MelodicRock Classics is excited to unveil the last of 4 new reissue releases due out May 26.
Terry Carolan ‘Inbalance’ is the last piece of the puzzle and is the 3rd of the 4 titles coming that will be part of the 500 Series of titles – meaning one pressing, 500 units, then done. When it’s sold out its gone forever once again.
American singer/songwriter Terry Corolan made his start as a drummer in Florida in the 70s, before taking up guitar and songwriting and moving around the country in various bands before moving to Los Angeles with Just Boys in the late 70s before transforming to a new solo artist.
He started his solo career by recording two separate EPs, one titled ‘Inbalance’ (1988) and the other ‘River Of Promises’ (1989).
His career has been busy and full, but for his collaboration with MelodicRock Classics, Terry and the label have coupled those 2 classic melodic rock EPs, both freshly remastered by JK Northrup and with the addition of 4 special bonus tracks – the details of which we will announce shortly.
JK is still at work on these tunes, so today we will present the original audio, not yet remastered.
Designer Nello Del’Omo has crafted a new cover art using one of the original EP graphics.
May 26 will be a busy day for the MelodicRock Classics and fans of the genre, with circumstances bringing several projects all to fruition at the same time. So why not give fans the option to dive into 4 classic albums at the same time?
MelodicRock Classics is excited to unveil the next two of 4 releases due out May 26.
Tommy Marolda is a respected Grammy nominated songwriter, musician, record producer, engineer and music publisher who has appeared on more than 50 albums either as an artist, producer or composer. Power pop fans will know Tommy as the architect of two magnificent bands in The Toms (est. 1979) and more recently Horizontal Ladies Club (1995).
Working in the music business for more than 30 years, Tommy and his three bands, The Toms, Horizontal Ladies Club and Blue Toothpick, continue to record and release alternative and independent music. He has been nominated for a Grammy Award and has worked on gold and platinum albums with artists such as Cher, Bee Gees, The Killers, Imagine Dragons, Rod Stewart and Bon Jovi and the Vegas Golden Knights NHL team.
MelodicRock Records is thrilled to partner with Tommy for two projects, both of which will be released May 26.
Starting with the first ever CD release of the classic The Toms 1986 power pop album ‘Yawning For Pleasure’. It’s the most AOR flavoured release of The Toms catalogue and has never been on CD until now.
JK Northrup has overseen the remastering of the original master files, with the addition of four additional unreleased bonus tracks!
MelodicRock Classics will make The Toms album available as part of its new 500 Series of titles – meaning one pressing, 500 units, then done. When it’s sold out its gone forever once again.
Track Listing:
01. There Goes My Heart 4:04
02. One Man's Love 3:54
03. Hey! What's The Meaning Of Love 3:40
04. Winter White 3:16
05. Under The Eyes Of Love 3:55
06. The Object 3:36
07. L.A. Moonlight 3:41
08. The Physics Of Waiting (Guitar Solo by Richie Sambora) 3.52
Bonus Tracks:
09. Used Heart Lot 4.58
10. Are You A Man 3.31
11. Mixed Up Shook Up Girl 2.57
12. We’re In A Class of Our Own 4.01
Also coming out May 26 is the second Tommy Marolda project, this one being a real hidden gem for fans of early 80s AOR and pomp rock fans – the one and only album by USA band Level.
Level’s 1982 self-titled release is another of those lost classics, a real AOR obscurity that was only ever issued on LP and even that now fetches huge prices.
Tommy produced and engineered the album as well as co-writing one track. Here he has again provided the masters for JK Northrup to upgrade, adding the extra track not credited on the LP artwork and an exclusive previously unreleased bonus track.
Level featured the line-up of:
Frank Jerome - Lead Vocals
Bob Chevalier - Keyboards
Brian McIntyre - Bass
Mark Massiello - Drums
Geri Gates - Lead Guitar
Track Listing:
01. Living In My World 3:28
02. Tell Your Love To Last 4:13
03. Let Me Love You 4:22
04. Until Tomorrow 3:47
05. On My Own 3:03
06. You've Got Running On Your Mind 3:52
07. Permanent Scar 3:52
08. Be My Girl 3:31
09. Could You Believe In Love 3:07
Bonus Track:
10. You Know Where You’re Headed 3.38
Both remastered CDs will be released May 26, with The Toms limited to 500 units only.
