Review Archives

California Breed California Breed

Frontiers Records

FRCD646

· Produced By: Dave Cobb

· Running Time: 51

· Release Date: 2014

· Released: World

· Musical Style: Classic Rock

· Links: Frontiers

92%

As is the case with several Glenn Hughes fronted projects, this album might be a real handful to get into for some, but the rewards are great. Glenn Hughes moves on from Black Country Communion with pal Jason Bonham and new recruit Andrew Watt to create another groove orientated power trio. This project has more of a Hughes solo stamp on it than BCC did, with control issues between Glenn and Joe Bonamassa now a thing of the past.
And Glenn gets to indulge in his favorite pastime here – delivering groove and blues based classic hard rock with a strong 70s edge. Much of this album could have come straight out of 1978, whilst the rest relies on some contemporary production tricks and effects to make a blend of classic rock for the new millennium.
12 tracks and 51 minutes is probably a touch too long, the album might have been a bit tidier at 40-45 minutes max, but that's a small issue. The main issue is that this rocks! I'm a longtime fan of Hughes who thinks he is at his best when rocking out. To have a project that does that, but also includes his love of soul and blues is ideal.
And while I was sorry to see the demise of BCC, fans of that project will easily adapt to this band.
From the opening swagger of The Way and the more commercial groove of Sweet Tea, this is Hughes and Bonham at their best. And newcomer Watt gets on the map with his first outing.
The album features a lot of Led Zeppelin influences, Chemical Rain and the ballad All Falls Down most obvious.
Thankfully the guys keep the tempo up for a lot of the album, with rockers like The Grey flowing beautifully.
When they do slow down to that slow Zeppelinesque groove, such as Days They Come and the ultra-slow Invisible, they add in very likable chorus hooks to keep things moving.

The Bottom Line

Not an album for everyone, but for those it is aimed at, expect an almost unanimous praising of this release. You're either going to love it or hate it. Thankfully for me I love it – it delivers exactly what I expected from the continued collaboration of Hughes/Bonham and new guy Watt shows he will be around for a long while to come.

Neal Schon So U

Frontiers Records

FRCD634

· Produced By: Neal Schon

· Running Time:

· Release Date: 2014

· Released: World

· Musical Style: Blues/R&B/Rock

· Links: Frontiers

89%

Following on from Neal's instrumental release The Calling, and recorded at the same time, the next solo album So U is finally released, allowing guitar fanatics more inspired guitar playing to absorb.
So U is a different beast to The Calling – the most obvious difference being the presence of lead vocals throughout – but the style is also more diverse.
The album centers around the power trio of Neal with Deen Castronovo on drums/vocals and Marco Mendoza bass/vocals. Songwriting contributions come from all three along with Night Ranger's Jack Blades featuring on several tracks.
The majority of So U is heavy groove based R&B/Blues, with plenty of shred included, but not driving the album. This is more about the groovy, baby!

You've got songs ranging from 4 to 9 minutes and a mixture of influences, from the heavy groove n blues of Take A Ride, What You Want and On My Way; to the very cool Late Nite styled 9 minute epic So You and the free flowing fun Shelter – featuring everyone joining in on vocals.
I wouldn't like to suggest there are two tracks that over shadow the rest of the album, but for melodic fans, the thought of hearing the smooth Perry-like vocals of drummer Deen Castronovo is a definite highlight here.
Deen sings lead on the haunting Journey-esque ballad Love Finds A Way, a sultry song that glides along like an early Journey cut.
The other track is Serenity – an anthemic rocker that sounds like latter day Journey – something like the style of Arrival/Revelation.

The Bottom Line

A diverse collection of tracks held together by the power-trio performance of Schon, Castronovo and Mendoza. Well recorded and featuring a pretty loose and easy going vibe, the album has plenty of guitar to soak up and some pretty decent vocal performances too – with the impressive Castronovo standing out as a world class vocalist on two tracks Journey fans will devour.

Brother Firetribe Diamond In The Firepit

Spinefarm

· Produced By: Brother Firetribe

· Running Time: 47

· Release Date:

· Released: World

· Musical Style:

· Links:

95%

Brother Firetribe delivered one-two punch of melodic bliss with their first two albums, but really lost momentum by disappearing for 6 years! They return at last in 2014 armed with Diamond In The Firepit, picking up precisely where the last album Heart Full Of Fire left off.
This album is almost musically identical to HFOF with the small exception that it doesn't quite come in as strong as that album did. Let's face it – HFOF is one of the classic albums the melodic rock genre has delivered in the post-heyday era and still gets played regularly here.
So any follow up was always going to be extremely difficult. Add in a 6 year wait and a huge expectation – it makes for an impossible task to deliver. But – the guys really do come close and I still rate this better than the band's debut – which is also another pretty special release.
Brother Firetribe fans are going to adore this album. And a great deal many others too I expect.

Once you get past a pointless 21 second “intro”, the album explodes in melodic bliss with the energetic and amped up Love's Not Enough. Layers of classic 80s keyboards drenched in guitars and soaring vocals with a big chorus…what more could you ask for?
Perhaps something like Far Away From Love, which just like the second track on HFOF, delivers a majestic AOR anthem for all to adore. Wonderful stuff.
The lead single sounds like it came off the Top Gun soundtrack of 1986 - For Better Or For Worse is another classic cut that is going to remain in high rotation here for months to come.
Desperately is yet another winner, a mild mannered, mid-tempo ballad with another great hook and some very likeable moody vocals.
Edge Of Forever hasn't grown on me as I had hoped it would. I don't like the backing vocals or the intro much, but the verse and chorus (aside from the backing vox) are good.
Hanging by a Thread starts slow, but builds momentum and the chorus is another great slice of 1986 AOR without ever sounding dated.
The mid-tempo melodic rocker Trail of Tears couldn't be more 80s if it tried, but that's why we love this band. The guitars kick in and bring a tougher feel to the song and the chorus is another great track.
You can't go wrong with covering Sammy Hagar and the band does it with ease on the soundtrack classic Winner Takes It All.
Tired of Dreaming is another keyboard/guitar dueling uptempo track with a ton of harmony vocals throughout. Another great moody chorus leads the way, but with the downfall being that it was already released by The Magnificent a couple of years back (even if it was written by BFT).
Reality Bites is a classic uptempo rocker with anthemic qualities and a pretty straight up, catchy chorus.
Close To the Bone is the closer and rather than be a ballad like many have chosen in recent years, the song ends the album with one of the heavier, moodier tracks of the whole album. Mid-tempo, but intense.

The Bottom Line

All in all, it's another great album from the Finland based AOR Gods. But it's not quite as legendary as Heart Full Of Fire, both with the production not being as tight as the last album and perhaps a couple of songs don't quite match the brilliance of the past, but the reality is that this is another classic slide of pure melodic bliss and will put that band back at the top alongside Eclipse, H.E.A.T and Work of Art.

Seven 7

Escape Music

· Produced By: Lars Chriss

· Running Time: 40

· Release Date: June 20

· Released:

· Musical Style: Melodic Rock

· Links: Escape Music

95%

Seven is a South African/British AOR group that was working with John Parr back in the early 90s and released a few well received singles, but an album was never completed before the band was unfortunately dropped from their label deal.
The songs remaining unfinished and unreleased for 15 or so years until a little internet resurgence had Escape Music jumping on board and convincing the guys to let them help re-record the whole lot to bring them a new lease on life.
And a new lease on life it has! This is a fabulous album from start to finish with some cracking 80s inspired melodic rock tunes, with a big fat production effort bringing the tunes into the new century, giving fans a great taste of the glory days, with a fresh and exciting production sound.
Producer and guest guitarist Lars Chriss has done a stellar job here. This is a fresh and engaging set of songs.

There aren't many better songs in 2014 than the ripping opener Shoot To Kill, which sounds like Places of Power/Foreigner in its approach and vocal style.
The punchy Inside Love is equally as good – the new production giving these songs a heavier slant than what was originally intended.
And it just keeps on delivering. Still, Headlines and Strangers all brilliant melodic rock with an equal dose of guitar and keyboards. And Mick Devine's lead vocals really are ear candy.
The slow and stripped back ballad Diana gives him another chance to shine.
But it's the latter part of the album that just gets better and better. America is a moody melodic rocker; Thru The Night a punchier anthem; and Never Too Late is just perfect melodic rock – in its fast flowing beat and urgent chorus.
One of the best tracks is saved for the end - Don't Break My Heart is like classic 80s Heart mixed with Foreigner and delivers a brilliant, powerful chorus.
Say Goodbye is yet another quality melodic rocker to finish on a high.

The Bottom Line

A beautifully produced and mixed album here – mixing the best of old school style and melody with a current and contemporary production, benefitting the classy songs written all that while ago. Guests such as Mark Mangold, Adam Wakeman and Fredrik Bergh all on keyboards give you an idea of the style. Absolutely essential for fans of Foreigner, Places of Power and Street Talk.

Diesel Into The Fire

Escape Music

· Produced By: Jim Kirkpatrick & Robert Hart

· Running Time: 48

· Release Date: 2014

· Released:

· Musical Style: Classic Rock

· Links: Escape

89%

I've seen some very enthusiastic reviews for this album around and can concur with most aspects of those, but at the same time, have a couple of points to add. To summarize, Diesel is a new comeback vehicle for vocalist Robert Hart (solo, Bad Company) and FM guitarist Jim Kirkpatrick. Drummer Jimmy Copley is the perfect addition, having played with Paul Rodgers and Manfred Man, giving this album another classic rock credential.
The album starts off very strong with Love Under Cover, the obligatory 'fired up' opener and Into The Fire sees Hart in good voice and the chorus works.
Starting Over is an earthier mid-tempo track that has backing vocalist Steve Overland all over it.
The plodding Fortune Favours The Brave has Steve Overland once again all over the bridge and chorus, more prominent than Robert Hart at times. I begin to feel as if this is more FM/Overland than Robert Hart.
Brand New Day is a very Bad Company sounding classic rock track and puts Hart's vocals back squarely in front.
Bitter & Twisted does sound like a turbo boosted FM track though!
So What Is Love is one of the more melodic tracks on the album, but perhaps shows Hart struggling with that wonderfully smooth vocal tone he used to carry with ease.
But the following three tracks really drag for me and give the second half of the album a strong disadvantage over the first half.
For whatever reason, the album closes with a track that shines above all others. Coming Home is a great melodic mid-tempo number with a sentimental heart. It should have been moved way up in the sequence.

The Bottom Line

The album's earthy, classic rock style might have some fans holding back from purchase, but I imagine there are enough Robert Hart and FM fans around to make the album a success. There's certainly plenty to hear from Hart's Bad Company days and Jim Kirkpatrick's influence over the material with Steve Overland's big backing vocals will please FM fans. I don't think Hart sounds nearly as good as he used to, but this still works and I must say that the production on this album is absolutely top shelf. It's a crisp and clear sounding record with a beautifully balanced mix. So for the most part, we have a strong classic rock themed rock album with a bluesy edge and a good uptempo flow.

Timo Tolkki's Avalon Angels Of The Apocalypse

Frontiers Records

FRCD645

· Produced By: Timo Tolkki

· Running Time: 50

· Release Date: 2014

· Released: World

· Musical Style: Symphonic Metal

· Links: Frontiers

55%

I realize that Timo Tolkki's reputation was built on the back of some much admired work in Straovarius, but his comeback vehicle – the debut Avalon release in 2012 wasn't something that matched the excellence of his past.
So it was with interest I awaited the next chapter in Avalon, boasting an even more impressive lineup including vocalists Floor Jansen, Simone Simons, Fabio Lione, David DeFeis, Zachary Stevens, Elize Ryd, Caterina Nix.
Some big names there for those that follow symphonic metal.
I'm sorry to say that Angels Of The Apocalypse, the second Avalon rock opera, is equally as unimpressive as the debut. Perhaps even worse.
It didn't take much to pinpoint why. I just don't think the songs cut it. Yes, they are big, bombastic and everything musically that a rock opera should be – but without ever capturing the attention of this listener.
I just don't rate these songs and to be honest, I'm not convinced by some of the vocal performances either.
The vocals on Rise Of The 4th Reich are simply painful to listen to. A terrible one line chorus doesn't make it any easier to like. But sadly that song isn't alone. I've tried to live with this, but the more I hear, the less I like it.

The Bottom Line

The album just feels like it is all over the place and there really aren't any major hooks to draw you back in for more. Timo needs to re-think what he is trying to deliver and who he is working with if he's to get back to the best of what he's capable of. This is just a little too self-indulgent for my liking.

Mother Road Drive

AOR Heaven

· Produced By: Chris Lyne

· Running Time: 51

· Release Date: 2014

· Released:

· Musical Style: Blues/Classic Rock

· Links: AOR Heaven

84%

How many people are going to hear the name Keith Slack and wet themselves at the prospect of another Steelhouse Lane soundalike project? Yes, the powerhouse melodic rock vocalist is front and center here, but this is anything but a melodic rock project. And that's not a bd thing – you will just have to decide if this style is for you.
And Keith does sound great of course – impossible for him not to – but Mother Road is a heavy blues driven classic 70s rock band, not an AOR/melodic band.
Soul Doctor guitarist Chris Lyne brings his bluesy edge to Keith's Texas based love of authentic old-school rhythm and blues based music, with an organ/blues guitar drenched ZZ Top meets Led Zeppelin-esque sound driving the bulk of this album's material.
In all honesty, this is a very good record for what it is. It's pretty heavy, authentic, honest, classic 70s rock. The mind of thing Bad Company does with Paul Rodgers or early Whitesnake, with Keith doing some pretty decent 70s Coverdale here too.
So immediately the band paints themselves into a narrow corridor of musical taste, which will rely on the listener being a fan of.
If you are – this album is a treat. But if you are looking for straight ahead melodic rock, you won't find it here.

