| Inxs Switch | Epic 82876751892 |
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Everyone should know how the band got to this place. It was certainly one of the more publicized selections of a new frontman in memory. The 5 original members of Inxs chose new frontman – Canadian singer JD Fortune – on their reality TV series RockStar: Inxs. As someone who watched the show from the outset, JD stood out as the candidate who wanted it most of all. He was the most driven of all the singers gathered and despite a rocky and 'unstable' beginning; he grew in promise and emerged as the person that would be a bold choice for the band. I was always worried Inxs would choose a safer route, but the band clearly recognized that the rock edge and clear vulnerability of JD was the more interesting option. After a failed start with Noiseworks vocalist Jon Stevens provided only one very average single, I was worried the songwriting prowess of the band might have seen better days. Even the last couple of Michael Hutchence fronted albums were patchy. Could the guys come together and find new life? It seems as if they have, with this album carrying certain energy and some solid songs. Inxs are responsible for some very fine pop rock (or dance rock) tunes, but their early career was firmly planted in pub rock. With JD in the fold, I had high hopes that the band would return with more of a rock edge. This is partially true – I would have liked to have heard more of a harder edge, but as many bands with long and varied careers do, the guys hedge their bets somewhat with an album of tracks that draw influences from across their career. What is surprising though is how much the band has evolved into something new and how modern this album sounds in places. Switch is an apt title, as the band switches vocalists and approach, moving more into a U2 inspired modern rock style, while still drawing influences from their classic rock style and the more high-tech pop style that brought them their biggest international success. This album mixes early influences from the likes of The Swing, through their breakthrough US hit album Kick and then on again in a more modern direction. At times one can hear Hutchence channeling his distinctive vocal style through JD, but he is no clone. What elevates him beyond a mere copycat singer is his unquestionable passion and rock n roll attitude. On a critical note, I would have liked the album to rock just a little harder and I would also have liked to seen more writing input from JD, as it's clear he has a lot to offer. I hope the band don't see this as a one album/one tour deal as the next Inxs album should be even better with JD firmly entrenched as frontman. Track By Track: Devil's Party is typical Inxs. A little brass, a big groove and a smoldering moody vocal. JD proves to be the perfect fit within 30 seconds of the album opening. I like what he brings to this party and I'm even more pleased to see his name in the writing credits. The chorus is subtle, as is most of the song, but it has a certain intensity, which is JD's trademark. At times he sounds uncannily like the late, great Michael Hutchence. Everyone should know the lead single Pretty Vegas. I love this rocking tune. The lyrics were written by JD with two of the other contestants from RockStar, but the song is JD's. He owns this track and its story. Incredibly catchy, the song is one of my favourite tunes of 2005. Afterglow is the first hint of something new for Inxs. This soft, modern rock ballad sounds like something from U2's The Joshua Tree, updated for 2005. JD proves to be a vocalist with versatility as he explores an intense, moody musical landscape which builds into an emotional climax. The track has every chance at being a hit should radio programmers (and fans) want to accept Inxs sounding this way. It's a gamble by the band and the similarities to U2 are plain to see, yet it is still a winner. Interestingly, the track is co-written by Andrew Farriss and Desmond Child. The moody, modern and sometimes uptempo pop/rocker Hot Girls is co-written by Andrew Farriss, producer Guy Chambers (Robie Williams) and The Matrix (Avril Lavigne). Once again there is a definite intensity here and I was surprised to learn that JD had no hand in writing it, as it just seemed to be a song perfectly suited to his personality. The song features some funny lyrics and is somewhat suggestive without being direct, which was a Hutchence/Inxs trademark. Perfect Stranger is another strong Inxs classic, turning back to their 80s vibe, with the modern production of the new album. Hutchence again comes to mind with the vocals of JD and the uptempo chorus is another highlight of the album. The album takes a left turn for Remember Who's Your Man. This is a different side of the band and of JD as a vocalist. Can't say I'm into this track – which is an example of the band hedging their bets stylistically speaking. Suddenly I feel that I'm listing to a Richie Kotzen album! Mix in a little Lenny Kravitz and you get an interesting soul/pop song, but it is a little out of place with the rest of the material. Next up is Hungry – possibly my favourite track of the album. This is a super intense brooding modern rocker that builds to an explosive chorus. The song is drenched in keyboards and is another song that defines the new Inxs and given a chance, could be a radio hit. Never Let You Go is another track that steps away from the general sound of the album, but fits for some reason. I don't love it, but I won't skip it either, just because the funky pop groove is interesting and JD gets another chance to do something different. Like It or Not is a layered, effects filled uptempo pop rocker with a strong chorus and a good beat. A mix of the old and the new, there is something very familiar about the drum sound for old fans of the band. Us is another slightly funky number with that Richie Kotzen comparisons again in place. A very pop verse leads to a strong uptempo chorus. The album closes with the very interesting mellow modern rock track God's Top Ten. Alongside JD, the song features a female lead vocal from fellow RockStar contestant Suzie McNeil. She suits the song, which is a tribute to Michael Hutchence.
