring and uplifting. But I would say that due to the nature of the record, for me it is very much a mood thing. I need to be in a certain mood for it and when I am, I happily listen to Lou's message and get enjoyment from it. Vocally speaking, this record surprised me to be honest. Due to the much publicized debate over the quality of Lou's live vocals over the last few years, I wasn't necessarily expecting too much of this record. While Lou does sound different than his heyday and certainly carries a gruffer delivery, he also manages to throw in some classic Gramm vocals in each song and his trademark tone is definitely recognizable. The songs themselves again surprised somewhat. I expected a more laid back record given the nature of the material, but this little record rocks! The songs aren't too far from the Lou Gramm/Foreigner style we know and love and the new band delivers some convincing performances, lead by much respected guitarist Don Mancuso. Talking songs - Baptized By Fire could have slotted into either of the two classic Gramm solo albums as could the groove laden Made To Be Broken. The very melodic Willing To Forgive features a nice hook and That's The Way God Planned It is a really superb inspirational ballad. (I Wanna) Testify doesn't grab me so much while remaining a good uptempo number, but the track Redeemer grinds on my ears big time. Lodged in-between those two tracks is the superb dark mid-tempo rocker So Great. Single Vision is a terrific happy go lucky pop/rock tune, while some necessary grit and classic Gramm is present on Rattle Your Bones. Perhaps track of the album is the monster ballad You Saved Me, which closes the album. Absolutely amazing chorus and some inspirational vocal and musical orchestration lifts the track even higher in the latter stages. It's Not Too Late is a European Bonus Track, but I am yet to hear that so can't comment.
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| Jorn Spirit Black | Frontiers Records FRCD415 |
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I have said it many times before – Jorn is one of the great hard rock vocalists of all time and definitely one of my favourites. But I have come to await his releases with less anticipation each release. I simply find that Jorn the solo artist is now spending a great deal of time repeating the same formula over and over. As with the most of his solo albums fans only get 9 new tracks and of those tracks, one is normally “borrowed” or updated from past recordings. And the songs are much the same slow to mid tempo plodding style, something which has really become an issue with me now, as when Jorn fires it up he is untouchable (Sunset Station, Gate Of Tears, Worldchanger and the Masterplan material). But as with all Jorn releases, this still a quality release and something I will play consistently for a period. The new album is Spirit Black and sure enough, the formula is once again in play here. 9 tracks, most of them hard, heavy and slow to mid-tempo. No surprise to find myself thinking half the album has gone by, only to realize I'm only on track 3. The first 4 songs of the album are all good, with Spirit Black and Road Of The Cross stand out for me. But there is nothing more that I would love than a double time kick-drum fuelled opening track from the great singer. City In Between is a slow intense rocker with a somewhat softer veneer than the first half of the album and features a great melodic chorus and lead vocal. Then for the first time in a long while the tempo picks up…Rock N Roll Angel is a more traditional hard rock track than I have heard from Jorn in a while and I love it – great vocal melodies. And wham! Burn Your Flame finally sees Jorn into overdrive. The song could be complete shit and still appeal due to the tempo finally reaching furious, but thankfully it isn't. World Gone Mad continues the uptempo flurry of the second half of the record and is another solid, simple hard rocker with another good chorus melody. Another plodder closes the album, but the intensity of the vocal and the manner in which it is delivered makes it stand out among other plodders in Jorn's repertoire.
Always consistent and better than most, but long time fans are still waiting for that classic, which has been on the verge ever since the debut solo release.
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| The Trophy The Gift Of Life | Frontiers Records FRCD410 |
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The Trophy is a new project collaboration between vocalist Michael Bormann (who you know so well) and guitarist Todd Wolf (Human Fortress). The duo wrote all the material together, performed most of the instrumentation for the album between themselves and Michael produced and mixed it. Keeping it all in house, the guys had the ability to focus on what exactly their vision was and the listener is in turn rewarded. For Bormann fans this is a no-brainer – solid production, great mix and some terrific lead vocals. The songs themselves are for the most part very catchy and lean towards the style of Bormann's recent solo albums, but with a heavier twist and some updated production effects, mixed with the moody material that made up the Rain project a few years back. This is a more contemporary sounding release thanks to the extra programming tricks, drum loops and at times a more tuned down guitar sound. But at the heart of the album are some really catchy songs with strong melodic hooks. When The Nightmares Wake Me Up, Justice and the ultra moody Rescue Me all stand out as some of the best Bormann material in recent memory. Other stand outs include Gloomy Days, with its smooth rolling verse and hook driven chorus; the dramatic The Way I Am and of course the opening title track The Gift Of Life.
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| Ilium Ageless Decay | Escape Music ESM191 |
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Ilium is a melodic metal outfit from Newcastle Australia that has recorded three albums prior to this release. The band don't reinvent the wheel or deliver anything we haven't heard before, but they do benefit from the fact respected vocalist Mike DiMeo joins them for this recording. The one time Masterplan vocalist and much loved Riot frontman lifts this album above the spectrum it might have otherwise fallen under. These days you need that extra something to gain people's attention and Mike does just that with a powerhouse performance. Being mixed in Germany by the great Tommy Hansen doesn't hurt either! 68 minutes of power ensues, with guitars and keyboards often dueling it out for listener's attention. DiMeo's vocals demand attention and the songs reap the rewards. I do find that having nearly 70 minutes of music on here is a bit much. The songs to tend to blend onto each other some of the time and the record is a little too one paced. But, that said….fans of Riot, DiMeo, Masterplan and even Impellitteri will find plenty on offer here and the consistency of the songwriting and overall production quality put it ahead of the competition. Song highlights for me are the double time opener Mothcaste; the progressive in nature Hibernal Thaw; the furious and lengthy Xerophyte; the slower and symphonic Eocene Dawning and the keys/guitar dueling on The Little Witch Of Madagascar.
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| Saint Deamon Pandeamonium | Frontiers Records FRCD413 |
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You know the Swede's have a handle on how to do all things as best as can possibly be done. And this Swedish mob – releasing their second album here – might just have one of the best metal releases out there currently. This easily overruns the competition for intensity in performances, huge wall of sound and best of all for me – some really appealing higher range lead vocals. Higher range in this setting works for me and vocalist Jan Thore Grefstad soars along with the best of them. But he also delivers some really strong harmonies and simple verse lines. Immediately I'm caught by the clear and appealing chorus melodies, matched by an equally pleasing set of riffs and some deafening drum beats. The opening two tracks set up the metal onslaught, but Pandeamonium switches gears nicely to reveal a more symphonic and moody side to the band. And the huge metal ballad A Day To Come is something else. Way Home is about as melodic as it comes in this genre and Magnus Karlsson fans will appreciate the tone of the song. As for flat out metalling – go no further than the triple-time mega riffs of The Deamon Within. Closing the album is a cool straight ahead hard rock track Fear In A Fragile Mind, which shows another side of the band again.