The Bottom Line

The album plods along a bit, which these blues based albums tend to do and that's my biggest turn off to be honest. I'm not a fan of slow to mid-tempo blues driven romps. But for the most part this is an enjoyable slice of classic rock and delivers exactly what the guys set out to achieve. The production is a little base heavy and muddy in places, but it's all above the vibe and if 1970s blues rock is your thing, this is a very authentic record.

Dynazty Renatus

Spinefarm

· Produced By: Dynazty

· Running Time: 45

· Release Date: 2014

· Released: World

· Musical Style: Melodic Metal

· Links: www.dynazty.com

96%

If you are like me and believe that Masterplan has been treading water (or sinking) since their glorious debut and sophomore releases, then without hesitation, rush out and grab this new album from Swedish hard rockers Dynazty.
The guys have reworked their sound from sleazy melodic hard rock, to full on, double barrel, take no prisoners melodic metal, with all the style, flair and energy that Masterplan once had.
This is one hell of a powerful ride and the guys have really nailed their desire to go heavier, but without losing what made them a great melodic act in the first place.
The kick drums are furious, the shredding over the top and the vocals are in your face.
What's especially enjoyable about this release is the brain-crushing production mixed with some really strong songs that truly destroy the speakers, while maintaining a melodic heart at all costs.

Cross The Line is a brilliant opener with a defining chorus hook; Starlight is as furious as anything Masterplan won praise for delivering; Dawn Of Your Creation has a killer chorus and it just keeps coming.
There simply isn't a weak track here and each song has its own flair, giving the listener one treat after another.
And when one of the album's standout anthems comes as late as the second last track (the epic 7 minute Salvation is just stunning), then you just know the band has delivered a classic for the ages.

The Bottom Line

It's heavy, it's intense, but it's so melodic and the very commercial and likable vocals are a treat for the ears. The band has made a conscious decision to go heavy and have nailed it. If you liked Masterplan, Eclipse's Bleed & Scream or the latest Eden's Curse, then run out and check this out STAT. One of my favourite really heavy albums in recent times.

Sunstrike Rock Your World

AOR Heaven

· Produced By: SunStrike / Mixed: Erik Martensson

· Running Time: 48

· Release Date: 2014

· Released:

· Musical Style: Melodic Rock

· Links: AOR Heaven

94%

This album came out of nowhere. Yet another classy Swedish melodic rock act – this band was formed by guitarist Joachim Nordlund and the drummer Johan Lindstedt together with singer Christian Hedgren (Twilight Force, The Theander Expression).
Mixing the best elements of Bon Jovi, Reckless Love, Brother Firetribe and H.E.A.T, Sweden's Sunstrike make what could be the best debut of 2014 here.
This album is everything that fans of BFT and H.E.A.T have been raving about over the last few years – high energy, anthemic melodic hard rock, with soaring vocals, big choruses and a nod to the sounds of the 80s, whilst being delivered in a strong contemporary production.

Power of the Dreams is a high-octane opener, it's Rock Your World that makes you sit up and take note. The song might be lyrically clichéd, but man, does it…er…rock! Killer chorus and some outstanding lower and higher register vocals. There really aren't any gaps in the quality of Sunstrike's debut. Track for track it delivers, but the highlights for me include the Reckless Love styled pop/anthem Right Track; the harder edged H.E.A.T-like Roll The Dice; the AOR of Never Let You Go and the Brother Firetribe keyboard heavy Into The Light; plus there's the classic closing track Heat Of The Night which sounds straight out of 1984.

The Bottom Line

Anyone that's spent the last few years soaking up Brother Firetribe, H.EA.T, Work Of Art, Reckless Love and the likes of those guys need to add Sunstrike to their must buy list. It's a standout debut from Sweden yet again, proving that Scandinavia is the hot bed of melodic rock for the new millennium. Well produced, well written and beautifully sung. Great stuff.

Alien Eternity

AOR Heaven

· Produced By: Alien

· Running Time:

· Release Date: 2014

· Released:

· Musical Style: AOR

· Links: AOR Heaven

92%

Any Jim Jidhead record is a good record and to have the original Alien back together lifts expectations higher than normal.
Thankfully the Swedish AOR Gods deliver – big time. This album sees direct comparison to their hailed classic self-titled debut. They really seem to have recaptured the magic fans hoped for.
Pure Scandi-AOR, delivered with a strong production and layers of vocals over guitars and keyboards galore….it just doesn't get better for the pink and fluffy brigade.
This is old-school AOR – mid-80s styled, with a good mix and some very catchy songs. Jim Jidhed sounds great, as does the rest of the band in their respective roles.

This is a very consistent album with enough differences between the songs to make things interesting. The tempo is largely up, aside from a couple of big ballads – I Believe and the stark In Truth are both excellent. The mid-tempo ballad I'm A Fighter also appeals.
Elsewhere around the album, highlights include the terrific opening In Love We Trust; the fast moving Unbroken; the classic AOR of Love Will Lead Me Home and the warmth of Summer Of Love plus the feel good Liar Liar.
The only song that doesn't really strike a chord with me is the jangly keyboard driven What Goes Up, whose chorus and keyboard fill are both kinda of annoying.

The Bottom Line

Strike another one up for the Swedes. Surely it can't keep coming without end in sight? Well, regardless of that, let's enjoy these releases while we can. Quality like this helps fans of the glory days of the 80s continue without any need to move into the now. Welcome back Alien – nice to have you around again.

H.E.A.T Tearing Down The Walls

Gain/Sony

· Produced By: Tobias Lindell

· Running Time:

· Release Date: 2014

· Released:

· Musical Style: Melodic Hard Rock

· Links: H.E.A.T

100%

Swedish melodic rock heroes H.E.A.T return with an album that evens the ledger as far as the fan base goes. It's now 2 albums with the original vocalist Kenny Leckremo and this makes two with new recruit Erik Gronwall.
The band's debut was utterly sensational and put the band on the map instantly. Freedom Rock let the foot off the pedal a little I felt, but with Erik's addition to the band, Address The Nation in 2012 well and truly put the band back into high gear, even if the direction changed ever so slightly.
So on the back of 2 years of touring, the guys return tighter than ever (minus second guitarist Dave Dalone). Dave's departure hasn't affected the band at all – strangely, the use of the one guitarist and song choices here have toughened up the band's sound.
Tearing Down The Walls sees the band continue the winning formula of Address The Nation, albeit with a slightly heavier approach on the songs and a more straight ahead, take no prisoners attitude.
Let's no beat around the bush here - this is a monster album. It is the sort of album that comes around only once every year or two that firmly stamps it's authority on the rock scene and through its brilliance, defines just why we are all fans of this music and of tis band in particular.
If they could bottle up the energy on this record, it could power a small nation of metal heads for a decade.

Point Of No Return is everything you could wish an opening track to be. It builds, it explodes, it delivers a knockout chorus, and it delivers all the guitars and big harmonies you would die for.
I didn't expect the style of A Shot At Redemption at all. It snuck up on me and is something fresh and original for the band. But as with everything H.E.A.T – it latches on and doesn't let go. Ever!
Inferno is simply a monster, barnstorming rocker with a screw you attitude, a few edgy lyrics and a head pounding beat.
The Wreckoning is a short intro into the big anthem ballad for the album. Not too often does a title track lend itself to being a big chart topping, hands in the air ballad, but Tearing Down The Walls is just that. And what a soaring chorus it is!
Too much has already been made of the similarities between the track Mannequin Show and that of a chart topping bimbo and to those comparisons I say, screw it! This is a deliciously quirky melodic rocker with another great chorus that really digs in. It grooves, it rocks and it's as catchy as hell.
We Will Never Die is one of the album's more straight forward tracks – but that said – the mid-tempo rocker still contains all the energy of the other songs and delivers another great chorus.
Another classic comes immediately with the driving, fast beat of the 'urgent' track Emergency. It rocks and it rolls and the chorus goes right over the top, with harmonies and guitars to the rafters.
All The Nights is the album's quietest moment. The classy and emotional, sentimental piano ballad is a great change in pace and beautifully produced.
Eye For An Eye has to be one of the standout hard rockers of recent years. This hard hitting, powerful rock track is another classic on an album of classics and one I still look forward to hearing even after 100 spins of this album. Another killer chorus.
Enemy In Me lifts the intensity just slightly, but not the pace. Fast and furious and full on. Another great hard rock track with immaculate production.
Laughing At Tomorrow is yet another highlight and yet another H.E.A.T classic for me. As if all the other tracks aren't anyway…but there's something special about this one especially. The mellower verse that leads to the big harmony filled chorus is a lesson in great songwriting for most. After the rollicking ride that this album delivers, it's simply a perfect way to close out proceedings.

The Bottom Line

The production on this album is simply breathtaking as is the mix – it's just so easy on the ears, no matter what volume it's played at – the majority of occasions obviously being ear splittingly loud.
H.E.A.T deserve to be where they are – which is on an upward trajectory – but they deserve to be worldwide sensations, not just European or Swedish stars. This album, coupled with their growing legacy as a killer live act, will hopefully prove to be another step towards world domination.
Based on how long I listened to Address The Nation after its release and how fresh this sounds each time I put it on, I have no hesitation in delivering the first 100 score at MelodicRock.com in 2 years!

Winger Better Days Comin'

Frontiers Records

· Produced By: Kip Winger

· Running Time: 50

· Release Date: April 18

· Released: World

· Musical Style: Melodic Hard Rock

· Links: Frontiers

94%

It still baffles me why the credibility challenged MTV decided to use Winger as the genre's whipping boy back in the 90s. The collective musical talent of these 4 guys was and remains beyond the grasp of 99% of the bands elevated to hero status during the 90s on that network. And as if to prove the point, Winger remain actively kicking ass in their 26th year.
Better Days Comin' is the new album, the band's 6th studio album and one that fits snuggly between the darker vibe of IV and the looser, old-school sounding Karma record.
In fact, Better Days Comin' almost sounds like a greatest hits album for the band.
Of the 11 tracks on the special edition, there's something touching each facet of the band's styles over the years. It is a compelling record that boasts musical intelligence, awareness of what the fans want and a touch of adventure.
Within the record you get the best of early Winger - the hard rocking party boys that seemed a step ahead of the pack musically - with the anthemic driving trio of ass-whipping tunes Midnight Driver Of A Love Machine, Queen Babylon and Rat Race (possibly the most furious Winger tune yet). Better Days Comin' is something new and fresh with its quirky chorus and breezy pace.
Winger IV gets a nod with the dark, progressive and technical rocker Tin Soldier and Ever Wonder reminds me of the mature and atmospheric ballads from Karma.
So Long China has a hard edged verse, yet a breezy melodic chorus – the contradiction of the two aspects and the layered instrumentation making the song a highlight.
Latter day Winger gets another nod with the distorted, effects heavy modern rocker Storm In Me which contrasts starkly with the orchestral influenced moody ballad Be Who You Are, Now.
The bonus track Another Beautiful Day is another dirty modern rocker which leads into the also dark, but optimistic Out Of This World – a soaring ballad that oozes class and instant appeal.

The Bottom Line

Another cracking Winger album. I'm probably favoring Karma narrowly ahead of this, but either way it's all class. It's a musically diverse album that if done by any other band probably wouldn't work. You need something special for the style changes between songs to work and that special something is Winger.

Three Lions Three Lions

Frontiers Records

· Produced By: Alessandro Del Vecchio

· Running Time: 57

· Release Date: April 18

· Released: World

· Musical Style: Melodic Rock

· Links: Frontiers

89%

It's a career full-circle for guitarist Vinny Burns who returns to the melodic rock of his early days in Ten, as Three Lions makes their debut album available. Formed by Burns with fellow Ten alumni Greg Morgan and newcomer bassist/vocalist Nigel Bailey, the trio is set to make a mark.
Produced and assisted musically by Alessandro Del Vecchio, the album has a tight, crisp feel that is simply British melodic rock through and through. Vocalist Bailey is similar to Ten's Gary Hughes in that he doesn't have a big vocal range, but has a warm, likable tone that suits the style and the delivery here.
It's great to hear Vinny wailing again and the trio plays as if they have been a band unit for several years already. At 13 tracks and nearly an hour in length, it's a very long album that could have used a little editing, with a 2 or 3 fillers in play, but there's some superb melodic rock on offer too.
Highlights for the album are the obvious opener Trouble In A Red Dress; the organ driven anthem Just A Man; and the uptempo AOR of Holy Water.
There is also a few classy ballads - Winter Sun is a great starter and Two Hearts Beat As One is classic British AOR; Don't Let Me Fall and Made For One Another are also very good – the only downfall is the tracks come in a mid-album pace vacuum.
Magdalene finally picks up the tempo again and delivers another strong melodic rock tune. And Hellfire Highway is a fast rocker that could have been used a few tracks earlier.
Sicilian Kiss is a guitar instrumental to close the album with Vinny in full flight.
I'm not that sold on the fast moving Twisted Soul and Kathmandu is one too many mid-tempo tracks and I think the second half of the album suffers from too many slower paced songs.

The Bottom Line

The style mixes that of early Ten and perhaps a more 70s sounding British rock approach. The album sounds great and has a nice sound of its own. I do think that the tempo – especially mid to late album – drags a little and it could have used a couple of more tracks like the best track of the album, the opening Trouble In A Red Dress in place of a few fillers. A very good start to a new chapter for the lads and I expect bigger and even better things from album number 2 in due course.