Thickly layered instrumentation and some authorative lead vocals support strong (if not varied) material, which together forms a very good album. This isn't going to appeal to everyone, as it is a little diverse and not entirely aimed at the band's original core audience. It really could and should have rocked even more, but there is a lot to like about the album. A dozen listens in, I am convinced it is as good an album as we could expect and probably the best album since Kick. They got the vocalist spot on and the material just about right.
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| Night Ranger Hits, Acoustic & Rarities | iRock Records |
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Why would any band want to re-record the most treasured songs of a long, illustrious career? Many have done it over the years and you will only see it happen more and more as classic rock artists discover there is still a strong market for their music after all this time, but their back catalogue is tied up in draconian label deals that don't give access to the artists themselves. Re-recording your own hits without the original label taking all the money is a great way to sell records and get instant rewards through the songwriters publishing returns. It is also an easy way to get new music to fans without having to write a full album of new music. In the case of Night Ranger a new US record label approached them with the idea, which the guys loved. It was also a way to get new music to fans while we wait for the all new studio album due out in the first half of 2006. A new US release in stores increases a band's touring prospects as promoters like the fact a band has a new release to promote. The downside is the fact that any band doing an album such as this is messing with a long established musical legacy and the fact that it is nearly impossible to add to that legacy. These much loved tracks that have been with fans for years. In fact, some tracks here are now 23 years old. Has it really been that long? Some artists change style formats, some strip things back with an acoustic album, but in Night Ranger's case, the guys have decided for the full band approach, reprising the originals faithfully. So what is the point? Well, for long time fans, it is something cool to check out and it in this instance it shows how the band have matured and how years of touring has given these songs a slightly different shape. And for the first time, we get to hear new keyboard player Michael Lardie at work. The former Great White member replaces original keyboardist Alan Fitzgerald, who is busy working on the Bruce Springsteen tour as keyboard tech (he's formerly toured with Van Halen also). On Hits, Acoustic & Rarities the band treats their songs with faithful renditions, with a little newly added flair here and there. The production is good, albeit much less polished than the originals and has a live-in-the-studio organic feel, but the harmony vocals are still layers deep. Talking of the tracks recorded, Don't Tell Me You Love Me features a harder hitting drum sound with some extra fills and also a harder edge guitar riff. Sentimental Street is a little heavier, with a nice update on the guitar solo and Lardie's piano tone is slightly different to that of Alan Fitzgerald's. The guys change the end of the song just a little to be more in line with what they do live – which I love. Four In The Morning features a rawer and more laid back vocal from Jack Blades, who has changed the phrasing of certain words a little. And Rumors in the Air sounds pretty fresh too. Lardie's keyboards make their presence felt and the guys add a little grunt to the song with some extra guitar fills. Goodbye closes out the full band re-recordings. I like this new version a lot. Kelly's voice sounds great and has a raw emotional quality. I also like the way the song closes, with some additional parts added as the song is done live. On a less positive note, the band's signature hit Sister Christian doesn't sound that great. Here Kelly Keagy is missing that raspy quality to his voice and to be honest – it doesn't even sound like him in a couple of places. Sing Me Away is similar – although a little better. I'm not sure what vocal effects were used, or whatever reasons the vocal is what it is, but I expect long time fans to complain about this as the result isn't too pleasing to these ears. The acoustic version of Sister Christian actually features a better, grittier vocal. The 7 minute plus Don't Tell Me You Love Me is from the band's 2003 Japanese tour and is part of an entire live album and DVD which remains unreleased. Time to get moving on that boys! The vocal harmonies throughout the album are terrific – as they should be. But some of the lead vocals don't have the power of the originals. Some rawer, more emotional performances counter balance that negative.