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| Pathosray Sunless Skies | Frontiers Records FRCD412 |
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Yet more in your face metal coming out of Europe. Every way you look right now there are metal releases coming from all labels. So with a lot to sift through, only the bands with something new or definitively great to offer are going to stand out. Does that work for Pathosray? Yes, I think so, but more so for progressive metal fans than an across the board appeal. The record sounds really tight thanks to a Tommy Hansen mix and the Italian band does well to create a fairly universal sound appeal which is perhaps why they are getting some attention in US metal circles. At 50 minutes in length you get some serious musical chops on display, but the record doesn't run too long and overstay its welcome. A darker vibe than Dream Theater, with vocals to match, Pathosray do well to deliver a sonic blast of riffing while keyboard swirls add texture throughout.
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| Eruption All Screwed Up | Escape Music ESM188 |
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Eruption are a local Aussie hard rock outfit – the main force behind the group being an Italian guitarist (moving to Australia to break into the music scene) and a local boy on lead vocals. There's no programming here – the rest of the band positions are filled by special guests and the whole affair was tightened up by the always consistent production talents of Martin Kronlund in Sweden. I wouldn't call Darren Grant the most electrifying vocalist I have ever heard. His delivery is fairly plain, but he suits the music on offer and the bar-room hard blues rock style of the album. The band previously did the pub circuit playing Van Halen, Guns 'n Roses, Aerosmith, Deep Purple, Jimi Hendrix, Queen, Kiss covers and the like. And that's where the style of the album comes from – AC/DC, Rose Tattoo meets GNR, Kiss meets 70s Aerosmith. The opening number isn't anything to get excited over, but second track Bad Girls is a far more rewarding bar-room rocker in the style of AC/DC that features a much more convincing lead vocal. Leopard has an interesting feel, with a little Paul Stanley meets Brian Johnson vocal in play. Naïve sounds a little like The Angels (and vocalist Doc Neeson in places) while Natural High is the band's take on a stadium anthem. Nine Year Old Child is a solid enough rock ballad while Reflection goes all out.
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| Invictus Persecution | Escape Music ESM189 |
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This French metal outfit delivers a melodic metal album that delivers on riffs, gruff vocals and a pounding rhythm section, but falls short on songwriting. For whatever reason, I just find this album tough going. Perhaps it is the tone of vocalist Frederic Glo or perhaps it is the fact I can't find much to hang onto with the songs in order to draw me back for repeat listens. The only change of pace is the acoustic ballad Face To Face (Part 2) mid-album, which is interesting in its own right, but a bit out of place here. Otherwise it is loud, brash, filled with guitars and more guitars and totally in your face. Typical European metal, but without the cross-border appeal of some other artists.
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| Tony Harnell Cinematic | Indie EP |
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As former TNT vocalist Tony Harnell develops a career outside of his long time band, a solo release is the perfect accomplice to his and Magnus Karlsson's Starbreaker project. There are a couple of things in development for Tony, but late last year this EP was released and I really should have reviewed it before now. The EP is a diverse and eclectic collection of 5 solo demos that outline the directions open to Tony to follow under his own name. Picking up in the vein Starbreaker left off is Out From Under The Black Cloud, which is modern meets melodic. The Show is something that could almost fit on a recent TNT record, being that it is a little quirky and psychedelic in a Beatles kinda way. I Don't Want Anything is maybe the most left-field tune I have heard Tony sing and a deeper vocal gives a truly melancholy feel to this alternative pop tune. Cinematic starts in a similar fashion to how the last track ended, but revs up for the chorus, which is more familiar to the last Starbreaker album. One Way Ride carries that familiar vocal, but musically is sparse and experimental and turns semi-industrial for the chorus. Unholy is another dark and moody track with a contemporary nu-metal vibe and one could imagine further orchestration under the song to build it further. I won't rate the production here, as it is clearly marked Demos Only, but that said – there is nothing wrong with the sound quality at all and the songs are certainly an interesting taste of Tony Harnell the solo artist. |
| Hardline Leaving The End Open | Frontiers Records FRCD405 |
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It was 2002 when Hardline II was released and I gave it a 90% rating. In hindsight that was a little high, but I still find myself admiring some aspects of that album and I know my appreciation for what the guys were trying to do found me in the minority when views on that record are aired. The band was trying to update their sound, but didn't have the production quality in place and perhaps pushed the envelope too far considering the style of the debut, which fans were anticipating a repeat of. Several years in the making, there were times when I figured the third album Leaving The End Open would never appear. And when it did I also figured it would be almost impossible to resurrect the Hardline name yet again after a 7 year wait. Whether there is ever a Hardline 4 remains to be seen, but at least the guys have corrected a number of mistakes made with Hardline II. Having already established a more updated sound on Hardline II, it seems easier to accept the style of the new album. Leaving The End Open has little in common with the classic hard rock of the debut. The ballads come close, but elsewhere the updated sound of the last album is continued, but with a more convincing melodic friendly approach at all times, making this a very credible contemporary melodic rock record. If the word contemporary has always scared you off, then this album probably won't change any perceptions, but for those that are willing to hear a band grow and mature, this should provide plenty of highlights. As with Hardline II, I expect a number will dislike this record and the reviews will feature the polar extremes of both sides of the coin. Count me in the positive column. Leaving The End Open is a somewhat mellower than expected record, with the emphasis on slow and mid-tempo numbers, but it still rocks in places. The aggressive contemporary rocker Voices opens the album with authority and a contrasting melodic chorus that gets better with every listen. Lots of hidden melodies within this track. Falling Free follows a similar path – a contemporary theme, but a strong classic melodic chorus that flows effortlessly. Start Again is a classic Hardline style ballad that could have been placed on either of the two albums preceding this one. Pieces of Puzzles is one of those tracks that classic AOR fans will hate – a tough contemporary exterior, but get further in and there is a very melodic and catchy bridge and chorus to enjoy. Bittersweet is a dreamy atmospheric track that features some fine Neal Schon moments courtesy of guitarist Josh Ramos. She Sleeps In Madness is probably one of the weaker tracks on the album – it again features that modern and dark edge, but a less discernable chorus. This adds grit to the album, but AOR fans will struggle with this one. On the other hand, In This Moment is an AOR dream – a beautiful ballad accompanied by piano and a superb Johnny Gioeli vocal. Give In To This Love returns the album to a modern and dark edge, with a melody that takes time to get to know, but remains effective. Before This flip flops the album back to classic AOR. This is a nice building song that climbs to one of the best anthemic choruses of the record. One of the highlights as classic meets modern in a groovy way. As has been the pattern, the album turns darker again with Hole In My Head. Another question mark for lovers of old school melodic hard rock, but it continues that interesting contrasting pattern of styles that the second half of this record has. And closing the album is another monster ballad. The title track of the album is a really superb piece of music and Johnny's emotional vocal and Josh's highly melodic guitar work make for a killer song. Plenty to enjoy here in both light and shade for those that are open minded, although the ambitious song designs are not full appreciated due to a production quality that doesn't match up. The cymbal and overall drums sound doesn't penetrate like it should (once again) and the mix is a little muddy in places.
