| Airtime Liberty Manifesto | Escape Music ESM162 |
|
|
Airtime is the long awaited project featuring former Triumph guitarist/vocalist Rik Emmett and fellow Cannuck, Von Groove's own Mike Shotton, who handles all drums, percussion, keyboards and backing vocals. Emmett also handles bass duties. First and foremost, it is just bloody magnificent to hear Rik plug in and sing loud again! For some time now he has dabbled in instrumental and light jazz releases, diversifying further into blues. The man can play anything, but his legacy was built around being a rocker, so it is rewarding to long time fans such as myself to hear him back in the rock groove. However, we can't let the fact Rik is rocking again be the single fact in assessing this new release. Expectations might lead us to conclude that perhaps Airtime might recapture the glory of Triumph or even the AOR friendly style of Rik's early solo records. It does neither – instead he again breaks new ground with a more classic retro rock feel that touches on 70s rock and perhaps a more progressive edge a la Rush. It took some time to both understand and appreciate this release. The rewards are there as it is a solid release – just something a little different. I will restate that the best thing about this release is to hear Rik Emmett rocking again, with some of the heaviest riffs I have heard emanate from his guitar playing. Edge Of Your Mind is a fast moving progressive rock number with a melodic vocal and some fine harmonies – perhaps the closest thing to Triumph you might hear on the album, if it wasn't for that frantic riffing. Midnight Black & Blue is the heaviest thing I have heard Rik associated with - tough, in your face and featuring a modern hard rock riff and a similarly uncompromising chorus. Liberty features that familiar mix of acoustic and electric guitars that were used in Triumph and Rik's own solo work. The 6 minute track features a lot of guitar work, a couple of tempo changes and a sort, but catchy and dramatic chorus. Elsewhere on the album, the uptempo River Runs Deep is the most traditional and AOR styled anthem on the record and is a definite highlight. I'd love to hear more like this. Find Your Way carries a moody edge, but could have used a more polished production. Addicted is similar in sound, this time carrying a groovy blues based riff. Code 9 touches on the jazzy side of Rik's musical personality, but I'm not sure it works on this record. I share similar feelings about the acoustic ballad Moving Day, but the rocking Rise is more fitting. The dramatic instrumental Transmutation is ok and Cryin' Shame is a bar room rocker to close the album.
|
|
Richie Kotzen Return Of The Mother Head's Family Reunion |
Frontiers Records FRCD351 |
|
|
Richie Kotzen just keeps making records! Finishes one and starts another. He is consistent in releasing a new record every year and amazingly, they are all very consistent in maintaining a high quality. The last couple of records (which Richie played entirely by himself) are truly great, so new music is always anticipated. Something a little different this time around – for the first time in several years Richie has used a full band to record 12 new compositions. The style isn't far from what Richie has delivered over the last few records – blues based melodic rock with a funk and soul influences. Once again he delivers the goods, with long time fans destined to be satisfied once again. I'm not sure this matches the output of the last 2 solo albums in particular, but that's a minor point as I thought those to be outstanding, and this still isn't far behind. I think collectively the songs here don't stand out as much as individual tracks. Highlights include the bluesy and very soulful but melodic Fooled Again, which runs at 8 minutes in length without ever sounding too long; the soft ballad Bad Things is very cool; Do It To Yourself has a definite groove and a strong chorus; the soulful AOR of You're Crazy is also cool, proving the mid-section of this album to be the strongest. Can You Feel It is simple, but rocking and you can't help but dig the vibe Kotzen is sending out.
|
| Gary John Barden Love And War | Escape Music ESM161 |
|
|
Former MSG vocalist Gary Barden is back with another solo album, quickly following up the well received Agony and the Xtasy and Past & Present. Barden knows when he is onto a good thing, so Love And War features the very same team as the last couple of records, including the production and musical guidance of Michael Voss. This record is so tight and so slick…it really has a monster sound and the work of Voss just gets better and better. Creatures Of The Night is as good as Barden has delivered in his recent releases. Unchain Me is slower, but just as solid. The Last Samurai rocks along at a good pace – perhaps a bigger chorus would have been even better. Dragon's Fire has that chorus…a nice melodic vocal over a driving beat. Love Lost is another stand out – a more earthy feel and some well placed organ. The other highlight is the closing ballad In Love & War – nice to see Barden in a more sentimental light. I haven't said much about the other tracks as they are all solid and enjoyable. This is a very consistent record as are Barden's other recent releases. The only thing I would state is that maybe the overall songwriting on this record doesn't quite match the intensity of the last album. There is a tendency among the songs to sound a little bit the same. More variation in tempo and approach on 2 or 3 songs might have broken the record up a little more and added some needed spice.