Two small complaints to close with - the title really isn't the best - I doubt it would mean much to any potential buyer that wasn't already aware of the information behind it – fan or otherwise. I also really would have loved some more tracks than just the 9 full band tracks featured. a 15 track release featuring something from the all too often ignored Big Life and Man In Motion releases would have been better value.
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The Darkness One Way Ticket To Hell...And Back |
Atlantic Records |
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There is an element of The Darkness' fanbase which proclaims the band as the all conquering saviours of rock n roll. Then there is the opposing side, which thinks the band is nothing but an over hyped one-trick pony. The truth lies somewhere in between. No one can argue the fact that the band are putting melodic rock n roll back into the charts, but little flow on effect for other artists can be expected due to the gimmicky nature of their style. That gimmick – the falsetto vocals of frontman Justin Hawkins – has seen them sell a truck load of records in the UK and even achieve success in the difficult to penetrate US market. But the vocal controversy alone has not sold the band to the masses. That aspect merely opened doors for them in attracting media attention and the support of a record label. At the heart of the matter, the band writes very catchy rock songs. But they do tend to overplay the importance of the vocal gimmick, making this album impossible to appreciate for those that just can't get past Justin Hawkins' unique style. The breakthrough debut Permission To Land was ok – it contained a few great songs, a few which were overrun with falsetto vocals and a few fillers. This is an important album for the band as they have to prove to everyone they are capable of living up to the hype a second time around. Teaming up with legendary producer Roy Thomas Baker was the band's best move. I think the combination of some strong material and a slight change in approach has made this a better and more enjoyable album. It follows the formula of the debut, but impresses more so as I for one have had a lot of time to live with that album and better understand the band. Baker is best known for his work with Queen and as we all know, Freddy Mercury was the king of camp over the top vocals, although it certainly wasn't his only trick. Freddy had it all. But in this case, Baker has helped Justin Hawkins to better focus his talents and has helped add extra flair to the songs. He goes more over the top than ever, but in most cases when it is needed rather than all the time. And in some parts, he actually tones down the falsetto to deliver a great regular vocal. While the debut album played up to an AC/DC style of riffing hard rock, One Way Ticket To Hell…And Back cashes in on Roy Thomas Baker's experience with Queen. There are so many Queen-isms within this album which will no doubt fire up debate further. Which ever side of the fence you are on - not too many British rock bands in this day and age get a worldwide simultaneous CD release. Track By Track: In typical piss-taking fashion the grand intro of the album features a short panpipe solo, before getting underway with the lead single One Way Ticket. You couldn't ask for much more from a lead single. Solid riff – big chorus – those vocals! Knockers is one of the examples of Justin reigning in his voice for the benefit of the song. The chorus vocal is totally over the top and features a fully fledged wail, but the verse is subtle and melodic – to great effect. Is It Just Me mirrors the style of Growing On Me from the debut – a big swaggering rocker with a tight groove and one of those over the top falsetto filled choruses. It's all good fun and the guitar soloing has a certain Brian May flair. Dinner Lady Arms is another example of restraint and is possibly the band's most melodic track to date. I think I actually prefer the verse, which sees Justin singing quite soulfully, over the more dramatic chorus but in any regard, the song should rate highly with fans. Seemed Like A Good Idea At The Time is the first of two big ballads and is the first where the famous Roy Thomas Baker / Queen orchestration comes into play. Flamboyant vocals throughout, the song features lush orchestral moments and should be the next single from the album. Another hit I have no doubt. Hazel Eyes probably represents everything that some people hate about this band. Subtlety be dammed! Add over the top vocals, bagpipes, guitar solos and marching drums please sir! Funny…catchy, but not a song that can be played all the time. Bald is one of the band's darker and more aggressive songs to date and again plays down the vocals (just a little). It makes a nice balancing track between two quite insane tracks. Girlfriend on the other hand – is totally the opposite, with those vocals all over the track, not to mention horns and a very pop style. This is where the album starts to loose me – just as happened with the debut, as there is only so much over the top falsetto vocalling one can take. English Country Garden continues this trend, but of interest is the massive Queen styled harmony vocals and musical arrangement the track has. The album closes with the second big ballad. Blind Man is even more over the top than the first ballad and once again features a huge Queen styled vocal harmony. It's musically interesting – even if thoroughly ripped off from Queen, but is more over the top for the sake of it than actually being a heartfelt ballad and has a lackluster ending.