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| Sunstorm House Of Dreams | Frontiers Records FRCD409 |
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While Hardline caters for a more diverse audience, Sunstorm, the project that pairs superstar vocalist Joe Lynn Turner with members of Pink Cream 69 is perfect for the die-hard fans of classic melodic hard rock/AOR. I love this record for entirely different reasons than the Hardline release – this one caters to my love of big keyboards, big guitars and big choruses…all in a style that while never dated, could easily have come out in 1989. JLT sings his ass off here and the production is a perfectly balanced wall of sound. The songs covered here are from various sources, the main winners being the amazing duo of Tom & James Martin. The brothers are responsible for the opening trio of songs – Divided, Don't Give Up and The Spirit Inside – simply three of the best songs I have heard Joe put vocals too and sum up everything I love about melodic rock. Three cracking rockers with huge choruses and great melodies throughout. Then we are hit with the fast and furious anthem I Found Love which is an AOR fan's wet dream surely. What a great old school rocker and what a great chorus. 4 for 4 so far….few albums in recent times have kicked off with such quality. Say You Will is the first ballad from the album and is from the pen of the great Jim Peterik. JLT delivers a great vocal, but I'm not as sold on this song and although every bit as classy as the other tracks, I'm not sure it was the right style for this album. Another Jim Peterik track follows, but this time it's all rock n roll. Gutters Of Gold was originally featured on my very first MR compilation (with a vocal from Jim himself) and is a great in your face rocker with JLT in full flight. Could perhaps have been a little more urgent in delivery though and I might still prefer the original. The rhythm section here almost blows through the speakers. Very cool. The Only Child (JLT/Sabu penned) track Save A Place In Your Heart follows and will be popular with traditional AOR fans. The uptempo anthemic melodic rocker Forever Now steers the album back into the same territory as the opening 4 tracks and for me returns the album back to its very best. Jim Peterik steps in again with another ballad Tears On The Pages which kid of stops the momentum created by the last track, but I prefer this quality ballad over the first. House Of Dreams might have been better suited to follow Forever Now as it is another Martin Brothers track and another cracking melodic rock highlight. Closing the album is the big ballad Australia's Jimmy Barnes made his own. Walk On was originally written by Turner and Desmond Child, this is slick late 80s power ballad stuff and Joe does another great job here.
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| Taz Taylor Band Straight Up | Escape Music ESM187 |
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The debut Taz Taylor Band CD featured the always interesting vocals of Graham Bonnet. It was well received and featured a mix of classic blues hard rock in the vein of Rainbow, UFO and MSG. Same applies for album number two, expect this time around vocalist Keith Slack (Steelhouse Lane, MSG) is up front. The name Keith Slack immediately reminds me and I'm sure many others, of the iconic Steelhouse Lane records, but don't get his performance on those records confused with what else he can do. I kinda of did, so the first listen to this album was hard to get through. On Straight Up, Keith is in his fully fledged raspy, blues drenched, screaming, angst mode. It was hard on the ears to be honest. Translated – nothing here at all for Steelhouse Lane fans or smooth AOR lovers. This is a hard driving blues inspired hard rock record with vocals to match. In fact, Slack's gruff and raspy vocal delivered here is almost impossible to recognize. But in a way, it does suit the music on hand. Loose, raw rock n roll with plenty of solos, plenty of MSG inspired riffs and plenty of in your face moments. The opening couple of tunes don't do a lot for me at all I'm afraid. But on One More Night things improve and Slack delivers a nice Coverdale style vocal with more melody in his voice and in the song itself. What You Need features a similar vocal and a chorus that takes the song back a notch. I like this a lot. And the blues groove of In Harms Way sees the band hit their stride. I just hope the opening couple of tracks don't scare folks off. Never Letting Go is probably the album highlight for me, straight ahead riffing and a nice vocal lead chorus with the best hook of the record. The album trails off a little in the closing stages, but ends with a fine instrumental called Straight Up.
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| Highest Dream Far Away From Here | Escape Music ESM186 |
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Interesting album this. Escape Music have a knack of picking classic style AOR releases, but ones that are not immediately likable – rather they get better with repeated plays. Brazilian melodic rock out Highest Dream is no different. To be frank, I hated this first listen. What hits you immediately is the lead vocals of Riq Ferris. I really didn't like his heavily accented vocals at all and still struggle with them on some tracks. That aspect could definitely turn people off, but those willing to give the guys a chance will find a record of early 80s AOR, with keyboards and pink and fluffy melodies the driving force behind the songs. The harsh accented tone of the opening track gives way to a warmer more likeable vocal of Can't Fight Hearts, which features a delightful chorus straight out of 1981. Helpin' Hand and Far Away From Here both offer strong choruses and more early 80s AOR. All I Want is a little more progressive in nature, but equally dated in style. Reach Higher features some grandiose keyboards not unlike Asia and a great layered chorus. There's even a couple of fine ballads in Love Makes You Cry, featuring strings an acoustic guitars and the closer Never Be Apart which really sounds straight off a 80s movie soundtrack. The album features a decent production – dated in style yes – but not in sound quality.