Sebastian Bach Give Em Hell

Frontiers Records

· Produced By: Bob Marlette

· Running Time: 49

· Release Date: April 18

· Released: World

· Musical Style: Modern Metal

· Links: Frontiers

86%

It seems the older Sebastian gets, the higher his vocals go. On Give Em Hell he hits a few new record highs that dogs will appreciate, not only with the screams. It's an interesting album this – producer Bob Marlette collaborates even more so, credited within for writing music and “melody” on many tracks, while also playing bass.
Guests seem to make up the majority of the album – Duff McKagan plays bass on several tracks and even guitars on another; Steve Stevens plays on a few others and gets writing credits on those songs – not that I could really pick his usual tone out here – most of the album is down tuned, modernized metal.
Sebastian writes all lyrics and “melody” and attributes “music” to others. Make of that what you will, to me it says this is a collaborative effort, spread across several different people. This is a typically dark, heavy and modern record that is seriously heavy for the most part and continues where Sebastian left off with his last album.
If that appealed to you – then this is probably more consistent again and certainly benefits from a big Marlette production.
But overall, I'm just not a big fan of this style of modern metal albums. I much prefer Sebastian in Skid Row, although we all know that ship sailed long ago. Since then he really hasn't used the same vocal approach and I miss it. He's a monster vocalist.

The Bottom Line

This remains a very good album for what it is, but I've really struggled to maintain interest while playing back for review and I probably won't go back to it after this. But - the score reflects the quality of the album s always, my tastes aside. So those that know my taste, for better or worse, could use these comments as a gauge of how it will appeal to you.
Those that loved Kicking And Screaming will have no problem jumping right into this and lapping up "modern" Seb in all his screaming glory.

Dream Theater – Dream Theater – Roadrunner – Dream Theater's cracking new (from 2013 at least) self-titled album really is a return to songs playing the most prominent role in the album. I really can't stand the needless prog-wank that takes up most 10 minute plus songs, yet even the 22 minute epic Illumination Theory on here is constructed from melodies that last the distance. It's quite an exquisite piece of music. And when the guys hammer out some metal, there's a definite structure in place, more so than in recent albums I feel. Above all – this album features great songs and some beautiful melodies, especially with Enemy Inside, The Looking Glass and Bigger Picture.
I love Rush and I feel as if this is as close to Rush as the band has come before. Right up there with Images And Words and Falling Into Infinity for me.

94%

I Love Rich – Respct The Rich – Indie – Albums like these don't deserve to be reviewed. Anything that uses song titles like (You're So Hot) I'm Going To Fuck You With The Lights On and If You Don't Take Your Clothes Off, Tonight's Gonna Suck really don't deserved to be manufactured. These CDs will instead take up space at the local landfill while they disintegrate under the weight of bird shit dropped upon them. But I review this to warn anyone silly enough to be so drunk to make such a purchase seem appealing. It's not. And it also serves to demonstrate that amongst all the very fine records on the market currently, that there always remains the danger of amateurish turds like this floating past.

3%

Houston – II – Cargo Records – No idea why this has been left on my shelf for so long, but it's not due to quality. It is another fine album from the Swedish AOR outfit. As pink and fluffy as a pretty kitten and as keyboard friendly as a Gregg Giuffria solo album. I think the debut still stands out above this, but Scandi AOR doesn't get much better than this. Ricky Delin's production and keyboard parts hold the record in fine standing and Hank Erix is a very likable lead vocalist. And best thing – no shitty programmed drums – thanks to the beats of Freddie Allen. Fans of pure 80s keyboard fluff-n-AOR need this.

88%

John Elefante – On My Way To The Sun – Indie – John is obviously a huge talent, so it's no surprise to find this openly Christian melodic rock album a joy to listen to – both through the positive message delivered and the absolutely brilliant American melodic rock within. Well overdue for a review, I hope these few words will encourage some new listeners to engage in this album. From the Kansas influenced opening 10 minute epic of This Is How The Story Goes (with violinist David Ragsdale guesting), to the anthemic melodic rock glory of On My Way To The Sun, Half The Way Home and The Awakening; to the real life inspired storytelling of This Time; it's all quality and John's voice really is something special. This is a different beast compared to the Mastodon band project, but still very engaging.

92%

Reckless Love – Spirit – Finland's Reckless Love have a devoted fanbase to rival Sweden's H.E.A.T. Sound wise they are a little closer to Wig Wam or Poison; aligned more to the glam side of the spectrum. Spirit is their third studio album and best to date. It's packed with high energy, feel good glam tinged hard rock, with almost as many chorus hooks as there are guitar solos. I don't think the band has the serious edge of some other players and they really do themselves no favors with stupid tracks like I Love Heavy Metal and Metal Ass. Those songs almost derailed my enjoyment of this album. Take those out and you have some brilliant anthem filled hard rockers with a nod towards Def Leppard in the production category. This is a feel good release not to be taken too seriously, but rather cranked as loud as it can go…when the mood suits of course.

90%

Swedish Hitz Goes Metal Vol. 2 – AIS – Volume 2??? Seriously?? Sorry folks, if you were silly enough to buy Volume 1 – then you deserve this equally insipid metallized collection of Abba covers. Oh, and 3 or 4 other Swedish artists that no one has ever heard of. This isn't metallized in the cool sense of the word; rather it's blown out to be stupendously pompous with neo-classical flair and screaming vocals. Really bad, flat, passionless vocals. Here's a better suggestion – track down Black Sweden, which is at the other end of the class scale to this nonsense.

10%

L.R.S. Down To The Core

Frontiers Records

· Produced By: Alessandro Del Vecchio

· Running Time: 55

· Release Date: 2014

· Released: World

· Musical Style: AOR

· Links: Frontiers

94%

This is one of the smoothest records I have heard in a long time. It's a very fine slice of mature, well-written and executed traditional AOR, featuring some of the finest people the genre has to offer. First it's a huge pleasure to hear the ear candy vocals of Tommy La Verdi back in the melodic game finally – it's been way too long for a guy with a voice born for this.
And Josh Ramos – one guitarist with an absolute natural affinity for this style of music – has also been underutilized in recent years. Drummer Mike Shotton is an inspired choice to drive the band's sound and his playing style gives the album a thumping beat and slightly progressive twist in several tunes.
The architect of the album is Alessandro Del Vecchio – layering the songs with keyboards as well as writing the bulk of the album's material (Shotton delivers two tracks on his own and Tommy co-writes on a few) – and delivering a stellar production of world class standard.
I was initially surprised at the pace of the album overall – it's a very ballad heavy selection of songs and quite mellow over what I expected. But the more I listened, the more the class of the songs took over and pace/style wasn't an issue.
In fact, looking back, quite a few of my favourite albums over the years have been very mellow and I'm now adding this one to the list. When the mood calls for it, some glossy, traditional AOR with perfect vocals and a laid back vibe is just what is called for.
Think Dare Out Of The Silence, Von Groove Test Of Faith, Magnum Sleepwalking – all very fine, albeit laid back, classy records.

What LRS deliver is a group of songs that everyone reading this is going to feel familiar with. There's the anthemic Journey styled feel good tracks such as the opening Our Love To Stay (which is equal to the tracks that opened the last two Journey albums), Never Surrender and Waiting For Love; then there are the slow wistful polished AOR of I Can Take You There, Almost Over You and the super smooth and ultra-classy Universal Cry; there is a couple of more upbeat and progressive AOR numbers in the brilliant Livin' 4 A Dream and the heavier Down To The Core.
Rounding out the record is the massive power ballads To Be Your Man and Not One Way To Give.
All throughout we get dramatic backing vocals, plenty of guitar fills and some tasteful solo and always those brilliant La Verdi vocals.

The Bottom Line

I would class Down To The Core as a very safe album and one that very much stays true to the traditional definition of the genre it represents. But it is also one of the better examples of such, so I have no trouble embracing this. Yes, it could have been a little more adventurous, but what it delivers is super slick, super classy AOR and those vocals are just perfect!

Asia Gravitas

Frontiers Records

· Produced By: Geoff Downes & John Wetton

· Running Time: 47

· Release Date: 2014

· Released: World

· Musical Style: Classic Rock

· Links: Frontiers

70%

Asia delivers another new album in pretty quick time following their acclaimed XXX album in 2012. Gone is guitarist Steve Howe and in his place is young gun Sam Coulson.
The band has stuck to its mantra of slick, polished AOR, staying true to their original early 80s style.
Unfortunately the band seems to have slipped back into the slow to mid-tempo slumber that has been an issue in recent albums. The brief sojourn into a more uptempo realm on XXX is once again abandoned in favor of a moped in first gear here.
The production of course is super smooth and multi-layered, but the songs….dull I'm afraid.
Kicking off with what is possible the most annoying chorus in at least a decade, Valkyrie has a nice laid back verse reminiscent of the band's debut album, but that chorus makes you want to stick cacti in your ear.
Then comes 8 minute title track, where there's no sign of life until near the 3 minute mark. Followed of course by an ultra-slow ballad, a painfully slow song followed by the mid-tempo quirk of Nyctophobia which is kind of annoying also.
Russian Dolls is then another slow song before Heaven Help Me Now finally hits second gear.
That's followed by the album's best track – the slightly anthemic (in a mellow way) I Would Die For You.
That's followed by the horribly slow and dull Joe Di Maggio's Glove and the slightly more dramatic Till We Meet Again to close the album.

The Bottom Line

This is a really painfully slow album to get through. I spoke of the occasional joys of a nice mellow album, but in this case, the songs are simply frightfully dull and lacking any enthusiasm by those performing them. The production and style of the album is as close to classic 80s Asia as you could imagine, but it's wasted on some tepid pacing and dull songs.

Gotthard Bang!

G Records

· Produced By: Gotthard

· Running Time: 63

· Release Date: 2014

· Released:

· Musical Style: Melodic Hard Rock

· Links: Gotthard

90%

Gotthard overcame the tragic death of charismatic frontman Steve Lee by taking a couple of years off and recruiting Aussie import Nic Maeder as their new singer. Nic's job was an unenvious one, but he's handled it will class and style.
The band was at the top of their game when Steve died and their comeback album Firebirth carried massive expectations. It was however was pretty average to these ears and only featured a few really strong tunes. Some disagreed of course and loved the rawer, under produced style, but the overall fan reaction was tepid. The songs just weren't there.

Bang! is a much better Gotthard album in all respects. The production is much better – crisper and smoother and more commercial than Firebirth. This is a more traditional sounding Gotthard album and picks up where Steve Lee left off. The band could still use a little help on the choruses – but the songs here are far stronger than the last album – even if there are still maybe 2 or 3 fillers.

Bang! is a strong rocker to open the album. Initially I thought the chorus was simply daft, but as simple (and silly) as it is, it's catchy and has grown on me quite nicely over the weeks.
Get Up 'n' Move picks up the tempo even further. It's a frantic, organ drenched rocker with a hard edge riff and a thumping beat. I like it.
Feel What I Feel is another cracking Gotthard tune – an instant classic I think – with a memorable, commercial friendly, feel good chorus that you just can't help but sing along to.
I guess it is time for a ballad and C'est La Vie is just that. An acoustic driven piece, with a nice pleasant feel about it and a soft, raspy vocal from Nic. It has a very “French provincial” feel. It is a bit of a pace killer though, I might have waited another track or two to drop this in.
Jump the Gun is a groove heavy hard rocker with a darker tone. The chorus isn't a stand out, but the groove is what drives the track – that and the heavy guitar and strong vocals. Some nice organ in there too.
Spread Your Wings has a classic Deep Purple 70s rock vibe to it. Drenched in organ, the song has a definite style of its own, but it's a filler to these ears.
I Won't Look Down is another 70s influenced track, this time it has a Led Zeppelin feel to it. Sadly another filler as far as I'm concerned. It simply doesn't go anywhere.
My Belief is a much better track. A moody track again, but a more free flowing song and one that carries with it the feel of classic Gotthard. And while the chorus isn't massive, it does stand on its own, mainly due to the comforting familiarity in the style.
Time to break the tempo a little and the next ballad Maybe is a duet with unknown American Melody Tibbits, who has a very pleasant voice. Good song, if not a little strange to hear a female lead on a Gotthard record!
Red On a Sleeve is a fierce, hard rocking song with maximum impact. The tough exterior and a good fit for this part of the album, but not the best chorus ever.
What You is less intense as its predecessor, but rocks just as hard. I like this track a lot. Good chorus too.
Mr. Ticket Man is another uptempo rocker with an ok chorus and some prominent organ. A decent album track, but not a highlight.
Thank You is perhaps the most 'out of skin' Gotthard tune ever. This epic track runs 11 minutes in length and combines a full orchestral intro before launching into a heartfelt piano ballad that builds in intensity with the orchestral backing come back into it. The song continue on to a powerful guitar drive climax with orchestra in full flight. Marvelous stuff!

The Bottom Line

Bang! is another album that suffers from being too long for its own good – especially with added bonus tracks in some editions, but it's a big step back in the right direction for the band and an album that carries the classic Gotthard sound more closely than Firebirth. This puts my interest in the band fully back into focus after losing it following the last album.
A classic is now expected next time lads!

Pretty Maids Louder Than Ever

Frontiers Records

· Produced By: Pretty Maids

· Running Time: 52

· Release Date: 2014

· Released: World

· Musical Style: Hard Rock

· Links: Frontiers

92%

Danish melodic metallers Pretty Maids seem to be on a pretty good run in recent years. I have enjoyed their last few albums that have come via Frontiers and this is no exception. This is not a completely new album but consists of seven re-recorded classic songs from the 1995 - 2006 era plus four brand new songs specially written for this record. There are some minor tweaks to those old songs, not to mention all of them taking advantage of a better production quality and technology.
This is yet another barnstorming, high energy, melodic metal release that blows the speakers apart. The four new songs are indication that all continues to go well within the band as they continue to age with maturity without ever looking like getting soft.
Deranged is a hard edge moody rocker with a great guitar sound and raspy powerful vocal and chorus that steps up the pace another notch or two.
My Soul To Take is one of the band's most melodic tracks ever – a brilliant little feel-good melodic rock anthem.
Nuclear Boomerang on the other hand, is one of the band's heaviest – a double kick drum driven hard rocker with a menacing edge.
A Heart Without A Home is another cracking melodic rock tune – a beautiful ballad with one of Ronnie Atkins' best vocals to date.