The band delivers a strong sequel to the debut, but don't really take on the challenges of moving out of the pigeon hole they have been painted into. Those that loved the debut will love this and those that didn't get the band first time around still won't get them now. I suspect the debut will continue with neither side giving any ground! I must add that any album that clocks in at 35 minutes walks a very fine line. Of the tracks featured, should 1 or 2 be fillers for any reason to a particular listener, which leaves a mere 29 or so minutes of music, which is very hard to pass off as value for money.
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| 91 Suite Times They Change | Vicious Records VIC006 |
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This, quite simply, is an instant classic. I'm a big fan of albums that grow on you as you get to know them, but sometimes you need one to jump right out of the speakers the very first spin smack you one. I can see a lot of melodic rock fans getting very excited over this album. Spain's 91 Suite made their mark with a very strong debut album, but blow it out of the water with this even more impressive affair. The guys have toughened their sound just a touch and moved away from the Journey-esque comparisons of their debut to a bigger stadium friendly sound more in line with the type of melodic Bon Jovi style hard rock perfected by Johnny Lima and Jaded Heart. And it gets even better. For fans awaiting Harem Scarem to return to the sound of their first two albums – don't worry, 91 Suite do it for you. There is a strong dose of classic Harem Scarem in the guitar parts on this album. And for those who have discovered the very melodic but rocking UK band Pride - 91 Suite's sound will definitely have a familiarity to it. There is so much for fans of classic melodic rock and AOR to love about this release. The songs are well written and equally balanced between moodier melodic numbers and the more guitar driven uptempo tracks. The album sequence is such that there isn't a single weak moment and the album flows beautifully from track to track. Track By Track: The guys open up with the rocker Seal It With A Kiss, which showcases the new direction. The angst ridden track has all the passion one could hope for and reminds me of the layered melodies of Pride. I Wanna Be In Love is even better. With a touch of Harem Scarem in the guitar parts and more complex melodies, the song soars through the chorus. Tell Me Why is a more aggressive uptempo rocker, with a heavier guitar role throughout. Far Away is the first ballad of the album and is everything melodic rock fans could hope for – especially those Johnny Lima and Michael Bormann fans out there. Times They Change is utterly brilliant. It features a classic chorus, Pete Lesperance guitar riffs and is nice and moody. Every Day Goes By follows on seamlessly and is another memorable song, but it is Hopes And Dreams that like the title track, blows me away. Beautiful soaring vocals, a strong guitar riff and a killer chorus. Again this reminds me of UK rockers Pride, but regardless is brilliant and is in line for song of the year. Another Reason is perhaps the most Harem Scarem like track of the album and is a definite nod to the Mood Swings album – just check out the soloing! Wings Of Fire sounds like a Johnny Lima anthem – another classy song with a great chorus. Stand Beside You is a slow and passionate power ballad that AOR fans will love. Hard To Forget is a straight ahead guitar fuelled rocker that will again please Lima/Jovi fans, and what a vocal performance. Will You Ever is another uptempo, but moody melodic rocker with a very catchy, very memorable AOR chorus. Remember The Good Times closes the album just as you would hope – a breezy uptempo rocker with plenty of keyboards and another strong chorus.
You will of course notice a lot of comparisons drawn while reviewing the album. Times May Change is an apt title, times may change indeed, but there is not need to change a winning formula when it is done this well. Classic style melodic rock dished up in a very classy package.
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| Tony Martin Scream | MTM Music 0681-149 |
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Former Black Sabbath vocalist Tony Martin has spent the last few years drifting between various projects, but in 2005 he is finally releasing his second solo album. It has been some 13 years since his solo debut, the rather marvelous and surprisingly mellow and melodic Back Where I Belong. On the new album Scream, Tony does just that – he has returned back to the sound that made him famous. There are only 9 new songs on offer here - a couple of tracks short of what should be - but the style is a fan pleasing mix of his time with Black Sabbath and that classic British metal sound. Former Sabbath member Geoff Nicholls contributes some song co-writing duties and Martin's youngest son Joe Harford provides most of the Sabbath-heavy guitar riffs. The late, great Cozy Powell appears via an old drum track on Raising Hell. Highlights include the organ drenched Rainbow style hard rocker Raising Hell, which opens the album in style; the slow and heavy Sabbath styled Bitter Sweet and Scream, which features a short, but catchy chorus, a strong vocal and what appears to be a violin solo - definitely worth a listen! Stepping outside the comfort zone, Martin slows things right down for the Zeppelinesque acoustic ballad Wherever You Go and closes the album with the epic Field Of Lies. I don't think it has the best sound quality achievable, but some varied instrumentation makes it an interesting listen. The quirky The Kids Of Today is a good example of more engaging songwriting.