|
| Dogpound III | Lion Music LMC213 |
|
|
Sweden's Dogpound get better and heavier with each release. The debut was ok, the band's second and last album saw them add a real AOR edge to their sound, but on the new album III it is time to rock hard baby! The gruff, yet melodic vocals of singer Henrik Andersson are something to get used to perhaps, but I'm a converted fan already. The band storm through this album with a massive wall of sound that I didn't anticipate. The massive guitar riffs of My Own Sin are enough to cause ear bleeding…just fantastic…and the chorus hook is enough to grab your attention first time around. Less urgent, but just as heavy, Glass Jar has another cool chorus, even though it is somewhat buried beneath that wall of guitars (not a bad thing!) The album rocks from start to finish, but highlights among the 14 tracks include the attitude filled Human Hologram which features a catchy fast paced chorus; the smoother and more melodic anthem Dead And Gone; and the absolutely massive guitar fuelled anthem Blind, which is right up there for rocker of the year. There is a ballad of sorts – the slower and passionate One, but it still rocks. In A Life is about the only time the album shifts to a softer gear. The album comes to a big finale with a sentimental piano ballad. Perfect to close the album as it wouldn't fit anywhere within the album.
|
| Toto Falling In Between Live | Eagle Records EDGCD361 |
|
|
On the back of the masterpiece Falling In Between comes the never ending world tour, which unlike some acts out there – really and truly has been a world tour, seeing the band cover the USA, Europe, UK, Asia, Japan, Indonesia and even Australia. And they are still going and going round for more. Having seen the band on this tour I know how tight they are and the revised set list is probably the best they have ever taken out on tour. I always enjoy a Toto live release – there is just something about the energy within this band and their music that lives through the speakers. But often I find myself wishing the track list was a little different and more representative of just how much this band can rock. Falling In Between Live finally fills that void and makes for the perfect companion piece for the studio album. It is great to see several of the new tracks given a run at the top of the set before the band dive into their unmatchable catalogue of hits and album favourites. Of course, the classics are delivered in a few different ways. Given the changes in vocalists over the years things have to be a little different live, plus the fact founding members Mike Porcaro (bass) and David Paich (Keyboards) are off the road. New keys man Greg Phillinganes has more than made himself at home and legendary bassist Lee Skylar fills his guest roll with aplomb. So Phillinganes takes lead in place of Paich, second guitarist Tony Spinner sings on a couple of Joseph Williams era tracks and Bobby Kimball and Steve Lukather provide the heart and soul of this band's sound as they always have. It may not be the classic Toto line-up, but it is a classic line-up nevertheless. The talent on this stage is simply phenomenal and all the Toto classics are delivered with class and appropriate respect. What I like best about this release is the fact it is a 2CD set encompassing the whole set list. There are three solos among the 23 tracks and a few abridged versions to fill the set with as many of the Toto classics as the guys can. The energy of tracks like Hold The Line, Rosanna, Stop Loving You and recent tracks King Of The World and the abridged Taint Your World is awesome. And three tracks from the underrated Kingdom Of Desire album? Perfect! Closing the set the way the band does on Africa was amazing to watch. The seamless way the guys leave the stage one by one is one of the best concert conclusions I have ever seen, so it's great to hear that again here.