The Bottom Line

Pretty Maids fans will need no convincing – but those still unfamiliar with the band would do well to check this out – it's an excellent quality album, with terrific songs and a high energy burst of European melodic hard rock.

Vanden Plas Chronicles Of The Immortals Part 1

Frontiers

· Produced By: Vanden Plas & Markus Teske

· Running Time: 55

· Release Date: 2014

· Released: World

· Musical Style: Progressive Metal

· Links: Frontiers

90%

This is one heavy album. Heavy concept, heavy lyrical content and heavy instrumentation. 10 tracks, 55 minutes and it's only Part 1 of 2. This progressive metal concept album is an adaption of a theatrical show the band put on, which itself was an adaption of a series of books by author Wolfgang Hohlbein. This is heavy going folks – not for the feint hearted by any means!
Of course it is extremely well done – but it requires a concerted effort on the art of the listener to get to know it. For that reason alone, it's more likely this is going to appeal to the band's already substantial fan base.
Dream Theater fans are going to appreciate the effort involved in writing and executing such a complex piece of music and there's enough here for all fans of progressive metal to appreciate.
Songs range from 1:40 to as long as 8 minutes plus. It's hard to pinpoint individual highlights of an album which is essentially one passage of music spanning nearly an hour.
Vocalist Andy Kuntz is a very likable singer and guitarist Stephan Lill is simply amazing. The production is, as expected, a million dollar sound.
A massive rhythm section, swirling keyboards and an incredibly powerful set of songs define this progressive work of art.

The Bottom Line

Progressive fans should rush to this. Pink and fluffy warriors should not!

Skin Trade Refueled

AOR Heaven

· Produced By: Oscar Ammer

· Running Time: 47

· Release Date: 2014

· Released:

· Musical Style: Hard Rock

· Links: AOR Heaven

84%

Sweden's classic hard rockers Skin Trade are back for the first time since a Best Of release in 2012 and their first new studio album since 1995. Fronted by one of my favourite Swedish vocalists Matti Alfonzetti, Skin Trade present an album that is both contemporary and classic in it's make up. The album mixes classic rock thinking with an updated and more contemporary sound, which could make fans of more traditional sounding hard rock question whether this release is for them.
The opening two tracks would suggest not – Monster and Liar emply that modern sound but are still energetic, enjoyable slices of Scandi melodic hard rock with standout choruses. Elsewhere might take a few more listens. This is not a simple, chorus driven record, nor is it one that carries obvious melodies.
Matti has a habit of singing in a more contemporary, darker style than he did on his original melodic rock solo album Ready. I prefer his melodic style by a wide margin. The use of vocal effects throughout this album is another issue.
Pay In Blood for example, is mixed with all the production effects of a modern metal song and the verse doesn't offer much in the way of melody, but the chorus is quite appealing once you get to know it. Close My Eyes a mellower song with the same inner workings.
Hardcore MF Heartattack is a brash, in your face modern metal song with a very direct point; Worse Than Wasted is a fast moving, effects filled rocker with a chorus that blasts through the speakers.
Dying In Your Arms is another album highlight and matches the power and style of the opening two tracks, which I favor.
Look Me In The Eye is a powerful, grooving, riff filled rocker to finish.

The Bottom Line

There are a few real highlights on here that I'll come back to over the course of the year ahead. But there are also many I won't come back to. A really strong production is a positive and the album has a very free flowing, fast moving pace throughout. It's a hard rocking, hard hitting contemporary melodic metal release, but it misses the mark with some songs not having the hooks to pull you in. That contemporary production and down tuned guitar style and the lack of any obvious choruses after the first few tracks makes for a tougher listen than I anticipated.

Magnum Escape From The Shadow Garden

SPV

· Produced By: Tony Clarkin

· Running Time: 63

· Release Date: March 19-24

· Released:

· Musical Style: Melodic Hard Rock

· Links: Magnum

96%

For the second time in a row I find myself rearranging a Magnum album to enhance my enjoyment of it, but that aspect cannot alter the fact that there are some delicious classic Magnum songs on offer here.
Sound and style borrow from the last couple of outings and also from the likes of Rock Art and even some Storyteller's Night. It's a long and complex album with a lot of different approaches within the songs. Moody, hard rocking, epic…melodic too of course.
Bob Catley sounds a little rougher around the edges these days, but there is still something very special about the way he sings and the delivery of the always impressive lyrics of Tony Carkin.
The rhythm section of Al Barrow and Harry James provide an important foundation throughout the album, giving it the necessary power boost.

Track by Track:
Live 'Til You Die is a storming riff heavy opening track with a swathe of keyboards underneath and Bob Catley's usual powerful voice taking command. In many ways the song is a statement of the sound the band has carried since reforming – the hard edge guitar of Clarkin taking prominence and the chorus hook being the secondary thought. But it works – due to the song's own strength, a theme which carries through the whole album.
Unwritten Sacrifice is a nod to the older Magnum sounds, where keyboards took center stage. Unfortunately I wouldn't have placed it here after the faster moving opening track. The chorus is there, but it isn't an obvious one, which is typical of the reborn Magnum. It's still wonderfully moody and powerful track, I think it would have been better later in the album.
Falling For The Big Plan rolls along with equal power and the same subdued chorus structure of the opening tracks. The changing pace within the song makes for interesting listening. At 6 minutes in length there are a few different aspects to the track and it takes several listens to learn them all.
Crying In The Rain is another slow starter, making the front portion of the album a little sluggish. The song itself is a slow hard rocker with a good, yet simple chorus, led by a Clarkin's guitar riffing and a stop-start thumping drum beat which is attention grabbing from the get go. Great song.
Too Many Clowns is a fast riffing, fast moving groover, which to me sounds like it could have come right off the Rock Art album. The bridge-chorus arrangement works well, with the chorus itself the most immediate from the first half of the album.
Midnight Angel is simply brilliant. This to me is old school melodic Magnum with a heartfelt vocal and a thumping beat that drives the song through to the very commercial chorus. I would have placed this higher up the chain. And it runs 7 minutes no less!
The Art Of Compromise is another commercial rocker with an uptempo beat, some harmony vocals and a feel good chorus. Mark Stanway's piano also shines through on this track, giving it a familiar classic Magnum feel. Another highlight for me. The endless cymbal crashing is a bit distracting though.
The ballad Don't Fall Asleep runs about 6 minutes and features a really special Bob Catley vocal and a more pompish chorus.
Wisdom's Had Its Day is a similarly paced track, but features a more intense orchestral sound and a dark brooding chorus. Another one that isn't very obvious, but grows upon getting to know it more.
Burning River is a pretty straight forward Magnum rocker really. Again, the chorus isn't huge like the old days, but it's there.
The Valley Of Tears is one of the best songs from this band in recent memory. What a beautiful orchestral ballad with an amazing Catley vocal. The verse is as melodic as the chorus and the sentiment impossible not to get caught up in. This is classic Magnum through and through. The perfect closing track.

The Bottom Line

Another winner without doubt and probably once again, their best since reforming. The band keeps lifting their own bar each release and this album is no different. The most consistent and engaging record from their second stage career.
Now, for my alternate track sequence – this one was really hard – 01) Live 'Til You Die 02) Too Many Clowns 03) Midnight Angel 04) Crying In The Rain 05) Don't Fall Asleep 06) Unwritten Sacrifice 07) Falling For The Big Plan 08) The Art Of Compromise 09) Wisdom's Had Its Day 10) Burning River 11) The Valley Of Tears

W.E.T. One Live - In Stockholm

Frontiers Records

· Produced By: W.E.T.

· Running Time:

· Release Date: 2014

· Released: World

· Musical Style: Melodic Rock

· Links: Frontiers

98%

How can you tell that a band has unbelievable talent, charisma and ability? When a band such as W.E.T. perform their only their second ever live show together and yet, sound as good as this. How on hell is it possible to sound THIS good, this tight, this polished after just one other show? When you are Jeff Scott Soto, Erik Martensson, Robert Sall, Magnus Henriksson and Robban Back. That's how.
What's even more impressive is that the band were at the time playing on the back of their debut album and previewing songs to the audience from their yet to be released second album. Yet, the crowd laps it up as it's delivered with a powerhouse performance.
For the rest of the folks hearing this album, you've had the luxury of living with the band's second album for several months now, so there isn't a song here that can't be sung along to and cranked loud.
Add in a few gems such as the classic Talisman tracks Mysterious and I'll Be Waiting; Work Of Art's wonderful The Great Fall; and Eclipse's hard rocking masterpiece Bleed And Scream and the heartfelt ballads Comes Down Like Rain and Love Heals alongside the band's own perfect anthems Walk Away, Rise Up, Brothers In Arms, Still Unbroken and Invincible and you might just have one of the best live albums in recent memory.
Did I mention the soaring feel good AOR of If I Fall and I'll Be There?
How about the additional two extra studio tracks that didn't make the last album? Both those tracks were deemed to be tipping the balance of the last album too heavy, so here they are now. And yes, both are heavy rockers.
Poison is a fast moving hard rocker with a kicking drum beat and a slew of guitars.
Bigger Than Both Of Us has an epic feel to it – it's slow, but it's heavy and the chorus is another winner for the band.

The Bottom Line

Essential for all – this is how it's done – both in the songwriting department and the performance. Electric atmosphere and a stunning set of songs make this an incredible live set.

House Of Lords Precious Metal

Frontiers Records

· Produced By: James Christian

· Running Time: 50

· Release Date: 2014

· Released: World

· Musical Style: Melodic Hard Rock

· Links: Frontiers

90%

The latest album from House Of Lords is their 5th since the World Upside Down release, which saw singer James Christian enlist a new lineup to take the band name forward after the ill-fated Power & The Myth release. The 8 year run with this lineup has been quite prolific, especially considering some bands have barely managed 1 or 2 albums in that time frame. Each of the 5 albums have had their fans and their detractors as the band treads a fairly consistent path musically, with songwriting the only real changeable factor each album.

For Precious Metal, things have changed more than the past 4 albums. In comes a heavier and more direct approach, with the pomp/anthemic qualities the band is best known for somewhat left behind. I'm completely stumped by promotional claims the band returns to its roots here, as really, they never left behind their sound (apart from The Myth release) and this album is probably the furthest away from their core sound. Confusing indeed.
I've seen some outstanding reviews for this album around and it seems to be getting a mostly positive response from fans.
I've had the album 3 or more months now and initially struggled to get into it - more than any other album before it. I guess the emphasis on just rocking out in a heavier fashion instead of delivering the usual style of song structure I expect from the guys is the reason behind that.
But that's not to say I'm not enjoying the album – I am. And it does indeed rock and I know fans will love it. But it is a different beast to the band that delivered World Upside Down or Come To My Kingdom.
If there is a weakness within for me it is the choruses – a couple don't work and a couple of others are a bit annoying. I don't like Raw at all and Turn Back The Tide and I'm Breaking Free haven't warmed on me either.
Other than those points, the album fits into a pretty hard rocking path, led by the always shred-tastic Jimi Bell and backed by the powerhouse rhythm section of McCarvill and Zampa.
The album rocks with a pace not previously seen from House Of Lords, so if its tempo you crave then Jimi Bell is all over this album and drummer BJ Zampa is given a platform to deliver his most energetic performance yet. It's a shame the drum sound is so thin compared to that of the bass guitar.
Where the album works best for me is on such tracks as the opening pomp/metal blast of Battle, Action, the frantic Epic and the beautiful ballad Precious Metal.
The darker Permission To Die and the rollicking Swimming With The Sharks are also solid.
Turn Back The Night has a good hook and You Might Just Save My Life ends the album in the same way it started – with a bang.

The Bottom Line

Louder, heavier and more in your face – it's a less pompous and more direct House Of Lords here. Definitely their highest octane release to date, but perhaps missing a little of the glorious pomp finesse that their past has delivered. Love to hear some more keyboards into the mix of whatever comes next for the guys.

Within Temptation Hydra

BMG

· Produced By: Daniel Gibson

· Running Time: 49

· Release Date: 2014

· Released: World

· Musical Style: Symphonic Melodic Metal

· Links: Within Temptation

94%

I adore this band's sound and style. And the vocals of Sharon den Adel are to die for. Following up on their breakthrough critically acclaimed and fan appreciated epic The Unforgiving was going to be no mean feat, especially for a band that has evolved from release to release.
I don't think this is quite as strong as that last album – it really was wonderful – but the band has managed to capture the energy of that release and some of the commercial feel employed there, and still managed to move it forward a little here.
Much has been said of the many collaborations used on Hydra. But for the most part they are relegated to the background and don't impact he individual songs too much.

Let Us Burn carries all the power and musical intensity of Within Temptation's sound that fans could hope for. An infinitely powerful and soaring opening track that gets the album off to a perfect start.
Dangerous ups the ante even more with a furious pace. Growler Howard Jones (from Killswitch Engage) guests on vocals without too much distraction.
And We Run is perhaps the most controversial collaboration, with rapper Xzibit doing his bit mid-song, but I can get past that due to the high quality of the song itself and the powerful musical backing. I love the chorus and lead vocals here.
Paradise (What About Us?)(featuring Tarja) is quite possibly the symphonic metal song of the year. Just perfect in every way. I can listen to this over and over again. The production power is immense and lead riff is simply brain altering.
Edge Of The World is another wonderful track. Taking a step back to give the listener a break, the symphonic, orchestral ballad is a beautiful track with an epic chorus.
Silver Moonlight features some growling backing vocals, but actually fit the intense nature of the song – it's another barnstorming metal track with soaring vocals. Love it.
Covered By Roses features another stunning vocal performance and another memorable set of hooks.
The heavy and intense darker Dog Days is another pace changer. Another strong track if not a highlight.
Tell Me Why is fast, furious and everything that makes this band great.
Whole World Is Watching (featuring Dave Pirner of Soul Asylum) is a reflective, yet power metal ballad to close the album in style.