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| Mr. Big Next Time Around (Best Of...) | Atlantic Japan WPZR 30342/3 |
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Mr. Big – or rather their Japanese record label – celebrate the band's return with a new Best Of compilation. Pretty standard stuff these days really. A band kicks into action and immediately there's a new Best Of available (not to mention the papersleeves re-issues and new DVD releases!). But hey – that's cool – we love these guys and they remain one of the best 'supergroups' of the era. Next Time Around is an 18 track compilation of best tracks and I'm not here to argue the finer points of those selections. The freshly remastered tracks sound fantastic and great to see some personal favourites included here – Daddy, Brother, Lover, Little Boy, Take Cover, Addicted To That Rush, Alive And Kickin', The Whole World's Gonna Know and Colorado Bulldog. The attraction of this compilation for die-hards (besides the remastering) is the 2 “new” tracks. Well, the title track Next Time Around sounds like absolutely classic Mr. Big because it is absolutely classic. Taken from the 1993 sessions that resulted in the Bump Ahead album and produced by Kevin Elson, the song is a welcome breath of fresh air and sounds like it could have been lifted from the Lean Into It record. Hold Your Head Up is another archive track restored for this occasion and is of course the Argent cover and sounds pretty cool actually. Paul Gilbert makes the track and it rocks pretty hard. The bonus DVD collects tracks from the previously issued VHS releases (coming soon to DVD) and gives us another reminder of what a great live band Mr. Big are (4 live tunes and 4 video clips are featured). Sadly there isn't a new clip to promote the title track of the compilation included as part of this set - out now on YouTube.
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| Chris Laney Pure | Metal Heaven 00065 |
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Swedish hot-shot producer and songwriter Chris Laney has branched out to record his solo debut and is set to take the hard rock world by storm. This opus hits the mark from the opening riff and just gets better and better. This is one of the big surprises for 2009 so far for me. Laney channels the sleaze of Motley Crue (Dr. Feelgood era), the production might of Def Leppard and the guitar power of Metallica; mixing these elements with the classic Swedish glam of Zan Clan, Crashdiet and Crazy Lixx. Laney's vocals are brash and abrasive, always powerful and really suit the attitude of this record, although they may not be for all. As expected the production is absolutely massive and the mix perfectly balanced. The harmony soaked hard rocker Situation opens the album with a slamming groove, while I Dunno sees Def Leppard heavier and glammier than ever. The furious rocker Make You Cry is something Motley Crue wish they could still write and the slower and moodier rock ballad The Stranger In You is Kiss meets Def Leppard with those huge Leppard harmonies. Fire & Ice is even better – total groove in the verse turns to total anthem and angst in the chorus. I Hate Your Guts and Pissed At What Ya Missed are total in your face attitude filled aggressive rockers with that dark edge and passion that some of the best known bands of total just fail to bring to the party. Get You Down is another Def Leppard style mid-tempo hard rocker, albeit with more sleaze and growl than the band are known for. Elsewhere Last Man Standing is a total rock hit if I ever heard one – a big Kiss style chorus and commercial appeal in spades as has the powerful ballad Skin On Skin.
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| Oliver Weers Get Ready | Target Records TargetCD080 |
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Denmark's Oliver Weers delivers a big brash hard rocking record from the Whitesnake/Gotthard school of big guitars and even bigger vocals. Vocalist Weers and his guitarist/songwriting partner Soren Andersen have created a fine debut album here by sticking to a tried and true formula of big riffs and a booming voice riding over an immensely powerful rhythm section thanks to hired help from two of the best in the business – Tommy Aldrich and Marco Mendoza. These two rhythm legends really ensure this album has a monster sound and the power that Weers and Andersen needed to best portray their songs. Sounding a little like Paul Stanley meets Glenn Hughes, Weers delivers a powerful and energetic vocal performance here. I'm not sure the choruses are as strong as they could have perhaps been, but I am sure that the record couldn't sound any better – it really packs a powerful punch. The songs themselves are standard European melodic hard rock, but done with an energy and passion that shines through. Calling Out For You, Hands High, Even Giants Cry and First Day Of Our Life all fly along at lightening pace backed with those booming vocals. Will You Be Mine proves that the guys can slow it down and the acoustic guitars, moody vibe and more soulful vocals make for a nice tempo change – as does the Rainbow-esque grind of Crawling Back Again. Angel rocks with fury and features a cool chorus; Coming Home is one of the more commercial moments of the record and sounds quite contemporary; and the album closes with a spirited cover of the Queen classic Show Must Go On.
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| Great White Rising | Frontiers Records FRCD407 |
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I've always been a Great White fan, still rating Once Bitten, Psycho City and Twice Shy as a trilogy of releases showcasing the best of the band and their knack at delivering menacing blues driven hard rock. Their original line-up reunion album Back To the Rhythm was a decent album with some more inspired moments, but with the sense that vocalist Jack Russell was singing well and truly within himself these days. That feeling is confirmed with the new album Rising. The album showcases the classic sound of the band – uptempo blues 'rockers' mixed with more laid back ballads and slow tempo 'rollers'. But the overall feeling from the record is a fairly laid back one. There is a definite lack or energy in places and even the rockers are generally laid back. For the record, I'm a big fan of Great White's ballads over a number of years. They have really delivered some classy soulful tunes. But now I feel there is absolutely no venom left in Jack Russell's voice. He was the master of delivering that menacing growl (Gonna Getcha for example), but is now singing well and truly within a set (and safe) range. I still like the sound of the album and considering that I own every Great White CD released, it is safe to say there is still plenty here for fans like myself to enjoy. Situation, All Or Nothing and Loveless are the pick of the rockers while the ballads are well represented. The best of those are Last Chance, I Don't Mind and Only You Can Do. The keyboard driven Is It Enough is also a nice change of pace. However, there are a few tracks that just plain annoy – Shine and Down On the Level both have utterly terrible choruses and Danger Zone is just a weak rocker compared to the band's glory days. And the cover of the Stones' hit Let's Spend The Night Together adds nothing to the record.
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| Impellitteri Wicked Maiden | Metal Heaven 00068 |
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Finally an album that delivers exactly what was expected and hoped of it! And finally a ball-busting album with grooves big enough to damage ear drums. Impellitteri doesn't reinvent the wheel here, but rather the star guitarist reunites with the original (and the best singer) he worked with in Rob Rock and turns back the clock to give fans the best and most traditional sounding Impellitteri album since the metal masterpiece Answer To The Master. Wicked Maiden is a hit on a few levels. First the performances are golden – Rob sounds amazing fronting the band again and Chris Impellitteri is simply all over this record with riffs, flurries and solos everywhere. But most importantly, the songs are there. The last album showed promise, but experimentation with style put some fans off. This time it is all classic Impellitteri. Back to the 80s, back to the classic sound and style, but never is it dated. Just big riffs, screaming vocals, harmony vocals in all the right places and some genuinely catchy choruses. Albums like these do have the tendency to sound very similar from track to track, but I'm pleased to say that almost every track here has its own feel within the traditional Impellitteri framework. Wicked Maiden features Rob Rock at his screaming best and guitar flurries everywhere; Last Of A Dying Breed is simply brutal and Weapons Of Mass Destruction is snappy and ear crushing. Garden Of Eden and High School Revolution is like the mid-80s was only last week and so it goes on. There isn't a second on this album which isn't full of energy and delivering melodic metal in the most positive light.