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| Bad Habit Hear-say | Frontiers Records FRCD267 |
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This is another album which required a fair bit of listening to in order to best appreciate. I feel that this album is almost split into two styles with the less favorable of the two dominating the track list. The guys of Bad Habit have toughened up their sound here and as always they deliver some high-tech European AOR, but on Hear-say that sound is peppered with a stronger guitar presence and some heavy programmed beats. The sound makes for some interesting listening. I think this is a good album, but in some ways old fans of the band might find the change in sound not to their liking, while fans of heavier European melodic rock might miss this release due to the preconceived idea that the band are normally softer than what they are here. The album kicks off with one of the stronger tracks of the album. To Love You features a thumping beat and a strong chorus and a bass heavy beat, not to mention noticeably heavier guitars. The sonic bombardment continues through I Swear, Walk Of Life and Reason. The trouble is I'm finding the almost relentless heavy beats to be a bit of a turn off. On the flip side, the more melodic and commercial All That I Want is a more comfortable number for traditional Bad Habit fans as is the very good ballad I Want To Know, which is another lush fan-friendly track. I'll Be The One is another track where the beats let up and the melodic vocals and keyboards are given more of a chance to shine. The band closes the album on a high note with the feel good uptempo anthem The Air That I Breathe. This is only the fourth track of the album that features the more AOR friendly style and I must say that these four tracks stand out as the definite highlights. If only there album was more styled around these four tracks rather than the techno-heavy rhythm of the heavier tracks.
The four lush AOR tracks are brilliant, but what fans make of the rest will depend on personal taste. Overall a strong performance, but I think the album could have been even better with a slight change of approach.
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| Legs Diamond Diamonds Are Forever | AOR Heaven 00019 |
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This album took longer to digest than I anticipated. I'm not one to rush a review if I can't get an accurate feel for an album. This record is quite varied in style and I have been trying to figure out how Legs Diamond should sound in 2005, albeit with a different line-up than when we last heard from them. I think in some ways the band is trying to figure this out as well, as the contrast between tracks is quite stark and at the end of the day, I think this works against the band. The songwriting is great in places, but a little bland in other areas. Where the guys sound at best is when they are being true to their classic sound and style, whereas at other times they just sound like they are trying to be something they aren't. This is a different band than they were on Town Bad Girl or Out On Bail. Most obviously, there is a new frontman in former Wild Horses frontman John Levesque. I really like what John brings to the band. I haven't always been a fan of his, but his performance at Firefest this year was dead on (as was all the band) and having seen him live with the band, I knew he was a great fit and I have looked forward to this album ever since. John varies his vocal delivery as much as the songs vary in style and his energy is a key element in the likeability of this record. His role should not be understated and I remain a converted fan of his. Diamonds Are Forever is a long record. There's an hour of music here, comprised of songs ranging from three minutesto nearly 8 minutes in length . It is thoroughly hard rocking affair – so much so that it surprised me just how heavy it is in places. The style moves from an updated classic Legs Diamond pomp rock influenced sound where the guys sound most at home, to a more straight ahead riff driven AC/DC sound and occasionally to a more heavy and contemporary sound – both of which don't quite sound as comfortable a fit. Like I said, it is a quite varied record. For me the two best tracks open the album, but there are more goodies inside. Don't Turn Away is a angst filled modern heavy rocker with a pounding beat and a pleading chorus and introduces the new Legs Diamond to all. John Levesque's powerful vocals make the song. Time Will Never Change is my pick of the whole album, with a classic keyboard intro that builds tempo with the rest of the band and subtly rises in intensity to a great chorus. Over the course of six minutes the song get a little more complex and features another great lead vocal from Levesque and some complex keyboard patterns from Michael Prince. The haunting and more melodic Loneliness is another strong track for me, which I think captures the essence on Diamond's moodier rock personality. The epic 8 minute plus Will You Remember is another track long time fans should appreciate. The mid-tempo rock ballad This Time Around has a similar vibe, swathed in organ and a darker Gary Barden style vocal. As noted, the band also have a stripped down, raw AC/DC streak to their sound on this record and that is best demonstrated on the growling Good Time, Let It Go and even the darker and heavier Trouble, which itself is musically interesting, but could have used a better chorus. Funny to hear Michael Prince describe King Of Speed as a tribute to Deep Purple, as that is what I thought immediately upon hearing it for the first time. I think the classic organ and bluesy swagger gives that away…still a cool song. The remaining tracks offer good support, but could be considered fillers for some. They certainly aren't the essential tracks on the album, nor the ones which show the band in their best light.