The Bottom Line

Essential of course! Power (melodic) metal fans and those that love symphonic hard rock won't find better than this. Maybe not quite as marvelous as The Unforgiving, but still a compelling album from a band at the top of their game.

Heart Fanatic Live

Frontiers Records

· Produced By: Ray Volkema

· Running Time: 67

· Release Date: 2014

· Released: World

· Musical Style: Hard Rock

· Links: Frontiers

75%

I'm no fan of the Fanatic album or any of Heart's recent output despite being a pretty passionate fan of the band since 1985. So the idea of “Fanatic Live” really didn't interest me in the least, save to hear the might Ann Wilson belt out a few of my favourite Heart classic mid-set.
So the 14 track set features half a dozen tracks form the last album and a few deep cut classics that are featured on all Heart concerts (and accompanying CD/DVDs) – Barracuda, Crazy On You, Dog & Butterfly.
The gals manage to squeeze in a few 80s mega-hits, almost begrudgingly, but it's a joy to these ears to hear the still wonderful Ann & Nancy sing and perform What About Love, These Dreams and Alone.
I will give them this – the Fanatic tracks do rock and in a live setting they do carry a little more life than on the studio recordings.
However, overall, it's just not a set list that interests me personally although the band kicks ass and the recording is very clear and well captured.

The Bottom Line

One for the die-hards and those that loved Fanatic (I know there are plenty).

Axel Rudi Pell Into The Storm

SPV

· Produced By: Axel Rudi Pell

· Running Time: 57

· Release Date: 2014

· Released: World

· Musical Style: Hard Rock

· Links: SPV

92%

I can sum up the very latest Axel Rudi Pell album in three words: Axel. Rudi. Pell.
Ok, so I had better expand on that a little. You all know the format by now. You also know the style by now. The sound and the performance quality also! It's Axel Rudi Pell!
The only variable that needs reviewing in an ARP release is song quality. And I'm pleased to say that this album is packed with high quality melodic hard rock tunes that Johnny Gioeli sings with his usual gusto.
Once we get the obligatory mood-inducing intro out of the way, Tower Of Lies is a storming opener as per usual and Long Way To Go and Burning Chains sees Gioeli at full stretch and Axel's Deep Purple nuances in full blown riffing glory.
The epic 6 minute ballad When Truth Hurts is brilliant and the 7 minute slow burning Touching Heaven features also impresses.
The Neil Young cover of Hey Hey My My is really well done in Axel/Johnny's unique moody delivery and the closing 10 minute epic Into The Storm is just perfect.

The Bottom Line

No surprises as per usual, but if there ever was, that would be akin to the first sign of the apocalypse surely? It doesn't take a lot of words to sum up a ARP release, but safe to say that this one is a very quality release. We have 2 veteran performers that know exactly what's required and execute that plan perfectly. A massive sounding record that will please ARP fans no end.

Fate If Not For The Devil

Avenue Of Allies

· Produced By: Fate & Jacob Hansen

· Running Time: 55

· Release Date: 2013

· Released:

· Musical Style: Melodic Hard Rock

· Links: Avenue Of Allies

88%

This review is long overdue, but if you have not yet heard the new Fate album, give it a chance. It's their most melodic friendly release in some time. It gets off to a pretty hard rocking start with the double time Reaping and the also powerful title track If Not For The Devil.
The first sign of a more melodic Fate comes with the fast moving Bridges Are Burning that surprises with a very commercial chorus. Feel Like Making Love sees the very easy to listen to vocals of Dagfinn Joensen adding melody over the guitar driven track.
Gambler is an old fashioned, keyboard filled 80s rock anthem which leads into another 80s friendly tune in the ballad Hard To Say Goodbye.
Made Of Stone and the faster paced Man Against The Wall are both cool European styled melodic hard rock tracks with strong choruses.
The balance of keyboard and guitar, coupled with a catchy chorus make My World another highlight while Gimmie All Your Love is arguably the most commercial track of the whole album, closing with another touch of 80s rock (and synth) for good measure.

The Bottom Line

A very consistent and enjoyable European melodic hard rock record. Well worthy of the Fate name.

Linda & The Punch Obsession

Escape Music

· Produced By: Michael Voss

· Running Time:

· Release Date: March 21

· Released:

· Musical Style: Melodic Rock

· Links: Escape Music

89%

Modern meets melodic with this newcomer debut from Linda & The Punch. The young female lead uses her charm and energy to deliver some catchy moments on this album, produced by veteran Michael Voss, who has been mentoring the singer for several years.
This is a pretty consistent debut, with the catchiest tracks stacked towards the front and the deeper cuts closing the album. All in all, it's bit of good fun.
The modern punk infused hard rock stomper What A Shame opens the album with a touch of latter day Rick Springfield about it.
Cold Cold World not only features an outstanding vocal, but also a great chorus hook and some tasty riffing.
Welcome To London features a slightly left of center verse, but another knockout chorus.
Elsewhere on the album, Nothing Of anything is a fine modern rocker; Bite fails to sink its teeth into a decent melody; Kill The Lights gets hard and heavy and Love Kills Me features the best chorus on the latter half of the album; Looking Out For Number One is a catchy pop/rocker.
Closing up is a sonically intense and heavy cover of the Springsteen written/Patti Smith sung Because The Night. Interesting take on the track.

The Bottom Line

Diverse, contemporary and well produced. Ultimately it's a very likable and fresh sounding album with a bit of spunk.

Berggren Kerslake Band (BKB) The Sun Has Gone Hazy

AOR Heaven

· Produced By: BKB

· Running Time: 51

· Release Date: 2014

· Released:

· Musical Style: Classic Blues Rock

· Links: AOR Heaven

60%

The welcome return of Swedish vocalist Stefan Berggren on the wonderful Revolution Road album is bookended with his appearance here with classic rock drummer Lee Kerslake.
Kerslake's years in Uriah Heep are carried through to this old school 70s rock release, which to be honest, it's made infinitely better with Berggren there on vocals.
Without him, this release would have been far less appealing.
As it is – it struggles in places anyway, not least with an extremely muddy, bass heavy production sound that fails the songs featured.
Track highlights include the groove filled opening rocker Walk Tall; the more melodic My My; the very classy and most melodic-chorus friendly song of the album Free; the soulful and blues drenched As Time Goes By; and the acoustic based closer Born Again, featuring another very good vocal.

The Bottom Line

If you are looking for Snakes In Paradise style melodic rock or commercial AOR, then check out Revolution Road. If classic rock in the vein of Uriah Heep, Deep Purple and Led Zeppelin are more appealing, then check this out, but be ready for that muddy sound and several plodding tracks.

Johnny Lima My Revolution

Indie

· Produced By: Johnny Lima

· Running Time: 57

· Release Date: 2014

· Released:

· Musical Style: Melodic Rock

· Links: Johnny Lima

94%

The always reliable and dependable Johnny Lima returns with a fan funded release that is currently available in limited numbers from Johnny's website and some retailers. The 15 track album is chock full of classic Lima driven melodic rock – hands in the air anthemic hard rock, mixed with a few high quality sentimental ballads for good measure.
As usual Johnny mixes the best of classic 80s melodic rock with a slightly more contemporary sound, but perhaps not quite as modern as some tracks Johnny has delivered in the past.
This, I think, is going to be the definitive Lima release folks.

Its sometimes good fun, feel good hard rock (You're The Drug I Wanna Get High On); at other times, the biting lyrical content (Happily Ever After You, Tell Me Lies) and then the ballads take you to another place altogether. I Can't Love You Any More and Maybe You're Right, Maybe It's Wrong are wonderful.
When you are talking moody melodic rock anthems, Blame It On Love, Deeper Into You, Naturally Beautiful and Into The Light take the prize.
Johnny even delivers one of the sleaziest tunes of all time in Fill You Up. Eat your heart out Gene Simmons & Paul Stanley!
Production is first rate – balanced and easy to crank loud.

The Bottom Line

At 15 tracks and 57 minutes, it might feel as if the album was a couple of tracks too long, but not here. No fillers in sight and awesome energy here! Fans will want to get the limited edition before they run out.

Daryl Braithwaite Forever The Tourist

Sony Australia

· Produced By: Not Listed

· Running Time: 30

· Release Date: 2013

· Released:

· Musical Style: Melodic Rock

· Links: Daryl Braithwaite

91%

Another long short player here or short long player… Aussie pop/rocker Daryl Braithwaite had recorded this long play EP (that's how it is being marketed here in Oz) that seems him step back into the melodic rock game for the first time in a while.
This is Daryl doing his classic melodic rock style, modernized in the same way the likes of Brian Howe and Rick Springfield have done in recent years.
Quite simply – this 8 track release is the best thing I have heard from Braithwaite since the early 90s. The utterly fabulous commercial radio anthems Not Too Late, Is This Love and Forever The Tourist are some of his best songs ever. The modern feel doesn't betray his pop/rock roots.
The only stinker is the horrible reggae track Perfect Day. Otherwise it's perfect for Braithwaite fans!

EZ Livin Firestorm

LZ Records

· Produced By: Hans Ziller

· Running Time: 41

· Release Date: 2014

· Released:

· Musical Style: Hard Rock

· Links: EZ Livin

68%

David Reece is one hell of a singer, and as expected he's in pretty fine voice again here. Always good to hear him sing straight ahead hard rock with a melodic edge. But on this occasion, the material in question isn't going to further his career all that far. EZ Livin' “return” after more than two decades away.
Founding member Hans Ziller (guitarist of Bonfire) has gathered a new crop of musicians to carry the name, but rather than a fresh all-new album the group instead manage to cover three tracks from the 1991 debut album and include 2 covers – Uriah Heep's Easy Livin and a truly horrible version of the great Bangalore Choir track Loaded Gun. This version sounds almost cabaret compared to the hard rocking original, which holds a special place in my heart.
That leaves just 3 new tracks out of the albums 9 songs (Let's Fly Away appears twice!)
The production is average too – and it just doesn't seem like a genuine attempt at a new start. More like a promo piece to get the ball rolling.
I hope they record a genuine full length album next time and make up for this extended-EP of sorts.

Royal Hunt A Life To Die For

Frontiers Records

· Produced By: Royal Hunt

· Running Time: 50

· Release Date: 2013

· Released: World

· Musical Style: Melodic Symphonic Metal

· Links: Frontiers

95%

This is a wonderful hard rock record and among my favourite of all Royal Hunt releases. I just wish there were more than 7 songs. Yes, the length of the songs makes the album's playtime as long as a normal 10-11 track release, but with 7 songs there are only 7 original ideas to get your head around. And when the quality is as it is here, the listener is left wishing for more.
Upon my first listen to this album I found 1 song that jumped out immediately. On my second run through it was two, and third….well, you get the idea.
The musical depth of the album is such that it takes some listening, but each of the 7 tunes here has their own life and personality and each has its own beauty.
The production on this album is fantastic, and the performances every bit as good as the caliber expected of these seasoned musicians.
A special mention has to go to vocalist DC Cooper, whose efforts on this album are nothing short of brilliant. Powerful, emotive, melodic and in command at all times, Cooper drives the songs on this album to the next level.
The near 10 minute Hell Comes Down From Heaven is a divine epic opener, with the all the power and swirling keyboards expected.
One Minute Left To Live has to be one of the best melodic metal songs you'll hear this year…what a chorus!
On Sign Of Yesterday Cooper takes on a Phantom of The Opera persona to deliver one of the vocals of 2013.
And the closing A Life To Die For simply flies by, even though it clocks in over 8 minutes in length. My favourite of the album.

The Bottom Line

It may be a couple of months old now, but don't let this title slip by…invest in this fabulous slice of melodic metal as a matter of urgency! Great performances, massive production and plenty to draw the listener back in over and over.

Overland Epic

Escape Music

· Produced By: Mike Slamer

· Running Time: 47

· Release Date: 2014

· Released:

· Musical Style: Melodic Rock / AOR

· Links: Escape Music

94%

Steve Overland and Mike Slamer. There's not much more I can add really! Either name conjures up unnatural levels of excitement from AOR anoraks, but join them together and it's a virtual pleasure overload. Epic is just that - essential AOR for most readers of this site.
Add in the additional personnel of Christian Wolff – guitars; the Unruly Child rhythm section (Larry Antonino – bass and Jay Schellen – drums) and how could they go wrong?
Well, they couldn't and they don't.
With the two Billy's on backing vocals (Greer and Trudel), you can bank on this album featuring all the same wall of sound elements that make all Mike Slamer productions essential.
Mike joins in himself with additional guitars, bass, keyboards.

Radio Radio might be a pretty simplistic (but very catchy) way to start the album, but I challenge anyone to find a better pure AOR song than the double dose of classics in If Looks Could Kill and the glorious Stranded. Wonderful! And layers upon layers of vocals.
Rags To Riches is almost Seventh Key toughness and is one song I could perhaps live without – the chorus isn't doing it for me; while Liberate My Heart is pure FM bliss.
The uptempo anthemic Down Comes The Night is both moody and uplifting at the same time.
If Your Heart's Not In It has some cool drum work and a varying beat; Rock Me is a groover and So This Is Love is straight out of the 80s with harmonies everywhere.
Wild is high-tech 80s AOR and The End Of The Road is another class song, a mid-tempo song that builds via a moody and twisting arrangement and great chorus.
Time For Letting Go is for whatever reason – not included on the promo version of the album.

The Bottom Line

Simply put, the guys live up to any possible hype and deliver a great album of pure AOR that showcases the best of all involved and shows there is still much to offer is the world of classic old school AOR. You'll need to be a member of the Steve Overland vocal fanclub of course – his tone isn't for everyone, but you can't argue with the man's talent or the superbly produced record before us.
Seventh Key meets FM.