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| Wetton Downes Icon 3 | Frontiers Records FRCD406 |
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I have given the partnership of vocalist John Wetton and Geoff Downes a fair bit of leeway in recent years. The first two Icon releases were cool, if not a little soft and the two live albums were utterly horrible. Then the last Asia album was also far too laid back, but still featured some quality tunes. I was positive in my review as I knew many would love it and many wouldn't – and that was about how the split went. So, with a view to looking at this release as another record fans of the duo should love, I dive in and have come up disappointed again. This is another well crafted and recorded album and the performances themselves cannot be questioned, but the song quality simply isn't there and the record is way way too laid back. The trilogy of songs Green Lights and Blue Skies, Raven and My Life Is In Your Hands creatute what amounts to a 10 minute lullaby until the last track finally kicks into second gear for a minute or two. Only Twice The Man I Was, Never Thought I'd See You Again and Don't Go Out Tonight really lift the tempo past leisurely. There is an audience for records like this and these guys have more than their share of eager fans to eat up anything they release. I do appreciate and admire the talents of both, but I have heard better elsewhere from both of them and will stick to the first album (which I rate the best) and some classic Asia in between. This is definitely not a record for those that love a chorus to hit them as often as possible.
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| TXS Transmission X | Escape Music ESM185 |
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Evolving from Norwegian rock band Hush, TXS play a similar brand of commercial melodic rock that mixes the traditional 80s sound with a slightly more contemporary delivery. The style is thoroughly European – a strong Scandi feel resonates through the writing and the song melodies. And most obviously in this case, the lead vocals are heavily accented at times. In fact, there are a couple of songs that could be strong contenders that I am somewhat put off from due to the pronunciation issues. Breathe You Out being the very worst offender. Terrific song, but the pronunciation during the chorus constantly annoyed me. Another curious decision by the band was to cover the Scandi penned song Unbelievable, which most will recognize as part of Def Leppard's X album. The band unfortunately opens themselves up to comparisons with that version and the Leppard effort will win every time. Elsewhere though, you can find some pretty fine moody melodic rock with hints of Def Leppard, Kip Winger (vocally at times), Stage Dolls and of course Hush. Production is solid, especially with the rhythm section pumping through most songs although a real drummer would have added extra crunch. Who Will You Run To is a great AOR anthem to start proceedings; Time To Say Goodbye and Kicking Leaves are both fine contemporary commercial ballads with different approaches - but both featuring big chorus hooks; Rat Trap and Chameleon Man are harder rocking tracks with big grooves and the album closes with a tear-jerker in Stay.
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| ColdSpell Infinite Stargaze | Escape Music ESM184 |
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Interesting record this. Diverse in places, yet quite cohesive generally from start to finish. The self-produced album sounds great thanks to a Tommy Hansen mix (the guy can do no wrong) and vocalist Niclas Swedentorp has one of those easy to appreciate styles not unlike Ray Gillen, John Sykes and Mats Levin. There's a touch of Badlands in there, some Blue Murder (if given a European metal feel) and perhaps even Deep Purple (if they too, were heavier and from Sweden!) Lots of organ, lots of groove and lots of energy…not to mention plenty of guitars and a monster rhythm section. I dig this album. It wasn't immediately catchy and took some time to live with before I found myself with their songs stuck in my head. But they did stick. The moody and heavy mid-tempo opener Keep On Believin' is all class; the bluesy and faster paced Solid Ground rocks and then there is the Badlands groove of Ravin Mad which I love. Good chorus and such a cool groove during the verse. The hard and heavy Eye Of The Storm is classic Mats Levin and once again grows on you with each listen. Straight Things Out is another classy rocker before the first mellower track of the album kicks in. Greed is another great rocker with a strong chorus (one of the best of the album). The pace doesn't let up in the closing stages of the album, but it is around track 9 that things do tend to become a little familiar and some more variation would have been advantageous. However the album closes with the title track Infinite Stargaze, which is another highlight for me and clocking in a 7 minutes is a definite statement to close the album.
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| Street Legal Bite The Bullet | Frontiers Records FRCD408 |
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Not too many bands will go 9 years between their first and second albums and live to tell the story. Let alone their waiting fans! But too many years later the guys are finally back. Let's be honest here – the only chance they guys had was to deliver a cracking good record and one that outshines the debut. And I think they've done just that. Bite The Bullet isn't as heavy as the debut Thunderdome, rather it is a little more refined and mature even, but it still packs a punch and is a very fine melodic hard rock record in every way. While we sit back and contemplate the possibilities of a new Thin Lizzy album, I highly recommend you spend that time with Street Legal. Bite The Bullet mixes the classic British hard rock influences of Thin Lizzy and Whitesnake (both the Lynott and Coverdale comparisons are uncanny), with that typical Scandi twist to round things off. The band include a few covers into proceedings – the storming Stage Dolls rocker Loadin' Up, which is given heavy treatment; the ever popular Michael Sembello pop rocker Maniac which is again rocked up and the very curious decision to include a version of the tongue in cheek Bad News 'masterpiece' Warriors Of Genghis Kahn. All good fun and the band don't take themselves too seriously here. But the real strength in the album is the original compositions. The Whitesnake styled rocker (written by Tommy LaVerdi) Somebody Up There Likes Me is cool, but the Thin Lizzy mid-tempo blues rocker Unconditional Love is pure gold. Shadow In My Heart could be a classic Coverdale sung MTV ballad and Bite The Bullet could have come straight off the band's debut. Starship Trooper and Trapped are both Lizzy styled uptempo melodic rockers. The Battle Of Kringen is an interesting instrumental, with the epic heavy ballad/rocker Silent Tear closing the classy album off.