One would hope a few more live shows and a quick return to the studio will deliver the classic I know they are capable of.
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| Flagship Maiden Voyage | Metal Heaven 00011 |
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There is quite a favorable word following these guys around and I must echo that sentiment. While I think this is a very good record, I must also stipulate that it is not a record that will appeal to everyone. To be precise, its style is such that it is only going to appeal to a very set segment of the melodic rock community. Who is Flagship? The band comprises two main individuals – Narnia's Linus Kåse & Christian Rivel (yes, the Tommy Denander of the prog/metal world) and several guests – none bigger than Kansas' own Kerry Livgren, who plays the guitar solo on his own composition Ground Zero (originally from 1980), in a new arrangement written by Linus. This is a musically adventurous and complex record that mirrors the pomp glory days of the 70s and such masters of the game as Kansas, Queen and even early Magnum and Styx. I could type for a week and still not describe everything that is going on within this pomp-tastic release. Only 7 tracks are on offer, but the album runs some 47 minutes, so there is plenty of music on offer. Christian Rivel revels in his role as vocalist, delivering something a little different, even for him and on occasion some fine falsetto vocals. He is certainly an outstanding vocalist, not to mention versatile.
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| Terra Nova Best Of + 5 | Frontiers Records FRCD268 |
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Terra Nova close out a comeback year with a compilation gathering their 12 'best' tracks coupled with 5 previously unreleased tunes. While this release is clearly aimed at established fans, there is quite a lot on offer here for those less familiar with the European pomp/AOR outfit. The benefit of a compilation is that it trims the fat and present here is the very best the band has to offer. I have previously commented that each album from the band features a few fillers and that the guys in general play it very safe with their songwriting. There is nothing here that changes my mind in that regard, but you can't argue the fact that these are some of the bands finest songs and that makes a perfect entry point for curious melodic rock fans. The five bonus tracks are all culled from the band's 1997 recording sessions for what was to become their debut album Break Away. The band has mellowed over the years and this look back in time has unearthed a harder edge now lost. The first bonus track I Wanna Know actually opens the album and does it in fine bombastic melodic rock style. Hard to imagine why that has been left behind until now. Normally tracks remain unreleased for a reason, but these tunes hold up pretty well with the exception of Reminiscing, which does nothing for me. The unpolished Holy Water features an organ and has a nice organic feel to it.
This is a pretty straight forward compilation with 5 unreleased tracks to please long time fans and a solid collection of songs to interest newcomers.
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| Line Of Fire Line Of Fire | Tribunal Records TRB068 |
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It's difficult to put an original spin on traditional AOR, especially when your sound finds influences from one of AOR's biggest ever acts Journey, as do so many other acts. But somehow Line Of Fire manage to bring the best elements of familiarity into their music and mix it with a uniqueness that allows the band to stand out in the crowd. There are some straight ahead commercial friendly numbers featured on the band's debut, but just around the corner from those are some more intricate and complex tracks which form a nice balance across the album. The contrasts are stark, but the consistency of the album means they are not out of place. For example Faith In Fire is melodic, progressive and even features a little pomp glory. Live & Let Go is a simply fabulous commercial AOR number in the vein of Shotgun Symphony meets Journey while Fade is a dark and brooding track which requires several listens to get to know. Then you have Paradise, which builds out of the darkness of Fade into a more commercial AOR track with a glorious chorus, but still featuring a melancholy soul. The song also features some great vocals and a definite nod to Steve Perry and Neal Schon within the song. Remind Me moves away from the Journey influences, showing further diversity within the record, with the band using a more acoustic driven approach, as they also do on the big ballad Can't You See and the moodier Salvation's Edge a few tracks later. Thing get a little more technical and certainly move away from the AOR of some of the earlier tracks on Falling Down, which is a well thought out harder rocking track. And to show the depth of musical understanding these guys have, the closing rock ballad Time To Say Goodbye. The diversity of the tracks is held together by a balanced production and some fine performances, not least of which are the very AOR friendly and powerful vocals of Shawn Petula.