Revolution Road Revolution Road

Avenue Of Allies

· Produced By: Alessandro Del Vecchio

· Running Time: 48

· Release Date: 2013

· Released:

· Musical Style: Bluesy Melodic Rock

· Links: AoA

94%

He hasn't been seen for years, and suddenly Snakes In Paradise lead vocalist Stefan Berggren appears twice in two months. The best of his two new releases is easily Revolution Road.
The project is the brain child of Avenue Of Allies owner Gregor Klee and man of the moment Alessandro Del Vecchio, who co-writers, produces and performs on this album.
Revolution Road is everything I loved about Sweden's Snakes In Paradise – the strong melodic vocals and moody edge, and twists it into a more bluesy hard rock direction, with an emphasis on sounding fresh while still paying homage to the 70s and 80s.
It took a few listens for several of the songs to grow on me, while others were more instant. But the outcome was the same in the end – quality melodic rock with a fresh twist.
And for Snakes In Paradise fans, there are two new songs from the band's founders Berggren and guitarist Thomas Jakobsson included!

Wings Of Love is the perfect opening track – uptempo, uplifting and glorious vocals and chorus. The uptempo, but warm and moody Shooting Star might be even better and is the most Snakes In Paradise sounding track of the album (the first of the two Berggren/Jakobsson co-writes). Stefan's vocals here really warm the heart. I just love his tone.
The title track is the listener's first taste of the bluesier side of the album, with a slower, darker and heavier style that just oozes class.
Whether it be on the more traditional style melodic rock tracks like Hold On; the gloriously sweet AOR of Pretending Hearts (the other Berggren/Jakobsson co-write) or mid-album run of heavier, blues soaked 70s rockers like Ain't Gonna Give My Heart Away, Love's Got A Hold On Me, Losing You and Take Your Love To Town and the organ drenched Balloon; one thing is for certain – this is a classy release with a knockout vocal performance.
An musically speaking, full credit to main writer Alessandro Del Vecchio for stepping outside the usual circle of musical influence to deliver a really special album.

The Bottom Line

This album has been around a few months now, but I can't recommend strongly enough for folks to check this out. Simply awesome bluesy melodic rock with a commercial twist on a few anthemic AOR songs, but overall, a simply sublime vocal performance from Stefan and something truly different to listen to amongst the regular tones of normal AOR releases.

Lover Under Cover Into TheNight

Escape Music

· Produced By: Martin Kronlund

· Running Time: 45

· Release Date: 2014

· Released:

· Musical Style: Melodic Rock

· Links: Escape Music

90%

The second LUC album follows the successful debut of yet another Swedish melodic rock project. You can never have too many right? Well, not when they are as good as this at least.
The band features Last Autumn's Dream vocalist Mikael Erlandsson, Martin Kronlund on guitars and (very a very solid, hard hitting) production, ColdSpell drummer Perra Johnsson – who delivers a smashing sound here; and Mikael Carlsson on bass, adding to the solid rhythm section.
Stepping things up another notch from the debut, this second album sees the guys deliver a familiar slice of Scandi melodic/hard rock, with all the trademark hooks and elements from that part of the world we love.
Erlandsson's raspy vocals are a thing of beauty and the performance here coupled with the songs makes this album now stand above that of recent Last Autumn's Dream output.
There are no fillers in sight, but to highlight a few tracks, I particularly like the tough talking opener A Fight and the rolling melody of Into The Shadows; Toy Solider is an interesting choice of song to cover, but the Martika 80s hit is reworked nicely here with a raspy moodiness perfect for it.
The uptempo ballad Life Is Easy is a breezy interlude before fast moving rockers Playboy No 7 and The Game Is On, with a hammering beat driving both songs.
Closer To The Truth is a classic Scandi 80s style melodic rocker with a fine verse and chorus, making it an album favorite.
The breezy quality ballad No Place Like Home closes the album.

The Bottom Line

Like Scandi melodic rock? Enjoy Last Autumn's Dream? Sweet AOR with a punch? All pay attention to this album then, you can't go wrong.

AOR The Secrets Of LA

AOR Heaven

· Produced By: Slama/Denander

· Running Time: 49

· Release Date: 2013

· Released:

· Musical Style: AOR

· Links: AOR Heaven

75%

Secrets Of LA is amazingly AOR's 12th album and basically sees main man Frederic Slama repeat the formula of the previous albums. Secrets features the highest profile guest stars to date with the likes of Fergie Frederiksen, Jeff Scott Soto, Jim Jidhed and Bill & Tamara Champlin all involved.
It's a fairly consistent album and the songs themselves are good quality throughout.
But the programmed aspect of the base sound is simply out of date in 2014 and that and overall production style takes away from the (mostly) excellent vocal performances and the songs themselves.
Slama teams again with guitarist/producer Tommy Denander and a whole slew of guest vocalists, mirroring Denander's own Radioactive series. As with Radioactive, the guitar and production sound here is very much the Denander stock and trade guitar driven/programmed feel which is the album's weakness. The tinny and repetitive cymbal and drum programming and all too familiar guitar tone is something I personally don't need to ever hear again.

But Slama seems to have got the best out most of the vocalists appearing, which is a plus.
Lead track Deep Whirlpool is sung with gusto from the now late, great Fergie Frederiksen. Good song and great, but a little too much programming going on.
The tougher, heavier approach of the JSS sung Stage Struck is good - always good to hear a new JSS vocal, but again, programmed drums takes away a little.
My favourite track of the album is the absolutely blinding AOR of the Journeyesque Secrets In The Shadows, with Alien frontman Jim Jidhed on vocals. Again, it's programmed to the hilt, but the song's vocal is just too amazing.
Back To San Francisco features Bill Champlin in a raspy uptempo vibe.
Unfortunately the normally ultra-reliable Bob Harris (Axe, Ede Of Forever) turns in a couple of really off vocals for Out Of The Past and The Main Attraction. I'm not sure what went wrong here, but the vocals really are a struggle to get through.
The Name Of The Game is a pretty easy listen with the wonderful Robin Beck in full control.
Web Of Lies is a Göran Edman sung recut of another Chasing Violets song. Prefer this version as Goran is unbeatable.
Hollow Triumph is a pleasant AOR number sung by Last Autumn Dream / Lover Under Cover singer Mikael Erlandsson.
Voices In The Wind is a laid back Westcoast number that features Tamara Champlin and some nice guitar work.

The Bottom Line

Some entertaining uptempo AOR here and something to enjoy for fans of the assigned vocalists. A few stand out tracks, but as discussed, the over-programmed nature of the record and repetitive sound that comes from the Tommy Denander production sable is something that takes away from the positives.

Dogface Back On The Streets

AOR Heaven

· Produced By: Martin Kronlund

· Running Time: 41

· Release Date: 2013

· Released:

· Musical Style: Melodic Hard Rock

· Links: AOR Heaven

85%

Way too long between drinks for Dogface, who deliver their third album after an 11 year wait! I've been bugging band founder Martin Kronlund for at least half that time to do another album, so here it finally is – with huge expectations from myself. The debut is a classic!
While it's great to have the guys back and hear that Mats Levin snarl at full volume, the album doesn't quite match the brilliance of the first two, or make up for an 11 year wait. That's mainly due to a couple of obvious fillers and a strange choice of track sequencing.
In my mind the band opens with a true plodder of a song in Footsteps On The Moon – a decent song, but by no means should it ever have opened the album.
Much better and in classic form is the rollicking Can't Face Tomorrow. This is classic Dogface!
Higher is just as good too – Levin just owns the song with his dominating vocal.
The Fall is another quality song with a pretty good chorus and some nice Hammond, but the slow pace of the track along with the slow opener and mid-tempo previous track give the album a sluggish feel.
The double time rocker Back On The Streets fixes that momentarily, before a return to the mid-tempo moody fare of Fired. Good chorus and lead vocal again here though.
Get Up is another mid-tempo track, but features a catchy chorus and some strong harmonies.
Start A Fire continues a good run of tracks with a song that fires up and delivers more classic hard rock for Dogface fans.
The 2 minute blitz of Crazy Horses isn't as memorable however and the closing song Freaking Out is perhaps the worst Dogface tune ever. The psychedelic rocker just doesn't work for me.

The Bottom Line

Out of the album's 10 tracks, I can live without 2 and maybe even 3 of the songs and the sequencing does the guys no favors. But woven in around the album is some of those glorious hard rock moments that I was hoping to hear. There's nothing better than Mats Levin in full rock mode and Martin Kronlund knows how to make a great sounding record. So those two reasons I still recommend this solid hard rocking opus, but it could have been even better.

Primal Fear Delivering The Black

Frontiers Records

· Produced By: Mat Sinner

· Running Time: 51

· Release Date: 2014

· Released: World

· Musical Style: Melodic Metal

· Links: Frontiers

94%

THIS is how it's done folks. This is quite simply – a stunning piece of European melodic metal, with power, finesse, melody, structure and ear splitting production quality that rivals anything on the metal market right now.
The bass thumps, the drums pound, the guitars riff and shred and the vocals – while ear piercingly loud – hold both strength and melody. Ralf Scheepers is the man as far as I'm concerned.
Magnus Karlsson again proves he knows the genre better than anyone with some pounding and brutal riffing.
The Mat Sinner production and Jacob Hanson mix gives the album a perfect balance that makes it easy on the ears, despite the all-in approach of the songs.
From the frantic opening thrashing of King For A Day, to the groove heavy When Death Comes Knocking, to the old school metal of Alive & On Fire; to the double kick drum rollicking Delivering The Black; this album has it all for metal fans.
Also of particular brilliance is the moodier One Night In December, which is one of my favourite cuts.
Born With A Broken Heart is about as close to a ballad as this band might get, the chorus another stand out.

The Bottom Line

Fifty minutes of pure melodic metal quality. Perfectly produced and perfectly executed by all.

Ring Of Fire Battle Of Leningrad

Frontiers Records

2

· Produced By: Ring Of Fire

· Running Time:

· Release Date: 2014

· Released: World

· Musical Style: NeoClassical Metal

· Links: Frontiers

60%

Something has gone wrong here. The band is musically on song, delivering their third album of neo-classical shred metal, with the typically powerful soaring vocals of Mark Boals wailing throughout.
But the production is as thin as a steamrolled bandicoot. There's simply no guts to this recording. The guitars are way back in the mix and the drums – performed thisa time by session man Jami Huovinen, who mimics Virgil Donati's styl so well, I actually thought it was him – are so hollow it just doesn't make sense how it wasn't corrected.
Take a listen to the guitar riff at 3.50 mark in the opening track. It sounds like it was recorded with string to a tin can.
I like the first two records and there's nothing musically wrong with this new album either. Mark sings great, Virgil plays his ass off and Tony MacAlpine shreds without remorse.

The Bottom Line

Whoever recorded this needs to deliver a refund. Timo Tolkki mixed it, so that's certainly an expectation not met. Take a listen to the sonics of the Primal Fear album. That's how a metal album should sound.

Angelica Thrive

Frontiers Records

· Produced By: Daniel Flores

· Running Time: 48

· Release Date: 2013

· Released: World

· Musical Style: Melodic Rock

· Links: Frontiers

87%

Another week, another Swede! Yes, Angelica is the front woman of those moody modern melodic rockers The Murder Of my Sweet and this is her solo “melodic rock” record.
Backed by most of her regular band including drummer/producer/keyboardist Daniel Flores; with the exception of guitarist Per Bergquist, the album swing along nicely, delivering an hour's worth of mainly uptempo European melodic rock tunes.
Angelica has a fine voice for both the melodic direction of this album and the modern edge of Murder Of My Sweet.
The songs are from various writers, including Angelica being responsible for writing or co-writing at least half the album. Other writers include Harry Hess, Robert Sall, Alessandro Del Vecchio and Mattius Reimer.
Style wise – very much as expected – traditional commercial melodic rock/AOR with that Swedish slant. All very nice and very easy to listen to.
Perhaps not the musical depth that it could have, or quite enough to make it stand out of the pack as a must have release.
But songs like the instantly catchy Breaking My Heart; the ballad Can't Stop Love; the moodier Nothing Else You Can Break and memorable Rain On My Parade all make this album one that should be sought out by fans of female fronted melodic rock and of course anyone that already has either of the Murder Of my Sweet releases.

The Bottom Line

Very good, if not a little safe. If you know Daniel Flores' strong production style, you can pick the sound here. Some good songs help too.

REO Speedwagon Live At Moondance

Frontiers Records

· Produced By: REO Speedwagon

· Running Time: 70

· Release Date: 2013

· Released: World

· Musical Style: Classic Rock

· Links: Frontiers

75%

To be honest, I didn't realize just how whiney REO frontman Kevin Cronin is in concert. I like Reo – it's hard not to, but this particular live recording is something I find more than a little annoying – vocally speaking.
The remaining elements are all fine of course. The band is on top of their game after being on the road continuously now for 134 years and the recording quality of the performance is good.
Sometimes there just isn't a lot that can be said about a particular release!
The band churn out most of the Hi-Infidelity record here, along with a few other album cuts and hits, for a 13 song release and accompanying DVD. This set is really is aimed at the core fanbase only.

The Bottom Line

A must for most committed REO fans I would say, but not of any great groundbreaking substance to warrant anyone else being interested in it.

Benedictum Obey

Frontiers Records

· Produced By: John Herrera

· Running Time:

· Release Date: 2013

· Released: World

· Musical Style: Metal

· Links: Frontiers

50%

As much as I have tried, I just cannot stomach Benedictum's vocalist Veronica Freeman. Musically the band is pure American metal and is ok.
If the band has appealed previously, then check this out. The production is loud, in your face and evenly balanced.
But I hate the vocals. And if I can't get into vocals, I struggle with the album no matter what the quality of the production. I hated the last album too. I love me some power female vocals – but this is just screaming and it's doing my ears serious damage by the time I reach track 5. I'll stick with Within Temptation, Nightwish or Halestorm.