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| The Hooters Both Sides Live | Hooters Music HOO-08-2 |
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I wasn't overly impressed with the last Hooters studio album – the songs just weren't there, but remain a loyal and faithful life long fan of the band. Both Sides Live is a 2CD independent release featuring two very different live recordings. The first disc is a full live show from The Electric Factory, November 2007. Featuring the usual staple of Hooters classics and several cuts from the new album, the set sees the band in their usual energetic and captivating form. I love live records from this band, as they normally mix things up just that little bit and the added energy from the stage always lifts these songs into a new experience for fans. This set is no different – thoroughly enjoyable. The second disc is a live acoustic show recorded in the studio in front of a select audience. Knowing the talent of these guys and their history of tight, inspired live performances, The Secret Sessions should have been absolute gold. But rather, I was very disappointed in this concert. Having just credited the band with their great ability to mix things up, the changes made to some classics on this recording have stripped the songs of their identity and the magic that made them great in the first place. 25 Hours A Day kicks things off and has it's chorus melody all but decimated. Same for the iconic All You Zombies. The mood and spirit of the song just isn't there. Johnny B doesn't fare much better. It is so frustrating to hear amazing songs delivered in such a bland and monotonous way. One of my all time favourite Hooters songs Satellite is also butchered to the point where the original melody is almost unrecognizable. Only And We Danced comes close to the spirit of the original. Of the newer material, the band seems less willing to mess with the formula, so you get stripped back versions of the album tracks. Morning Buzz being one of the worst Hooters songs ever. I'm Alive and Time Stand Still being the two best songs of that album and about the only songs from that set I would ever include in a Hooters greatest hits package – I did enjoy their inclusion here.
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| JSS Beautiful Mess | Frontiers Records FRCD401 |
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Beautiful Mess is anything but. In fact, the album, which marks Jeff Scott Soto's switch to a more organic soul-rich sound, could well be his personal pinnacle for performance and emotion. Signaling a change of direction a couple of years back, JSS has been intent on capturing the best elements of his many musical influences, which have always been on show in some parts of his prior solo career. Pop, Soul, R&B and funk have all played a part in the JSS sound, but now they are front and center, with rock taking a backseat. Beautiful Mess is a collaboration with Swedish songwriter/producer/musician Paulo Mendonca, largely recorded in Sweden. I know there will be some JSS fans that might on the surface have a hard time accepting the direction change or the mood of the album. But the more you listen, the more the music appears as simply a natural progression from the sound we already know and love. The main difference in the record – aside from the obvious production effects, sampling and various bells and whistles, is the fact it is simply a more mature and mellower, reflective Jeff Scott Soto. The album reflects a particular state of mind and the performances ooze passion and emotion and for that reason, I loved the record from the first note. It is just so honest and real – and positively electric in its delivery and tone. Track By Track: 21st Century is a snappy, effects filled modern pop rock track with a sultry vocal and a lush production and a catchy melodic chorus. A perfect set up for the record ahead and the new JSS direction. Cry Me A River is a mellower, more reflective soulful pop/rock track with a slightly funky undertone. Gin & Tonic Sky is simply one of the best songs JSS has ever put vocal to. This is a soulful, emotional and passionate pop ballad with some fabulous harmony vocals and an unforgettable chorus – not to mention the inspired lyrics. Outstanding vocals, from the softly sung beginning to the more powerful finish. Hey is a largely acoustic based song and again features a sparse arrangement, with only the absolutely necessary instrumentation playing a part. A rockier chorus and more prominent guitars add a little muscle. Another wonderfully reflective track. Broken Man is yet another inspired and touching acoustic driven ballad with a ton of soul and some delicate, well-placed harmony vocals. Another classy track and another killer vocal. The first "half" of the album closes with a slight change of musical course. Opening with some of the more reflective mellower tunes in the new arsenal, JSS now rocks it up a little with a more modern rock friendly tone on the funky, effects filled rocker Mountain. That is closely followed by the modern rock anthem Our Song, which while dressed up in a contemporary setting, is probably the closest thing to JSS of old on the album. A great hands-in-the-air chorus comes at a perfect time in the scheme of the album. Eye and Bring It Home might be a couple of tracks that the traditionalists could struggle with – funky, driving pop/rock with a R&B base. Still, a well written song is a well written song – no matter the style and these have their own style of catchiness. Testify is another track that has a familiar air to it – a funky rocker with a Prince influence – drawing on Jeff's debut solo album Love Parade and his occasional style deviations since that point. Wherever U Wanna Go is a song of contrasts – a slow, mellow verse and an upbeat pop chorus with a great hook. Really works well and is another album highlight. Kick It is an acoustic driven modern pop track with a changing pace and a tempo that builds through the song to a rousing almost retro pop styled finish. Heart Starts Healing and Take You Over With Me are both easy going, free flowing pop/rockers with a more traditional sound, while also matching the "new" JSS. The bonus DVD is a very worthwhile addition to the package, containing 4 different music videos and a 20 minute discussion about the new album from JSS, whilst also cruising thru the corridors of the NAMM show, with countless guests making an appearance.
JSS is all over this as far as style and influences and he sings his heart out. Paulo contributes some world-class pop production tricks and instrumentation and together they deserve to take on the world and win. Hopefully established JSS fans will all appreciate the work that has gone into this record and I'm also hopeful it will draw in a new range of fans.
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| Place Vendome Streets Of Fire | Frontiers Records FRCD398 |
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The debut Place Vendome album was quite a revelation. Vocalist Michael Kiske (Helloween) fronting a band featuring most of Pink Cream 69, performing commercial melodic rock/AOR. Sensational idea...and the melodic meets hard rock feel of the album ere met with universal praise and delivered two of the very best AOR anthems of the year - I Will Be Waiting and Too Late. So what has album number two got in store for us? Thankfully more of the same. This album seems just that little heavier, perhaps edgier is a better word, but just as melodic as the debut. And the strength of the songs is unquestionable. I really haven't bought into Kiske's softer solo endeavors, they have either been too strange or too soft, but here he is back into absolute monster form, with some superb vocals and soaring harmonies. The stellar production of Dennis Ward and the complex keyboard melodies of Gunther Werno make this affair a multi-layered and intriguing listen. The more you listen to this album the better it gets (which was also true of the debut), but what I sense from this release is that it is even more consistent from start to finish and there simply are no fillers or weak tracks here. I'm not sure what album I prefer, so I'll happily award the same points here as I did the debut and call it even. Songs within the album are written by guys responsible for some of the better melodic music of recent years – Torsti Spoof (Leverage), Robert Sall (Work Of Art), Magnus Karlsson and Ronny Milianowicz (Saint Deamon). Streets Of Fire is the necessary 'muscle track' to open proceedings and delivers a great chorus straight off the top. My Guardian Angel is another Magnus Karlsson gem and full of hooks and a great heavy AOR chorus. The mid-tempo rocker has a dark heart and moody feel. Completely Breathless is a terrific, complex slower track with another strong chorus and a really good lead vocal. Follow Me comes from songwriter Robert Sall and is another album highlight. A straight forward mid-tempo AOR track with a hard edge riff driving the song. Yet another great chorus. Set Me Free is more attractive AOR/melodic rock with an intense and moody feel. The tempo bursts to life with Believer, a double time uplifting melodic rock anthem with a great hook and a feel good vocal. Yet another outstanding track. Valerie (The Truth Is In Your Eyes) is again instantly recognizable as from the pen of Robert Sall. The Westcoast styled AOR track sounds like a new Work Of Art track and the chorus is glorious. A Scene In Reply starts slow and reflective and builds into a monster chorus – classic AOR and filled with layers of vocals and keyboards alongside the guitars. Love it! Changes features yet another big chorus and more perfect AOR, with the verse featuring a nice raspy mood vocal. Surrender Your Soul is nothing short of glorious traditional AOR in the purest sense. This uptempo, feel good track is another album highlight and the vocal is just great. Dancer takes on a moodier edge, with the bridge building up the song before a heavier chorus delivers another set of memorable hooks. Closing this amazing album is the big ballad I'd Die For You. Slow and haunting to start, the song builds before some amazing guitar work kicks the song into overdrive and an anthemic close.