LA Guns have the be the single most inconsistent band in rock n roll. The same outfit that delivered classics like their debut, Cocked & Loaded, Hollywood Vampires, Vicious Circle and Waking The Dead are also responsible for the turkeys American Hardcore, Shrinking Violet and the very average albums The Missing Piece, Hollywood Forever and The Devil You Know.
Now have another absolute turd on their hands.
When seeking to defend a particular sound or direction, I often hear words like raw, live, 70s infused, punky… I prefer a more direct approach – like unlistenable, demo quality and shite.
It’s not like all the songs suck, I’m really taken with the heavy ballad ‘Diamonds’ for example and there are some memorable hooks elsewhere. But it all just sound terrible. There’s some of the old school punky vibe of the debut and Vicious Circle in some tracks and some good ol’ LA Guns sleaze elsewhere, but the album is totally unlistenable. It sounds like an audience bootleg of a 1975 Sex Pistols show.
The mix is horrid, the drums sound like they were recorded in the same lavatory Tracii Guns recently played a gig from and the vocals are so hollow, its hard to imagine how they could be so badly recorded then mixed into the tracks.
Tracii Guns sounds like a guitar god on several tracks, he’s a class player; and Phil Lewis still has the voice, but hearing both at their best without risking permanent damage to your ear drums is just not worth it. This album cannot be played at loud volume. Or any volume really.
May 26 will be a busy day for the MelodicRock Classics and fans of the genre, with circumstances bringing several projects all to fruition at the same time. So why not give fans the option to dive into 4 classic albums at the same time?
MelodicRock Classics is excited to unveil the first of 4 releases due out May 26.
George Hills may not be a household name, but the Canadian melodic rocker delivered a great debut album back in 1991. Unlucky not to make bigger moves in the scene, the album was never released outside his native country and remains an obscure gem to this day.
MelodicRock Classics will make George Hills album ‘Dancing With A Stranger’ available as part of its new 500 Series of titles – meaning one pressing, 500 units, then done. When it’s sold out its gone forever once again.
Pre-orders will be available later this week, with priority given to those pre-orders before any wholesale orders are processed.
Check out the video released back in 1991 for the lead song and title track Dancing With A Stranger.
As per usual, JK Northrup has overseen the remastering of the album’s audio, with the addition of two previously unreleased bonus tracks.
Track Listing:
01. Dancing With A Stranger
02. It Doesn’t Have To Be That Way
03. Mystical Lady
04. Spare Me Your Love
05. Road To Your Door
06. How Will I Know
07. Soft Sweet Touch
08. Centre Stage
09. Leanne
10. Images
11. Soft Sweet Touch (Acoustic Bonus Track)
12. Queen Of Lies (Bonus Track)
About George Hills:
As a teenager, George found himself drawn primarily to artists considered part of the second British rock invasion of the 70’s: David Bowie, The Beatles, and Genesis were some of his biggest influences, and George acknowledges the influence such artists have had on his writing style.
George’s debut album, ‘Dancing With A Stranger’, was recorded piecemeal between 1987 and 1990.
What started out as a three-song demo recorded in a 24-track studio eventually shaped into a full- fledged album once George signed a record deal with local indie Tandem Records in 1989.
Contract in hand, George now had the backing he needed to complete his album, and in early 1991,Tandem produced a music video for the title track, Dancing With A Stranger to coincide with the album’s release later that year.
In the years that followed, George performed extensively on the local club circuit. He also toured much of Canada backing various artists and fronting a series of bands that included The Best of the British Invasions, a costumed tribute to ten of George’s favourite artists.
In 2002, George released a second CD titled, ‘What to Say that’s Not Been Said’. Stay tuned for George to re-release this infectious alternative rock CD.
By now anyone familiar with Revolution Saints would be aware of the lineup change – Blades and Aldrich out and Pilson and Hoekstra in. Despite that kind of major upheaval, there’s not much difference here. The Deen Castronovo fronted project’s fourth album is more or less exactly the same as the last three. Except the songwriting has grown stale.