|
| Axel Rudi Pell Diamonds Unlocked | SPV 80001166 |
|
|
We have all heard the lines about how all of Axel Rudi Pell's albums sound the same. The last 4 especially have all featured the same number of tracks, the same format and even the same location within the album for the epics, rockers and ballads. When you think you are on a winning formula, don't change a thing! I do think the pairing of Pell with Hardline vocalist Johnny Gioeli is perfect and I always enjoy their output. Despite the overkill of covers albums these past few years, the news that Axel was to do his own featuring some less obvious tracks was met with some enthusiasm by me as I figured this was the ideal chance to do something different. Not so! Well, to a point anyway. I'm still not sure whether to classify it as genius or absurd, but this all-covers affair sounds just like every other ARP album of the last 5 years. Axel has tweaked the songs covered to fit his usual format, stylistically as well as sonically, to the point where a few songs are more ARP songs than they are covers. Case in point U2's Beautiful Day. As usual we get the extended instrumental intro, then an all-out rocker (Riot's Warrior), a rocking anthem (U2) a slower more epic track (Chris Rea's Stone) and the obligatory ballad. Interestingly Axel has turned Kiss' Love Gun anthem into a slow acoustic ballad to fit his usual format. It makes for one of the more interesting tweaks on the album. Highlights among the album for me are the straight ahead rocker Fools Game (Michael Bolton); Rock The Nation (Montrose) and the epic In The Air Tonight (Phil Collins). The album is undoubtly well recorded and sounds a million bucks and Johnny Gioeli lays down a world class vocal yet again. At the end of the day this is another Axel Rudi Pell album. Same format, same sound…new tracks (this time covers of classic rock songs). This I suppose will be of comfort to those that don't want any changes, but a little strange for those other fans that were looking for something fresh. My main question is how come Johnny Gioeli can continually record vocals for Axel, but not for his own Hardline release? |
| Eddie Money Wanna Go Back | Big Deal 02097 01162 |
|
|
Eddie Money is one of my all-time idols. So much so he was the very first interview I ever did as a journalist. I adore his music and the passion and emotion his voice carries – few can match him. Past albums Can't Hold Back, Right Here and Ready Eddie remain in constant rotation on my personal playlist. As much as I love any artist, I am not afraid to hold the opinion that they got it wrong. I said as much for my all-time #1 Rick Springfield and his average covers album from last year. But this is at least 2 steps further below that. I'm not big on covers album to stat with – few have worked perfectly. Strike one. Strike two – I hate the 60s. A decade filled with God awful disposable pop that has been covered to death in the decades since. Strike three – Eddie is taking his performance on this album absolutely seriously. Each song is faithfully reproduced in the same spirit it was recorded in the 60s. No rocking out here. Of all the crap songs of the 60s, Ain't No Mountain High Enough remains at the top of the heap – could this song possibly be butchered in any more feel good Disney movies?? Close behind that song comes Mockingbird. I know this song is part of US folklore, but…Eddie, what were you thinking? Build Me Up Buttercup? Ok, so it worked in There's Something About Mary, but that was a one time deal. Sorry Eddie, this is for your very oldest fans that have since lost their nerve and can't rock any longer. Perhaps their hearing is such that soft crooning songs is all they can take. This may be where Eddie started out all those years ago, but it isn't where the vast majority of his fans want him to be today. Me? I still wanna rock. I "wanna go back" to the very best this iconic artist can deliver. |
| Ted Poley Smile | Frontiers Records FRCD350 |
|
|
Vocalist Ted Poley has been keeping himself very busy in recent years and I like the fact that there is something available for fans to appreciate at regular intervals. 2008 will see a new Danger Danger release, the long awaited Pleasure Dome project and a new Poley/Rivera record. But back to the now – following on from Ted's Collateral Damage record of last year – the singer has decided to break away from his partner for that record (Vic Rivera) and create their own side project for future releases. For his solo career proper, Ted made a great decision to (on this occasion) work with guitarist/producer Jeff Northrup. The result is an album that will be very familiar for Poley fans, yet sonically a little different, which is important as there is nothing worse than having everything you release sound the same. Jeff's guitar work gives this a nice edge and his production work makes this (I think) the best sounding record Ted has released on his own. Stylistically is where the familiarity comes in – as this is purely and simply – a typical Ted Poley release. That's going to please long time fans, but possibly leave those that are yet to get the Poley charm still wondering what they are missing. But for established fans, Smile is Ted at his best. Melodic in every note he sings and passionate about the subject matter – love, life and relationships. While a few songs take the lead and rock harder than expected, the remaining tracks are in typical Poley style – oozing melodies and mid-tempo AOR passion. I initially questioned the vocal in the opening rocker Waiting Line – the chorus sees Ted adopting a hard edge than I heard in a long time. The verse reminds me of Danger Danger, so thumbs up on this one. Of the harder edge tracks, Smile and Luv On Me are old school Poley and the uptempo Why Can't We Pretend That Its Over? is very tongue in cheek and not to be taken seriously. There are a couple of songs that sound as if they came from the Poley/Rivera song hand-book – Will Ya being the most obviously influenced. On the more melodic side - Going Blind is a wonderful AOR track with a passionate chorus and heartfelt chorus. What If She Knew is all class and another great lyric (not to mention catchy as hell chorus). If I Can't Change Your Heart sees Ted really putting it all on the line with a powerful vocal that really gets your attention and is wonderfully used as a reprise to close the album – in even more haunting style. Other ballads include the acoustic More Than Goodbye and the old-school passion filled Where It Ends. One of my favourite Poley ballads right here.