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| Balance Equilibrium | Frontiers Records FRCD402 |
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Balance were a much loved pomp/hard rock outfit from the early 80s, recording 2 studio albums that retain their cult following. Featuring guitarist Bob Kulick and vocalist Peppy Castro and keyboardist Doug Katsaros, the band is back after a 20+ year absence, bringing many of the songs planned for their never recorded 3rd album for a fresh take in 2009. This album should have been a home run, but rather it is a merely a base hit. Bob Kulick has spent the last decade as an in-demand producer, churning out many tribute records for various labels. So it is curious as to why this album is well and truly under-produced. It is rough in places, sounding perhaps more like unreleased demos than a polished up new studio record. I get that the guys have set out to mirror the sound of their first two records, but I think the rough sound is just a reflection of rushed recording rather than a genuine attempt to recapture past glories. The other problem with this record is the all important vocals of Peppy. They are for the most part, well…awful. Raspy, strained and struggling throughout, Peppy's vocals just haven't aged well and he is the main weak point of the album. It was hard to listen to at first. After a while you get used to it, but how many won't bother to persist? There really are some badly fluffed notes and areas where the vocals grate on your ears as he tries to capture the range of the band's first 2 records. There are some redeeming qualities about the record though. The songs mainly. They are the definite highlight of the album. The songwriting is indeed classic 80s pomp rock, with some delightful hooks and truly memorable chorus melodies. This record really is a throw back to the 80s with a traditional keyboard infused melodic rock sound mixed with some Stan Bush style AOR vocal melodies and tones. And despite a rough production and some (at times) painful vocals, you can't help but sing along and the songs do stick on your head. Winner Takes All for example is a cracking melodic rock anthem, with a moody edge. Breathe is a nice swirling keyboard dominated early 80s throw back; Crazy Little Suzi and Walk Away toughen things up; Who You Gonna Love has a certain pomp swagger to it and Forever is another great track straight out of 1982.
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| Last Autumn's Dream Dreamcatcher | Escape Music ESM183 |
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Swedish melodic rockers Last Autumn's Dream really have become one of the most consistent and reliable acts in the scene currently. Each year there is a new album and each album is guaranteed to contain a few cracking tracks to add to any future "best of" compilation. The rhythm section of Talisman and star vocalist Mikael Erlandsson along with Fair Warning guitarist Andy Malecek again deliver a high spirited, energetic collection of Scandi-AOR/melodic rock, with the trademark rasp of Erlandsson soaring over the pomp-esque anthems. Similar to how bands like Harem Scarem and Heartland turn out consistently good material, it is hard to know where to place this album in the ranks of the band's overall catalogue, but safe to say it sits close to the top as far as crunchy production and quality of songs. Highlights include the storming opener, One By One, featuring a great over the top chorus akin to old school Fair Warning and some soaring vocals; the even faster paced but more restrained melodic rocker Hold On To My Heart and the gloriously moody mid-tempo rock ballad Frozen Flower. A few tracks in the middle roll along with ease without blowing me away, until we get to Your Kind Of Loving. An urgent feel, a strong chorus and lots of mood heralds a string of great tracks to close the album – the catchy The Last To Know; the more dramatic When Love Strikes Down; and the dark and moody Who Needs Love. The more easy going Me & You continues the good run and the closing When My Love Has Left Your Heart is a great way to close any album, with a rousing guitar solo driven finish. A definite high point to end on.
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| Evil Masquerade Fade To Black | Escape Music ESM182 |
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I guess I have to concede that these guys aren't that bad. After all, they continue to make records and they must be selling, otherwise they wouldn't continue to get label deals. I have struggled with these guys from the start, but they have improved over time and now with new singer Apollo Papathanasio (ex-Time Requiem), the dramatic flair of guitarist Henrik Flyman's songs is allowed to flourish further. The double-time beat and Dio-esque overtones of this metalfest are clear, but I still struggle to find any solid, memorable hooks to come back to in repeat listens. At times inspired rifftastic metal, other times simply noise…these guys are still a 'take it' or 'leave it' proposition. Best tracks - Darkness Within, which features a good melodic guitar riff; the metalfest Powertools and the opening pounder Lights Out.
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| Bad Habit Above And Beyond | AOR Heaven 00037 |
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I can't see any Bad Habit fans being disappointed with this release. The band's first in several years sees them pick straight up where they left off, with their own brand of Scandi-pink and fluffy pop rock. Above And Beyond is an album of perfectly produced and crafted Scandinavian high-tech AOR/pop. A lot of production effects and programming is in play throughout the record, giving it a very contemporary pop feel, but the guitar parts and the structure of the songwriting push the songs into that needed classic AOR direction. I Don't Want You, I Don't Want To Say Goodbye, Let Me Tell You, My Confession and Above And Beyond are all classic AOR hooks, dressed up in a contemporary production. Let Me Be The One, A Lot To Learn, Never Gonna Give You Up and Surrender are all more polished pop tracks while I Believe sees the band turn the guitars up a little more for a heavier, moodier track. More like this might have been even better. This is a very pink and very fluffy. The cheese factor is in play a little, but it's Bad Habit, so you know what to expect. The songs are happy, the mood is up (even when it's down) and the tempo flows effortlessly from song to song. The accents of lead singer's is occasionally raised by myself as an issue in the overall enjoyment of an album and its funny that Bad Habit's Bax Fehling has one of the most noticeable accent twangs of any lead singer I listen to, yet the quality of his delivery allows me to forget about that.