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| Mark Spiro Mighty Blue Ocean | Atenzia Records ATZ02038 |
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I had no idea that Mark Spiro has spent the best part of the last couple of years battling cancer. As he says himself within the lyrics of Band Of Angels – he is one of the lucky ones. I love albums which deal with personal topics and show the raw angst and emotion that is life. Artists such as John Waite and Rick Springfield are masters of wrapping their emotions at the time in music and taking the listener on that journey with them. Add Mark Spiro to that list. It seems a contradiction in terms that anyone should benefit from any other persons misfortune, but Spiro turns the life altering challenge of battling a potentially fatal illness into one of his best albums to date and gives fans a record to treasure. All songs and all the music within was crafted and recorded by Spiro in a frank and honest setting – both lyrically and musically. The album has that one man band feel to it, but under the circumstances that matches the mood and vibe perfectly. Spiro's lyrics have always told a story, but the 11 tracks of Mighty Blue Ocean depict a man battling the odds and coming out the other side. It's an emotional journey – at times joyous and uplifting, at other times more introspective as Spiro reflects over his life. You just don't get better than the uplifting pop anthem Mighty Blue Ocean, or the guitar and piano driven melodic rock of the reflective When She Cries. Another highlight is the moody Band Of Angels, which deals both with the time of being diagnosed as well as the time of the all-clear. The acoustic The Beautiful One is as good a ballad as Spiro can write and the uptempo Bits And Pieces is classic AOR. Perfect Wave may be a little soft, but is sonically perfect and is a little more lush than the often musically sparse record. The feel good uptempo pop of My Velocity and The Life That I Live closes the album perfectly.
But what it lacks sonically it makes up for ten fold in heart and soul. This is how you write lyrics folks. Credit to Spiro for being so open and forthcoming, He may be one of the lucky ones, but with this record now available, so are his fans.
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| Divinefire Hero | Metal Heaven 00013 |
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Divinefire are perhaps a little outside the scope normally covered on this site and are not something I would normally listen to if I didn't have to.
Divinefire is a power metal trio comprising the ever versatile singer extraordinaire Christian Rivel teaming with another member of his Narnia project, this time bassist Andreas Olsson with wiz guitarist Patrik Gardberg. I think the guys tread the fine line between delivering something amazing and going right over the top and becoming a parody of themselves. I say that, as at times it does get a bit much on here – there are only two speeds used to deliver these 10 tunes – flat out and faster! Divinefire have that whole symphonic speed metal thing down pat, with some furious flaying of guitars, constant double kick-drums and wailing high pitched vocals mixed with gruff death metal style growling added almost it seems to act as a counter balance. It's an interesting album and if you love everything turned up to 11 and delivered at super sonic speeds, this album should appeal. Of notable interest is the last track, which is a cover of the Queen classic The Show Must Go On. This track is also delivered at almost top speed and features Swedish pop singer Maria Radsen on duet vocals alongside Thomas Vikstrom.
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| Green Of Love And Soul | Ivory Gates / Frontiers |
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To remind folks, Green is an Italian progressive hard rock outfit that released their debut album Life in 2003. Two years later they are back with a new bassist, a second guitarist and a different, updated sound for the sophomore release Of Love And Soul. To be honest, the debut was ok, but largely forgettable among the vast competition in the market place – especially looking back 2 years later. But I'm definitely more impressed with this release and think the guys have chosen a better style for themselves. Life was far too scattered and featured too many styles, where as this album is far more focused. Of Love And Soul sees the band toughening up their sound. It is heavier, less progressive and features a strong modern rock edge. The guys have their own style, but you can hear a little Nickelback mixing with some Queen-esque pomp/prog elements, which is an interesting mix. Check out the potential radio hit Fight For Truth and the orchest backed Do It Now. he guys don't give up totally on their prog base, with some songs like There's No Wind featuring some good musical twists and there is no escaping the near 10 minute epic title track Of Love Or Soul which closes the album. But elsewhere, it is more or less straight ahead modern rock with melodies playing a vital role. I still think they will appeal more to European fans over American fans, as the guys do have a certain European style and some strongly accented vocals that will appeal more to people within that region.
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| Rox Diamond Powerdrive | Rockjock Music 0553-60014-2 |
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