The music is still produced and mainly written by Alessandro Del Vecchio again, so you can simply exact more of the same again here. And that’s exactly where the problem is. The songs. They are just a repeat of the material available on the first three albums – right down to style, lyrics and sound.
The songs in particular suffer from a lack of personality. I’ve heard all of this before. Not only the other Rev Saints albums, but on Hardline, Sunstorm, Skills and any number of other ADV penned projects for Frontiers.
While the performances within cannot be faulted – Deen sings with his usual melodic gusto; Jeff Pilson drives the rhythm and Joel Hoekstra shreds like the super-talented madman he is. There are some great solos here especially.
But the songs for the most part go nowhere. The first 3 tracks don’t interest me at all.
‘Kids Will Be Kids’ has a bit more bite and a more memorable hook before the album highlight of the ballad ‘I’ll Cry For You Tonight’ and the darker anthem ‘Crime Of The Century’ add some spark.
After that its back downhill to the usual fare and with it goes my interest in the album overall.
Its simply a superfluous addition to the Revolution Saints catalogue. No growth or development in their sound whatsoever. And the fact two albums were recorded at the same time and a third is planned…leaves one wondering at what point fans will vote with their feet and walk away from this project.
Founding member Chris Duval describes the band that became A is A as beginning as a dream. A dream that almost came true but fell apart despite having everything going for them and the necessary songs and talent to become a force in the music business. Sometimes you just need an extra piece of luck.
MelodicRock Classics has been working with the band over the past 6 months to put together the complete A is A picture, including tracks recently revamped by the band's founder, plus all studio recordings that reflect changing lineups and studio sessions and some historic original demos. Finally, there are four original tracks recorded when the band started out as Thunderhouse.
This deluxe 2-disc set will be released April 28 via MRC, remastered to perfection again by JK Northrup.
About A is A: After a decade performing in bands throughout western New York state, keyboardist/guitarist Chris Duval relocated to Boston in 1985. Boston's original music scene was thriving, and he was confident that in that environment, he'd be able to create his ideal band; a powerful, collaborative hard rock band focused on well-crafted, melodic songs, strong vocals and great musicianship.
Drummer Steve Shields was the first to join, eventually followed by guitarist/vocalist Dale Stephanos. Chris' brother Tom, a veteran of the Greenwich Village folk scene, relocated to Boston to join on bass and vocals. Completing the lineup was lead vocalist Mitch Jeffers, another transplant to Boston from Pennsylvania. The band began writing and performing as “Thunderhouse” in 1987.
In the spring of 1988, Thunderhouse recorded a self-produced, four song demo at Normandy Sound in Rhode Island. The demo received glowing reviews in the local music press and received local and regional airplay. The material the band began writing after this session started becoming more nuanced and mature. In late 1988, drummer Chuck Schuler was asked to join the band. Despite the risk of losing name recognition, the band decided to re-brand itself “A is A”, after their song of the same name.
With Chuck in place, the quality of the band's songwriting took another leap forward in depth and sophistication. They retired many of their Thunderhouse-era songs in favor of newer, stronger and more collaborative material. Those songs that survived the purge were reworked and revised. The much-improved A is A started performing in February of 1989.
Their second self-produced demo, recorded in April of 1989, was a major step forward from their previous work. These new songs were ambitious, intricate and sincere. Critical reaction was overwhelmingly positive, and “Barriers” was released on a compilation CD of new artists.
A home 8 track demo recording done in the fall of 1989 documented the band's continued growth as songwriters and performers. In late 1990, Chris engineered another two-song demo. The arrangements and performances are sparse, raw, and real. “The Nature Of His Love”, a metaphor for the band's struggle to succeed, received local radio airplay.
A is A had become a creative force, collaborating on ever more interesting and dynamic music, and new songs were being introduced at many of their shows. But despite their growing recognition, the meager pay at local clubs couldn't begin to cover the costs of rehearsal space, promotional material, transportation, equipment and recording time. A is A were living literally hand to mouth, fighting to juggle their day jobs in the face of the relentless financial and time demands of their frequent rehearsals and performances.