|
| Jaded Heart Sinister Mind | Frontiers Records FRCD348 |
|
|
German rockers Jaded Heart survived the loss of one of their integral members in lead vocalist/songwriter Michael Bormann and still delivered a very good album in Helluva Time. Swede Johan Fahlberg proved to be a smart choice as replacement. The challenge this time around was just as hard, with long time guitarist Barish Kepic departing. So the Jaded Heart sound was now missing the original lead vocalist and long time guitarist. Sinister Mind proves that life continues on with the band as they deliver a kick ass record that seems them update their sound for an even harder hitting approach. I will state that with the departure of Bormann and Kepic, some of that classic Jaded Heart sound has now disappeared. This is more or less a new outfit with traditional links to the old sound, but also a band that presents a new fresh sound more in line with the hunger for heavier approach. The sound of this album is brilliant. Produced by the band with Chris Laussman and Michael Voss, the sound is attacking, crunchy and riff fueled. Melody still plays an important part – as the harmonies and layered choruses still remain, but guitars dominate this record like no other before it. The opening rockers Hero and Justice Is Deserved make clear the band's intentions. Great attitude and heavy guitar riffs that only give way for strong chorus melodies. Sinister Mind has an even heavier riff, but is balanced by a change of pace. The double kick-drum fired See The Light impresses, as does Open Your Eyes and Always On My Mind, which is one of few tracks to use keyboards more prominently. Heavenly Devotion is a little slow to get started but has a cool chorus. Not every song is a total winner. I found Going Under, My Eager's Red and a couple more tracks all to be plentiful on riffs, but short on chorus quality. I had a similar complaint about the last record. Bormann has that ability to turn every line into a hook and that is what the band is still missing.
|
| House Of Shakira Retoxed | Lion Music LMC216 |
|
|
Swedish rockers House Of Shakira are one of my all-time favourite Scandinavian bands. This is their 5th studio album in the 10 years since their incredible debut. When considering their output, one must give credit to a band that has been very consistent in delivering high quality melodic rock with that quirky edge the guys are famous for. The debut is obviously an all-time classic and the album III was also filled with memorable moments. I wasn't so mesmerized by the band's second release – the On The Verge record, but the band's last album First Class was exactly that, so there was a great deal of anticipation for this release. Unfortunately, for whatever reason, I find myself struggling with this record, working harder than I would otherwise expect in order to get into the songs. The band has updated their sound just a little again, tweaking as they do with each record. Retoxed is a heavier and somewhat more direct record than some of the band's earlier more pompous efforts, and perhaps the old doesn't mix with the new as well as it should. Something doesn't quite gel here and it isn't one thing I can single out easily. In part it is the updated style and in part it comes down to the songs themselves. While I wouldn't like to fault the quality of the production on the album – as the record sounds as sharp and snappy as ever – there is something missing there also. The rawer and harder sound is fine, but at times a few songs feel as if they are half a step behind the tempo they should be. Some of the pizzazz – or the aura if you like – the magic that drives this band is missing. To my ears at least. After a brief acapella intro, the band gets off to a flyer with the fairly traditional HOS pomp anthem that is Small Town. The classic elements of layered choruses and big vocals will remind fans of the best parts of the debut and their career since. Third song in No Faith signals a left turn and for it to come so early in the album points to a change of thinking from the guys. The heavier, crunchier and dare I say more contemporary number has a big sound and big riff, but leaves me cold come chorus time. Crazy But No Fool is far more familiar fare for the band, but again, there just seems as if there is something missing. I love the chorus though…it just could have been even bigger. Life And Death has a familiar chorus vibe and you have to love those harmonies, but the verse leaves me cold. Same goes for Gabon Viper and even worse with High Above, which I think plods along and delivers a totally forgettable chorus. The acoustic flavoured Red Alert is much better. The chorus is certainly a high point for the album and this song seems to retain the best elements of the band I love. Bloodline has another layered chorus full of harmonies but the pace is again fairly laid back and I don't overly like the Zeppelin inspired verse. I don't like the verse within Angel Dancer either. The slightly alternative vibe doesn't work for me and the chorus is….well, bizarrely annoying and infectiously catchy at the same time. The slower and darker Turkish Nights closes out the album. A nice rock ballad with plenty of layers, with the overall tempo matching that of the rest of the album.