The Bottom Line

There is nothing I can find here to recommend to usual readers of MR.

Red Dragon Cartel Red Dragon Cartel

Frontiers Records

· Produced By: Ron Mancuso & Jake E Lee

· Running Time:

· Release Date: 2014

· Released: World

· Musical Style: Modern Metal

· Links: Frontiers

60%

A lot has been said about this release already, so I'll try and sum that up briefly with my own opinion. Looking at the main players here, the album should have been a home run. What's not to love about the legendary Jake E Lee returning after years in the wilderness, teaming up with the great Ron Mancuso (Beggars & Thieves) who is a superb writer and producer in his own right and brought B&T back recently with an album that mixed old and new extremely well. The perfect fit surely?
Maybe so, but I was disappointed from listen 1. My first issue is with the direction of this album. It is a lot more contemporary than anticipated and borders on alternative metal in places.
Multiple production effects (on both guitars and vocals), grungy tuned down guitars, strained vocals...it's a long long way from the sweet tone of the awesome Badlands records and Jake's classic work with Ozzy Osbourne.
Then there is the vocalist issue. The main man here is the also normally awesome Darren Smith of Harem Scarem, leaving the drum kit behind here to take on frontman duties for the live band and half the album's tracks.
Sticking with the sound direction of the material, Darren proceeds to scream his way through his selection of songs and no matter how hard I try, I just can't warm to the style – both vocally and musically.
The opening track Deceived is about as palatable as it gets. I can't even get past the chorus in Shout It Out.
Elsewhere on the album, the use of guest vocalists creates an unbalanced approach that doesn't allow the listener to settle in. Only Robin Zander impresses on the modern raunch of Feeder – it's the heaviest track I've ever heard Zander sing; but Paul Di'Anno sounds horrible on Wasted and Maria Brink not much better on Big Mouth.
Sass Jordon guests on Redeem Me, but even here, her vocals don't carry the usual warmth expected.
War Machine is Jake's tribute to his time with Ozzy, the very noticeable riff and style straight out of The Ultimate Sin.

The Bottom Line

In all honesty, I'll probably never listen to this again – and that's a huge disappointment after all these years and considering the personal involved. I was anticipating this from announcement time, but it doesn't offer me anything I'm musically interested in. I'll go back to the debut Badlands album which I've played consistently since flogging it to death upon its original release.

Boston Life, Love & Hope

Frontiers Records

FRCD630

· Produced By: Tom Scholz

· Running Time: 42

· Release Date: 2013

· Released: WORLD

· Musical Style: Melodic Rock

· Links: Boston

65%

You know there's a problem when it takes 11 years to prove that the last album wasn't as bad as you remember, at least not compared to the latest offering.
The time has come to stop calling Tom Scholz a genius. The debut Boston album was genius. But that was when Boston was a band. It has been a case of diminishing returns ever since and 6 albums in 37 years is really quite a pathetic work rate.
Scholz is his own worst enemy. It seems he takes advice from no one, works almost entirely on his own and doesn't listen to any other artists, has a habit of rehashing songs despite decades between projects and even though he performs live with a kick ass band, doesn't utilize any of their abilities when it comes to recording.
The whole Boston conundrum just gives me a headache thinking about it. What a good A&R guy could do if Scholz was ever ready to listen.

Boston the band morphed into the Tom Scholz machine shortly after the second album and by the time Corporate America finally arrived in 2002, Boston was all but a one man band. Sadly that problem has only intensified on Life, Love & Hope.
To step back a bit – the machines were beginning to take over the band during the Walk On recording years and what little momentum the name Boston had was again lost in taking another 8 years to deliver Corporate America.
Corporate America featured a few killer songs (I Had A Good Time, Stare Out Your Window, You Gave Up On Love, Didn't Mean To Fall In Love), but some appalling ones too (With You, Cryin', Turn It Off – yes please!).
What frustrates the hell out of me as a fan (I am) is the repeated mistakes. The at times annoying drum sound on CA is only magnified on L, L & H – this time becoming the only drums used. That's right – nothing but Scholz delivered drum programming and tinny sounding cymbals here.
And without doubt, the absolutely biggest WTF moment Boston's long history was Kimberly Dahme's country song With You being included on Corporate America – and in such a prominent position.
So does Tom Scholz learn from that? No…instead Kimberly is back for an increased presence on the new album, but at least no country tune. But Boston for me is never going to include a female lead vocal.
Fans were also not happy that CA took 8 years and produced only 9 new tracks, as Living' For You was brought back for a second run. Why? There's simply no need. If you can't get a song right in 6 years, then move on!

When Scholz was complaining again over the lack of impact CA had back when released in 2002 (label's fault of course!), he was talking about reworking a few of that album's tracks and adding a few new songs for a second take on that album. That was about 8 years back.
I heard nothing of that since, so when the years rolled by without any new product, it seemed safe to assume Tom had come to his senses, realized fans just didn't like the album overall and dropped the stupid idea to concentrate on just writing the best all-new Boston album possible.
When the announcement came that the new album was actually finished and was to be released in 2013, I was quietly hopeful that the material would warrant the longest gap between Boston albums yet – 11 years.
So I was absolutely shocked and totally disappointed to hear that not 1 or 2, but 3 of CA's tracks were still going to be reprised on Life, Love & Hope.
And one of those isn't even rerecorded! Didn't Mean To Fall In Love is a simple cut and paste from Corporate America. I just don't get that! At. All.
Same fans, same audience, same people buying the albums. No need to repeat yourself. Am I being too cynical to think that this track is included just to be able to have the late, great Brad Delp included more in the credits?
The other two rehashed tracks are Someone and You Gave Up On Love, which in all honesty, have not been improved upon in the 11 years since their original release.
Someone of course features the great Delp on lead vocals and hasn't been tampered with apart from the awful drum programming. Again, I think this is a wonderful song, but its presence here seems merely filling the Delp quota.
You Gave Up On Love (2.0) now features Kimberley Dahme in a prominent lead vocal role (why????) and lead vocals also from Tommy Decarlo and Tom Scholz.

That leaves us with the result of 11 years of work - 8 new songs.
So let's talk Life, Love & Hope.
The Scholz one man band approach has resulted in a couple of things.
First – the lack of a real drummer is beyond comprehension. The programmed beats are beyond annoying and repetitive without any of the soul of feel that a human being brings to the process.
Secondly – the mix is awful. That's the most unforgivable aspect of the album – 11 years in the making and it features the worst production of any Boston album.
Third – the overall tempo of the album is very laid back. Every Boston album has been that little bit mellower than the last and this is no exception.
Lastly – the song sequencing is ridiculous.
The album starts in almost identical fashion to Corporate America – a nice uptempo AOR anthem. David Victor does a nice lead vocal and is then criminally discarded for the remainder of the album. Vocalist Louis St. August (Mass) appears for a brief vocal line – he could have been used more also.
But to cut and paste Didn't Mean To Fall In Love as the second track is just silly. But then it gets truly ludicrous as Sholz figures after one new track and one old track, fans would love nothing more than to hear him deliver an attention seeking instrumental. No sir, that is not the case.
The one new track to feature a new Brad Delp lead vocal is Sail On, a dramatic mid-tempo track with an ok chorus, but an odd sounding Delp vocal to be honest. Kimberley Dahme again appears on lead vocals in and around the track, which is a little off-putting and the track just kind of comes to a stop without warning. Odd.
Life, Love, & Hope is a pretty decent tune featuring Tommy Decarlo on lead vocals. He is obviously in the band to cover Brad Delp's songs and on record, he also sounds close to the master vocalist. This is a free moving, uptempo melodic rocker with a decent chorus, but the drums are hideous.
If You Were in Love has potential. Unfortunately I just don't like Kimberley Dahme as a lead vocalist on this material and the verse is forgettable. The chorus is much stronger and had it been sung by David Victor, I think it could have been a pretty good AOR track.
Someday is another Tommy Decarlo sung tune, but with some additional vocals from Scholz and Dahme again on lead vocals in the bridge. I wish that wasn't the case. Otherwise it's an ok uptempo melodic rocker. Not a bad track, but really nothing we haven't heard many times before with Boston.
Love Got Away is Schulz on every instrumental and programming as usual and now lead vocals too. Yep, Tom Scholz has decided he can also sing now. Next Boston album will have him on all vocals no doubt – more elimination of needless band personnel.
At least he's a touch better than Eddie Van Halen singing. I don't like the track at all.
The final new track closes the album. The Way You Look Tonight is a slow to mid-tempo AOR number with the attempted lush Boston layering, but the mix is just awkward.
Tommy Decarlo sings again with the wasted David Victor on harmonies. This song and the opening number are probably the best two tracks on the album.

The Bottom Line

11 years, another new record label, more new vocalists, less band members than ever and just 29 minutes of newly written material. On top of that, the worst drum sound of any major artist release in recent memory, the worst production of any Boston album yet and just 3 or 4 songs that I think can stand on their own as worthy of the Boston name.
Oh, and the CD artwork is dreadful too. I doubt there will be another Boston album. Not if it's going to take until 2024 to release.
Some will be thankful for that. I, on the other hand, see the history of Boston as the greatest example of wasted time and lost opportunities in rock n roll history…so much potential and so many great songs over the years. But there could have been so any more.

Discography / Previously Reviewed

· Boston
· Don't Look Back
· Third Stage
· Walk On
· Corporate America
· Life, Love & Hope

Line Up:

· Tommy Decarlo, David Victor, Brad Delp, Kimberly Dahme: Vocals
· Tom Scholz: Guitars, Drums, Bass, Keyboards, Vocals

Essential For Fans Of:

· Tom Scholz

Track Listing

· Heaven on Earth *
· Didn't Mean To Fall In Love
· Last Day Of School
· Sail Away
· Life, Love & Hope *
· If You Were In Love
· Someday *
· Love Got Away
· Someone (2.0)
· You Gave Up On Love (2.0)
· The Way You Look Tonight *

--*Best Tracks

Place Vendome Thunder In The Distance

Frontiers Records

FRCD624

· Produced By: Dennis Ward

· Running Time: 53

· Release Date: 2013

· Released: WORLD

· Musical Style: Melodic Hard Rock

· Links: Frontiers

85%

The debut Place Vendome album was quite superb. It also featured two of the best power-AOR anthems of recent years (I Will Be Waiting, Too Late) and a couple of killer hard rock tracks.
The band's second album Streets Of Fire didn't have the anthemic highs of the debut, but it was probably a more consistent album start to finish.
Thunder In The Distance, the project's third album, sees the formula of the first two adhered to, but is missing the spark of the debut and the overall consistency of the sequel.
This appears to be a more laid back album overall. It's not as heavy and I'm not hearing the passion in vocalist Michael Kiske's voice either.
That's not to say it isn't a good album. It is, and all seems to flow along very nicely, but at the same time, the material doesn't grab the listener by the throat.
I've been playing the album continually over the last two weeks in hope something jumps out at me. What we do have here is a very pleasant and well produced album (thanks to Dennis Ward) and a group of solid songs (largely from the pen of Alessandro Del Vecchio) that do the job and will appeal to those that perhaps sampled Place Vendome earlier and found the material too 'in your face'.
There are still some highlights here worthy of the Place Vendome name – the opener Talk To Me is one of the few outwardly uptempo tracks; Power Of Music has a good chorus hook; the Timo Tolkki written rock ballad Lost In Paradise has a certain intensity and the feel good It Can't Rain Forever is another strong, mellower tune.
Heaven's Lost is a dramatic song and the Magnus Karlsson ballad Break Out is solid.
The title track closing the album is good too – probably wasted at the end of the album.

The Bottom Line

While I enjoyed the album overall, there's something just not quite right about the whole album. Whether it be the song selection, the overall mellower tempo or Kiske just not adding enough passion and his constant need to add vibrato to everything he sings. I hadn't noticed that as much on the past albums but it gets a bit annoying here.

Stryper No More Hell To Pay

Frontiers Records

FRCD622

· Produced By: Michael Sweet

· Running Time:

· Release Date: 2013

· Released: WORLD

· Musical Style: Hard Rock

· Links: Frontiers

93%

Some bands spend their entire careers trying to emulate past glories. Others just get better with age and look towards the next phase of ass kicking.
Thankfully Stryper is in the latter category and their new album No More Hell To Pay sees them as fresh and invigorated as ever.
The self-produced set is chock full of high energy tracks that are completely dominated by big riffs and big vocals.
I really like Michael Sweet's voice. He's got a great tone for this style of music and can he still hit those high notes or what?
I don't think there is going to be a Styper fan alive that doesn't get into this album.
As for those not into the band or think they are just a religious outfit – there is so much more here on offer than just some preachy lyrics. For the record – the band keeps a lid of that aspect anyway.
Two minor points – I'm not sure the sequencing of the album is perfect and I think the drum sound is a little off at times. Cymbals are too noisy and the drums a little thin.
I was surprised to see another cover tune on here after the band just released an all-covers affair, but their rocked up version of Jesus Is Just Alright is absolutely blinding with some serious guitar soloing towards the end.
The big ballad The One is something pretty special also – the chorus vocals are inspiring.
Other highlights are the opening slow hard rocker Revelation – even if it perhaps shouldn't have opened the album; the speeding Saved By Love and Legacy; Sticks & Stones and Water Into Wine just flat out rock and the title track is just cool.

The Bottom Line

Stryper nail it again. The second phase of their long career is well underway and the band doesn't seem to take a wrong step. This is another quality hard rock release from Christian rock's head of the class.