Quite suddenly, in early 1991, A is A collapsed under those pressures. Tom left the band, and while auditions were held to replace him, it became obvious that what A is A had become, a deeply integrated, collaborative musical entity, could not exist without the lineup it had. More succinctly, A could only be A.
Twenty years later, unable to get the music out of his mind, Chris tracked several of A is A's unrecorded songs in his home studio and began posting them for prosperity. These, along with “On The Bridge”, recorded by Tom in his home studio, and often used as a closer at A is A live shows, round out this collection.
To see the band recorded live in their heyday, check out this great live recording, which features songs included on “A is A: The Complete Recordings” https://www.youtube.com/watch?v=0LfZeMyg91M
Track Listing:
CD1: The Masters
01. Thin Ice
02. You Get What You Pay For
03. Outside Out
04. Highway
05. A Day Of Liquid Oxygen
06. Time Stands Still
07. The Mental Tune (Inst.)
08. The Box
09. The Nature Of His Love
10. On The Bridge
11. Miracle Plan
12. Get Serious
13. Barriers
CD2: The Demos
01. Thin Ice (Demo)
02. I Don't Need A Drink (Demo)
03. I Was Just Wondering (Demo)
04. I Have A Friend (Demo)
As Thunderhouse:
05. Into The Dark
06. Moth To A Flame
07. A is A
08. I Am Ready
09. I Am Ready (No Intro Edit)
Line up:
Tom Duval: Bass, Vocals, Acoustic Guitar
Dale Stephanos: Guitar, Vocals
Mitch Jeffers: Lead Vocals
Chris Duval: Keyboards, Guitar, Lead Vocals
Chuck Schuler: Drums
TIN MAN is the brain child of Dallas, Texas musician/singer/songwriter Cary Floyd (guitar, vocals).
Their sound is the pinnacle of high-tech melodic rock in the vein of Mr. Mister, Toto, 3rd Matinee and even The Police. Joining Cary on all tracks are Keith Carlock (Drums), Pete Drungle (keyboards) and LaDelle Farrell (Bass). Guest musicians across the recordings include Doyle Bramhall – Guitar (Eric Clapton, Sheryl Crow, Roger Waters, Arc Angels); Andy Timmons – Guitar (Danger Danger, Winger, Steve Vai, Joe Satriani, Olivia Newton John) and Tim Minor - Producer/Background vocals, Piano (Steve Perry, Paula Abdul, Al Green, Brian McKnight).
Making their debut with in indie release in 1993, Tin Man made waves in their native Texas and received a lot of local radio airplay. In 1994 the band took on board star producer Tim Minor, who re-recorded a couple of the band's debut album tracks as well as a host of new material to create the 1994 release, which was also self-titled. It is with this record that the new 'Anthology' kicks off.
As a bonus track, Disc 1 contains the previously unreleased last song recorded by Tin Man.
Disc 2 sees a remaster of the 1993 release, with the addition of 4 live tracks taken from a Dallas radio broadcast at the time. These songs have never been officially released until now.
Besides being the backbone of TIN MAN, musician/singer/songwriter Cary Floyd (guitar, vocals) produced the Great Wall of China Concert with Alicia Keys, Cyndi Lauper, Doyle Bramhall, Boyz II Men and the Live at the Alamo Concert with Gipsy Kings, Lyle Lovett, Los Lobos, Arc Angels and host Paul Rodriguez and is currently involved in the Film/TV business.
Pete Drungle has worked with Sean Lennon, Ornette Coleman; legendary drummer Keith Carlock has of course worked with many, including Steely Dan, John Mayer, Sting, Toto and James Taylor.
Original Danger Danger Guitarist Andy Timmons has also worked with Winger, Steve Vai, Joe Satriani and Olivia Newton John.
Producer and musician Tim Minor has worked with Steve Perry, Paula Abdul, Justin Bieber, Al Green, Brian McKnight amongst many others.
Other album credits include Mark Matejka (Guitar) Lynyrd Skynyrd, Charlie Daniels Band and Dave DeShazo (Bass) Bobby Kimball.
Mastering engineer JK Northrup has provided a fresh and bright remaster of all the material.
MelodicRock Classics is proud to team up with Tin Man to present their complete recordings on one double CD, which will be released April 28.