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| Tall Stories Skyscraper | Frontiers Records FRCD399 |
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The debut Tall Stories record is another of this genre's cult classics, recorded and released just after the peak time for the format (1991), but still managed to gain a lot of fans who anticipated a follow-up. It never came. Just as the tsunami of flannel shirts rolled in and washed over the aqua-net covered shores of traditional melodic rock, Tall Stories were holed up in a New York studio recording album number 2. The almost overnight abandonment of melodic music left many a band high and dry and Tall Stories were yet another victim. The album was shelved and the band disbanded. Vocalist Steve Augeri went on to front Tyketto briefly before making a huge impact with Journey. Guitarist Jack Morer continued his path in music as a professional musician in NYC. Bassist Kevin Totoian continued playing clubs and various bands as he still does today and drummer Tom DeFaria left the business. Interest in Steve Augeri's past work from Journey fans meant that interest in tall Stories never waned and once Steve left the band, talk turned to what Tall Stories could do again. The master tapes of this album were dusted off and the remastering process was started. Unfortunately the condition of the tapes meant that the drum parts were no longer usable, and various session guys were brought in to re-record those parts. The rest of the material is the original and authentic 1993 recordings. The debut Tall Stories album was hailed as an enjoyable slice of Journeyesque melodic rock. Much has been anticipated as far as the second album – let's face it, it has been a long time coming. But sensing a changing tide of musical expectation back in 1992, the second Tall Stories album was always going to be a different beast. The band wanted to experiment and improvise…to loosen up a little and explore different musical avenues. And they sure did… Skyscraper is finally available and has more in common with Led Zeppelin than Journey. Had this album been released in 1993 I don't think it would have been received very well. Most bands trying their hand at styles outside expectations found themselves on the end of a heavy criticism and fan backlash. But in 2009 I think enough time and passed that this album will find some good support, probably for different reasons than was originally imagined back when it was recorded. This is not a melodic rock or AOR record and should not be considered as such. Nor is it a straightforward release or one that should be compared to their debut album. That unfortunately will count a lot of listeners out. This simply is not going to be of appeal to many readers of this site. And it is in some ways, disappointing that the glorious AOR of the debut is not replicated here. However, for its lack of commerciality, the album still features a lot of positive aspects and is chock full or musical integrity. The quality of the performances is beyond question. Jack Morer's complex guitar parts – both electric and acoustic – plus the powerful steam train vocals of Steve Augeri are something to witness. This is not a hit-singles kind of record. At times it isn't easy to listen to – it is challenging and is better appreciated as a whole entity, from start to finish. Even then a couple of songs don't work so well, but there are some gritty gems in amongst the tunes here that offer fans of classic/retro rock some truly classy music. Highlights on Skyscraper include the opening rocker Tomorrow – retro vibe on hand, but possibly the most straightforward number on the album; the heavy blues of Clementine, featuring a terrific groove that mirrors the changing sound of the day; and then the classic rock ballad All Of The World – which has the vocal feel of the debut. No Justice has a 70s pop feel to it and also a nod of the head to the style of song Mr. Big sometimes included on their albums as a tempo changer. Where it might get a bit harder for traditionalists to appreciate things is on the slow, Leppelin retro rocker Original Sin (which I like) and the acoustic drenched Pictures Of Summer. The retro-heavy and effects-filled River Rise is another complex track (particularly with the rhythm section) and is challenging, but rewarding at the same time. Eternal Light is perhaps the weakest of the tracks, even with its swirling guitar riff. The sparse and bluesy jam You Shall Be Free is going to be an instant turn off to classic melodic rock fans, but retro fans that appreciate what Extreme sometimes offer may appreciate this. Another cool vocal at any rate. I also really like the powerful and haunting rocker Stay, which crosses between Zeppelin inspired retro rock and current commercial hard rock.
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| Places Of Power Now Is The Hour | Frontiers Records FRCD391 |
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Places of Power is the very natural pairing of guitarist/musician Bruce Turgon – the long time right hand man to Foreigner's original lead singer Lou Gramm and for a time part of the Foreigner line-up himself. He also joined Lou in the harder rocking Shadow King project and his debut solo album was a mirror image of the sound from that project. The vocalist for this project is Philip Bardowell, a phenomenal singer with a distinct ability to sound like Lou Gramm. Places Of Power is therefore a natural continuation of the sound that Turgon has developed over the years. I said at the time that the Turgon solo release was the sequel to the Shadow King record – which it was – and now we have a 2nd sequel as such. This is a hard hitting melodic rock/hard rock release with strong performances and some outstanding vocals on offer. The moody edge that Shadow King carried is continued here, even down to the keyboard sound, which mirrors the style of that project. The only disappointment is the drums are programmed and the sound at times is not as crisp and clear as could have been. It would have given the album an even better edge over its competitors. As it is, Places of Power still has a lot to offer – especially for those familiar with Turgon's and Bardwell's previous albums for Frontiers Records. Highlights from the album include the layered vocal harmonies of In Your Wildest Dreams; the heavier and more dramatic Make Me Believe; the extreme Shadow King styled pop/rock of Desires Of Our Hearts and the more theatrical Secrets. The biggest anthem of the album is The Passage, which simply soars and is perhaps the pick of the album. The Lou Gramm inspired Hard To Love You also works well and the vocals in Light Of My World are fantastic. Elsewhere the album could possibly have used a couple more big choruses such as The Passage and a tighter drum sound would have worked wonders.
Places Of Power is a powerful record and a good start to the 2009 Melodic Year.
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| Vision Divine 9 Degrees West Of The Moon | Frontiers Records FRCD400 |
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This is one of those over the top symphonic metal skewered projects that fans will either take or leave. The Italian band is produced by Timo Tolkki, who has given them a full even sound (no mean feat considering the material). The style is progressive and symphonic melodic metal, with both elements evenly in play – sometimes both at the same time. The material is intense, but not overly heavy. What makes this one harder for me to appreciate is the vocals. The heavily accented and over the top delivery of Fabio Lione is not appealing. I just can't get into them at all. Violet Loneliness is the best example of why. Musically speaking the guitars pack a punch and the rhythm section pounds away as the tunes change pace and style throughout the album. The songs featured are fairly complex in nature and it requires several listens to get to know. Nothing unusual for an album of this style. I would have preferred some more defined melodies on a few songs. I guess when one is put off so badly by the vocals, you look for other elements within the record to appeal. The keyboard arrangements are intense, that is for sure and the orchestral feel of the album gives it depth beyond the standard.
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