I adore 3 of the band's 5 studio albums…I will have to stick to that, as on this occasion I must admit to being disappointed, despite the intelligent use of varied instrumentation and the band's always unique style. This scene needs bands like House Of Shakira – we need diversity within the ranks, but I don't think the right decisions have been made this time around and I don't think the song quality is as strong as on past efforts.
|
| Gary Hughes Veritas | Frontiers Records FRCD354 |
|
|
It is amazing how many times I preface a review by stating that I am a fan of the artist in question. But that's why I am here still taking about music – I am a fan and of so many of these great artists. That's why writing some of these reviews is so hard. I know the efforts and the talent that goes into making a record. It is not an easy task and now one that no longer really carries any financial reward for the artists. I guess it is a labor of love for them also. Many don't get British AOR mainstay Gary Hughes, but I do. It was in fact his last solo album Precious Ones that finally converted me. In that I album I heard the passion and warmth that some stated his work with Ten was missing. I loved that record and remained a Ten fan from that point onwards. And I remain a fan despite the very sub-par re-recorded Ten 'best of' release that caused a great deal of fuss among the fanbase and the fact we have to wait so long between releases. Veritas unfortunately suffers from the same problems addressed in recent Ten reviews. It suffers from varied sound quality, which ranges from average to downright muddy and nearly unlistenable and then there is the issue over song quality, which is also quite varied. And despite the player credits on the sleeve, I get the feeling much of the record is of Gary's own doing, including a lot of drum programming – something that was heavily criticized on the Ten re-recordings. The style of this record is not as closely aligned the AOR/ballad friendly work on Precious Ones, but rather a more uptempo mix of that record and the music of early Ten records. You get the classic Gary Hughes layered AOR of Veritas, See Love Through My Eyes, All I Want Is You and the lush ballad Wide Awake In Dreamland, which is one of the better sounding tracks. In My Head is very moody but equally muddy, so impact is lost and Time To Pray is unlistenable. The song is a complete mess - the mix is shabby and the structure is almost non-existent. I Know It's Time isn't much better despite featuring a cool pop hook. You also get a couple of truly strange moments intertwined throughout the record. For some reason Gary thinks he can be Billy Idol singing a pop ballad on I Pray For You and then there is the strange melody of Synchronicity. It has a decent verse, a strange verse/melody and is way too long in over 8 minutes in length. Strange features an awful bit of programming an even worse chorus and continues on with the muddy sound.
Outside help can be used to great effect and with little (if any) extra cost if some of these artists so chose.
|
| Road To Ruin Road To Ruin | Metal Heaven 00041 |
|
|
Matti Alfonzetti is one of the most underrated vocalists within the European melodic rock scene. A diverse performer with a wonderful tone, his two Alfonzetti albums are highly regarded by myself, but sadly the modern direction taken by the sophomore release killed off the momentum garnered by the debut which featured a more anthemic AOR style. The former Jagged Edge frontman hasn't made nearly enough records, so a new project is always met with enthusiasm from me. Road To Ruin is Matti's current project, together with Lion's Share guitarist Lars Chriss. A promised move back towards classic hard rock is delivered – this record has a solid sound and a more traditional approach paying tribute to the classic rock sound of the 70s and some great vocals (as expected). I'm still not sold on the record as a whole, despite mostly positive sentiments coming from the fan base so far. While I am really digging 4 or 5 tunes, a few others lack a better chorus and the overall pacing of the album is a little too similar. The record features only 9 tracks so there is no room for fillers. The majority of these songs are all of a very similar pace. The opening rocker The Only One gets things off to a flying start and is my pick for best track on the album. Things are looking up. But the plodding Led Zeppelin inspired pace of the second track Pale Rider, and the lack of a big chorus gave me cause for concern. Only 2 tracks feature a different tempo – the opening track and the frantic rocker Walk The Line, which is another highlight. Other highlights are Pleasure And Pain and the slow retro groove of the closing track Until I See The Sun.