Surely this is the heaviest project I have heard Heatland/The Distance vocalist Chris Ousey front to date?
Some furious drumming from Saxon’s Nigel Glockler and the heaviest guitar work I’ve heard from FM’s Jim Kirkpatrick leads the sonic assault. Add in Bass supremo Billy Sheehan, who delivers his trademark sound and keys from former FM man Didge Digital and you get a truly accomplished lineup at work.
With the material all composed together by Chris Ousey and Jim Kirkpatrick, this is a true band project. The only way to have a natural mixing of minds and styles, is to have those involved write their own material and that’s exactly what you get here.
Fans of Ousey’s unique writing style will see the usual rewards come with repeated listens. He’s never been someone to make hooks and melodies obvious or over the top – instead he embeds them within the songs and choruses. And as usual, patience brings them all to the fore.
The opening ‘Dangerous Dawn’ and ‘The Devil He Don’t Care’ showcase the hard rocking approach, while ‘Can I Call It Home’ is a classic Ousey style heartfelt ballad.
The sheer pace of the album is almost unrelenting. It has that The Distance meets Mr. Big vibe, just with added punch.
This is nothing short of essential for fans of Ousey and FM – a glorious slice of high energy British melodic hard rock.
This is an extraordinary debut. Well vocal debut at least. Guitarist and YouTube star Martin Miller released a solo instrumental album a decade ago and has been working on this album in between posting his guitar tuition videos and inspired covers.
At 5 tracks, its more an EP, but at 39 minutes in length, it runs longer than many albums I have.
I was tipped off to this by Now & Then’s Mark Ashton, who dubbed the lead song ‘Something New’ as the love child of Dream Theater and Toto. And that’s exactly what it is. Clocking at over 8 minutes, the song has the moody percussion and keyboard feel of Toto’s Seventh Onemeets Falling In Between and the progressive chops and time changes Dream Theater built their career on.
A moody shorter second track reinforces the belief that this guy is a real talent. Tracks 3 and 4 leave the Toto influences behind somewhat and dive full on into Dream Theater territory.
The closing track runs over 10 minutes and brings back some of that Toto feel, while totally rocking out and switching tempo several times.
Imagine Toto’sFalling In Between with Joseph Williams singing or Dream Theater with more melodies. The Images And Words classic ‘Another Day’ keeps popping into my mind.
It’s really quite something. The CD is a very limited edition of 300 units, so grab now at: https://martinmillerstore.com
After the debacle of the House Of Lords’ infamous ‘Power And The Myth’ album, the last record to feature the main names from the band, it must have taken some luring to get Chuck Wright and Ken Mary back on board for this pseudo-HOL project.
As is the case with just about every project on the Frontiers label, it is another Alessandro Del Vecchio produced and co-written affair. I know there are many avoiding these projects now and some definitely need avoiding. But this is one of the better ones.
Yes, the production and large parts of the songwriting remain formulaic and very familiar, but the performances within certainly raise the bar here. Not to mention there’s some decent songs attached to this project.
A good part of what makes this album good is the work of Ken Mary. The added drum fills, the swagger around the songs and the precise percussion, especially with cymbal work is a pleasure to listen to.
The great Jimi Bell is also a major contributor. His rifftastic work doesn’t often get the credit it deserves and he’s the perfect fit here.
I wouldn’t call it a House Of Lords sounding project – despite the players and name – it remains another example of the label’s fondness for Euro-flavoured hard rock.
Vocalist James Robledo (Sinner's Blood) wouldn’t be my first choice for the kind of project. He reminds me of the ill-fitting Skills frontman Renan Zonta, except more likable. Again, it’s another Frontiers style quirk - that familiar raspy metal voice that they seem to gravitate towards. Guitarist Francesco Savino (False Memories) rounds out the band – House Of European’s is more accurate musical description. Robledo sounds best when he turns on the melody with his uncanny Jorn Lande impersonation at times.
Worth checking out of the description appeals.
And what is it with this ridiculous album credit that keeps popping up on the back covers of Frontiers releases - “A Project By Serafino Perugino”?
Talk about strocking one’s ego. Not even the legendary A&R man John Kalodner: John Kalodner inflicted that upon the artists he worked with.