|
| Winger Live | Frontiers Records FRCD352 |
|
|
Live records are all about catering for fans, so it is only the quality of the record which is of any importance to report on, as fans already know the tunes and let's face it – few outsiders in this day and age start off by purchasing a live record from any given band. Winger fans will be pleased to hear that the imaginatively titled Live record is a good tribute to the American band's catalogue and represents all facets of their career well here, including the recent album IV. Covering 15 tracks over 2 CDs with a couple of solos (guitar and drum) for the absolute die-hards, the album features all the favourites including Easy Come Easy Go, Madalaine, Can't Get Enough, Miles Away and Headed For A Heartbreak from the early years and Blind Revolution Mad, Down Incognito and Who's The One from the classic Pull record. The new album is well represented, although the song Generica is still a strange one to hear live. Your Great Escape works well as does Right Up Ahead. At times I think the band digs playing the newer material more than the classic, but there is no doubt all songs are paid respect. The sound of the four guys playing together really fills up the CD. These four particular guys sound like 6 in any other band and you don't necessarily miss the extra overdubs and keyboards of the studio versions.
|
| Human Zoo Over The Horizon | AOR Heaven 000032 |
|
|
Not expecting anything leads me to be pleasantly surprised by this German melodic hard rock outfit. Produced by Dennis Ward, it is the sharp and even mix and the punchy Gotthard like sound that first gets your attention, followed shortly thereafter by the raspy melodic tone of vocalist Thomas Seeburger. As we have learnt, production and style doesn't make a winning album alone, so it is pleasing to witness an album of fairly strong songwriting in place. I can't say every track blows me away, but opening rocker Cryin' and Communicate both offer plenty to like and some strong choruses that bands with a lot more experience haven't done as well. There is a definite Gotthard vibe to them – I guess any European band of this style with a raspy lead vocal will draw similar comparisons now that the Swiss rockers are the band to beat. I can hear some early Jaded Heart too – or is that just the German rock sound? The band dive into big ballad territory very successfully with Be The One, which reminds me this time of of Bad Habit. The crunchy by clichéd Rock Your Town and Hit The Rock both work as does the keyboard fused Creatures Of The Night. The acoustic ballad (a la Scorpions) Endless Road closes the album in a satisfactory way.
|
| Vengeance Same/Same...But Different - Alive | Metal Heaven 00044 |
|
|
Repeat what I said about live albums from the Winger review. This time it is Vengeance fans that are being catered for. This is a somewhat rawer and rougher live record and sounds as if it could be straight off the mixing desk. I don't particularily like the drum sound on this recording, but overall, the band delivers a set with attitude and energy and that's about all you could ask for. The 10 track set isn't long enough for a full price release – so consideration for some extra bonus material might have been beneficial to sales. I do like the band's cover of the classic Rose Tattoo track Bad Boy For Love, but otherwise it is fans only for this one.
|
| Primal Fear New Religion | Frontiers Records FRCD346 |
|
|
There has been quite a bit of hype for the new Primal Fear album in advance of its release. The reason why was evident after one listen. This is a very fine European melodic metal release and among the best heavy releases of 2007. The band has been going since 1998, but this album seems to be a rebirth for the guys. The direction change is subtle, with most of the new style coming via more intense musical arrangements, a blockbuster production sound and shift towards a more dramatic symphonic influenced sound. If I recall correctly, Primal Fear was a side project started by bassist/producer/songwriter Mat Sinner, outside from his band Sinner. But the band increased its fanbase with each release and it is now clear that Primal Fear kick Sinner's ass – especially when comparing each band's most recent releases. This is a really intense and moody metal record and I love it. It really surprised me – there are some quality songs featured here that are good enough and commercial enough to have an impact on radio and elsewhere given the chance. Opening the album is a fairly traditional sounding Primal Fear song, Sign Of Fear. The biting energy and the lead vocal that is a rasp-turn-scream ensures things start with a bang. The tempo increases as does the intensity for the blistering and ferocious Face The Emptiness, which features a really melodic lead vocal and vast musical depth. A moody ballad comes next in Everytime It Rains. Again there is a symphonic quality to the song and depth in the layers of instrumentation and another very powerful vocal. The song is a duet with Simone Simons (Epica) and delivers big time. A potential commercial hit song which could go plac |