Def Leppard Viva! Hysteria

Frontiers Records

FRCD620

· Produced By: Domenic J Cotter, John Rubey

· Running Time:

· Release Date: 2013

· Released: WORLD

· Musical Style: Melodic Rock

· Links: Frontiers

92%

After my unfortunate (and still unresolved) public spat with frontman Joe Elliott, I've only listened to Def Leppard for review purposes. And that's pretty sad considering they were my favourite band for the best part of 15 years and Hysteria my favourite album of all time.
Viva! Hysteria however, has given me reason to smile. It's been so long since I played the original Hysteria album; it was nice to come back to the songs that were part of my life for so long.
And I really love what the band has done here with them. While sticking to the original blueprint almost entirely, the guys still managed to capture that energy a live show brings.
And what's probably best of all is the band listening to fans about their set list, after several years of the same old sets, rolling out some real gems on the band's Dead Flatbird first act set, such as Stagefright, Rock Brigade, the awesome Slang, Promises, Mirror Mirror….great stuff.
Then there's the main act for the performance of Hysteria in full. It just reminds me how good these songs are – and just how good it is to hear the deep cuts like Gods Of War, Don't Shoot Shotgun, Excitable and Run Riot live. They go over a treat and I hope the guys continue to play more of these on the next tour.
Overall the live recording is terrific and the mix nice and clear. Joe Elliott sounds about as good as he has in any recent years and the band is as tight as could be imagined.

The Bottom Line

A really good package for die-hard fans that leaves no stone unturned. A welcomed trip down memory lane.

Adriangale Sucker Punch!

Kivel Records

· Produced By: Vic Rivera & John Kivel

· Running Time: 46

· Release Date: 2013

· Released: USA

· Musical Style: Melodic Hard Rock

· Links: Kivel Records

94%

Way too long between new music for the much loved Adrianagle – returning to their original name and label home (Kivel Records) after a brief excursion outside for an EP under the name Crunch.
Guitarist/writer/producer Vic Rivera has teamed again with vocalist Jamie Rowe for the band's fourth studio album and first since 2004's Crunch.
Thankfully the guys pick up exactly where they left off, with this album continuing the big fat production sound of Crunch, while updating just enough to keep things fresh and modern, but still classic Adriangale all the way.
The album features 11 new songs (1 is instrumental, the classy Temporis Intermisso), mixing glorious anthemic melodic rock with AOR choruses with some grittier harder edge numbers that rank amongst the bands heaviest tunes to date.
I think a lot of effort has gone into the composition of these tracks, both in terms of songs writing and as far as production, with extra effects and layers going on throughout the album.
On the heavier side – Sucker Punch is a perfect opener, which sets up the quality of the album; while All About The Money is perhaps the most aggressive track the band have put down; Give Me A Sign features a hard edge vocal and a thumping rhythm section.
On the more melodic and anthemic side of the coin, you just won't do better than The Black And The Blue. Massive chorus, awesome harmonies, killer song.
When I Said You'd Be The One is a lot of fun with another great chorus, but Believe is even better, with harmonies used beautifully.
What Will You Do and The World We Knew are two more great melodic rock tracks that just strengthen this album's grip on my ears.
If you aren't convinced by now, then maybe Could Have Been Me will do it. Great stuff.
You is the album's sole slower track and is a nice change of pace from the otherwise rousing tempo. The heartfelt piano lead ballad features a great vocal from Jamie.

The Bottom Line

In a word – great! Another worthy addition to the Adriangale catalogue and another example of what fine musicians Vic Rivera and Jamie Rowe are. Of course credit must also go to Eddie Campbell and Matt Mahoney for rounding out the performances on Sucker Punch. American melodic hard rock at its best.

Maxx Explosion Forever

Kivel Records

· Produced By: Chris McCarvill & BJ Zampa

· Running Time: 51

· Release Date: 2013

· Released: USA

· Musical Style: Melodic Rock

· Links: Kivel Records

83%

Maxx Explosion is Chris, Jimi and BJ from House Of Lords, with bassist Chris Carvill on lead vocals. So yes, there is a definite House Of Lords vibe here, but also a lot more.
This is an album of uptempo, highly energetic rockers. Great songs, great vocals, great performances…but production? That's another story unfortunately.
I can accept that the band has a certain 'live in the studio' vision here and the energy is undeniable. And the songs give a lot to be enthusiastic about.
But it is such a shame that the sound is so muddy and the bass and drums are hardly discernable from one another. Even the vocals aren't as clear as they should be.
At 13 tracks, the album is probably about 2 tracks to long too.
That said, there is a certain genuine likability about these songs and with Chris Carvill's voice - perfect for the style and genre.
The opening fast paced in your face melodic hard rock duo of Devil's Locomotive and Falling Away are hard to ignore.
And the more AOR of Don't Wanna Break is another highlight. Love Is A Nightmare finds common ground between the frantic openers and the mellower Cross Your Heart and Don't Wanna Break.
Rise and End Of The Line thump along with gusto, mixing House Of Lords' heavier side with an almost Dokken goes AOR sound.
Speaking of whom, Don Dokken adds “additional production” here, but that means is anyone's guess. Whatever it is, it isn't worth anything.
Demon Wheel is a short 2 minute instrumental, but is quickly followed by a classy mid-tempo ballad in Can't Stop Falling In Love. Very House Of Lords here.
Beat Around The Bush and Famous turn up the energy as does the double timed rocker Suicide Door.
The semi-epic Forever closes the album.

The Bottom Line

The opening line of the review says it all – so many things going for this release with one exception. If you can get past that, there's still a lot to enjoy here and should the band correct the production issue for album #2, then they will really be close to unbeatable.

Jesse Damon Temptation In The Garden Of Eve

AOR Heaven

· Produced By: Paul Sabu, Jesse Damon

· Running Time: 50

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Hard Rock

· Links: AOR Heaven

92%

The instant I hear this album, I knew it would be my favourite Jesse Damon release to date and it has stayed that way ever since. Damon is helped throughout this album by songwriter/piano maestro Eric Ragno and producer/songwriter/singer Paul Sabu. Jesse's new solo album is so good.
It is beautifully written and produced melodic hard rock in the finest tradition of old-school Sabu and early Silent Rage. At times you'd swear that it was Paul Sabu himself singing. Add in Pete Newdeck on drums and you have a real powerhouse lineup here and the guys deliver.
Swirling keyboards under a base of hard edged shredding guitar and thumping drums with some glorious melodic vocals is just what the doctor ordered.
What's best – the songs here are simply impossibly catchy and stay with you long after the album has finished.
The guys swap in and out from hard rocking to more melodic AOR with ease and back again.
The opening track Garden Of Eve rocks hard; while the catchy as hell Black Widow is bathed in keyboards; the huge ballad with beautiful vocals Save The World makes the album 3 for 3 in the killer song stakes.
I can't pinpoint why, but I'm not really into the jerky beat of I Need You Forever, but the fast rocking, hard driving Save Me makes up for that.
Another classy ballad follows in the form of A Chance For Us, while the huge Let It Rock is what should have formed the foundation of the last Silent Rage album.
A third classy power ballad Angel In The Starlight slows things down before the old-school 80s rock of Hold On impresses further.
The hard rocker Little Angel continues the catchy memorable line of songs on the album while things come to a close with the mellower acoustic driven ballad Wishing Well.

The Bottom Line

A very enjoyable and well written album that is also well produced and well performed. A step back in time without sounding dated, this is a must for all fans of Paul Sabu, Jesse Damon and Silent Rage.

Ted Nugent Ultralive Ballisticrock

Frontiers Records

FRCD618

· Produced By: Ray Volkema, Lucia McCalmont

· Running Time:

· Release Date: 2013

· Released: WORLD

· Musical Style: Hard Rock

· Links: Frontiers

86%

This review really could be summed up in two words: Ted Nugent.
That's it. Ted Nugent is a force of nature, a law unto himself and the head of the family when it comes to the portraying of mad guitar riffing.
He does it his way and he has his own style which has been branded upon the American culture for the rest of time.
So this 2CD/1DVD package is just the ticket for all long time Nugent fans. The 26 track set takes in most of what you'd expect to see and Ted's performance is “electric”.
What I don't like is the live recording of the drums – they sound as if they were piped in from a room underneath the stage.
But how many people buy a Ted Nugent album to listen to the drums? The guitar solos are beyond amazing.

The Bottom Line

The 2CD/1DVD set is a good value purchase and I can't imagine any Nudge fans being unhappy with this (apart from those drums!) Good to hear Derek St. Holmes back on vocals.

Degreed We Don't Belong

AOR Records

· Produced By: Erik Lidbom

· Running Time: 37

· Release Date: 2013

· Released: EU

· Musical Style: Modern Melodic Rock

· Links: Degreed

98%

I love these guys! I think that's pretty well established by now. Their killer debut album was released on MelodicRock Records and I think the Swedish rock band is one of the brightest newcomers in this business.
Their ability to bring classic melodic rock into the new era with a mix of modern production techniques, but still holding onto brilliant musicianship, great songwriting and killer hooks is vital to the survival of this scene.
The debut is one of the best albums in years. And now the sequel We Don't Belong sees the band grow further and turn the intensity up that little bit more.
The album is driven by an even more modern approach and some stunningly good production values, but on top of that, each and every song represents a new high point for the band. Bigger guitars, better vocals, even more hooks and a truly original sound.
They really have matured into a fine outfit and better defined their unique sound and style.
Black Cat is a thumping, intense opening track, but What If is one of the songs of the year, with its killer chorus and driving beat.
In For The Ride is one of two tracks featuring the writing duo of Bill and Will Champlin and the commercial aspect of their writing is evident. Another amazing chorus here.
The rest of the album is written by the band themselves and if Follow Her doesn't convince you these guys are geniuses, then nothing will. Pure anthemic melodic bliss.
Inside Of Me is an intense and very likable rock album track.
Blind Hearted will vie for song of the year with me – just another example of a powerful band with a killer modern sound, yet so accessible. This is brilliant from start to finish and should be all over radio. Harem Scarem fans take note! You'll love this.
Here I Am dials back the intensity briefly. Another wonderful melodic hook and chorus.
Access Denied is a very modern track that shows what a fast driving hard rock song can be in 2013 with classic melody and modern sounds. Awesome again!
Coming Home is a moody and intense song with another good chorus.
The mid-tempo, but heavy We Don't Belong is simply put – another winner!

The Bottom Line

The only good thing about not being on my label is that I get to write this (slightly unbiased!) review for the guys. 11 tracks, 37 minutes these guys are the Harem Scarem of Sweden. Modern, driven by killer choruses, no padding, just brilliance.
In an age of pieced together projects and unnatural partnerships, this hard working band deserve to be superstars.

Brett Walker Straight Jacket Vacation

AOR Heaven

· Produced By: Brett Walker

· Running Time: 51

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: AOR Heaven

93%

I guess I have to admit to putting off reviewing this release. Since the tragic untimely passing of Brett earlier this year, I haven't played this much. But I owe it to Brett now to finally spin it again to showcase just what a great album it is.
To detail the history behind this album, Brett and I had been working together for the best part of a year working towards doing this release together.
When it was finished, the fact was it cost a lot more to record than Brett anticipated so a larger deal was sought.
Into the picture comes Georg at AOR Heaven, who had the good sense to jump on this album.
I am very close to these songs, having lived with them from the rough demo stage, all the way to competed masters.
It was my pleasure to arrange the songs for the sequence they appear as on this release. I think it flows beautifully (if I dare say myself!)
So it's easy for me to say this is Brett's best album since the classic Nevertheless album and I think others will agree. I urge any fan of Brett's previous work to get this ASAP.
Brett's voice is just one of those that was made for melodic rock – he glides over the music with incredible ease and with beautiful harmony in each line.
Alongside the brand new tunes are a couple of old favourites. The perfect Midwest AOR anthem Better Than Goodbye was covered previously by Matti Alfonzetti and Waiting For Love is of course the Alias #1 hit that Brett wrote with Jeff Paris.
On Straight Jacket Vacation we have the classic Brett Walker style that Nevertheless encapsulated with the breezy opener Reaching For The Stars; I'll Be It Hurts; More Than I and Unlucky In Love. So good to hear that fresh sound again.
Then we have the other side of Brett – the earthy Midwestern tones best showcased by the hit single in waiting What About You; the relaxed Streetlight Burning; and Good Enough.
And just to throw us off guard, Brett includes a couple of left turns in the fuzz-pop-punk of I'm Gonna Fly and the lyrical bite of Someday I'm Gonna Be Famous.

The Bottom Line

It is beyond tragic that this will be Brett's final album. I still hate thinking about that, but what an album to be left with. A definite highlight of the year for me and I will be eternally grateful to be involved with Brett as a friend and on this project.

Sparklands Tomocyclus

Avenue Of Allies

· Produced By:Sparklands

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: www.avenue-of-allies.com

87%

Another new European AOR project – Sparklands is brothers Thomas and Robert Riekerk, together with session players Rolf Perdok (guitars), Rob Vermeulen (bass) and Colin Lee Vermeulen (drums) making up this debut album.
Hailing from the Netherlands, Sparklands don't deliver anything ground breaking new, but they do seem to know their craft and the style they are aiming at – that is, European uptempo AOR, with plenty of keyboards and a splattering of guitar driving these songs.
I can hear hints of Stage Dolls, Houston, Wigelius, maybe current favourites Work Of Art and of course the old favourite – Toto.
You know the style – you'd almost expect them to be Swedish!
Highlights might include the opening two sweet harmony filled AOR tracks The Game and Skyline; the very sugary, but ultimately very likable Afterlife; the moody and relaxed State Of Mind.

The Bottom Line

14 tracks at 55 might be a couple of songs too long, especially as one is an instrumental but generally speaking, this is a very consistent and enjoyable European AOR album. Not quite yet the quality of their peers, but a healthy debut.

The Theander Expression Stange Nostalgia

Avenue Of Allies

· Produced By: Andree Theander

· Running Time: 45

· Release Date: 2013

· Released: EU

· Musical Style: AOR / Westcoast

· Links: www.avenue-of-allies.com

92%

Who is The Theander Expression? Swedish guitarist Andree Theander – that's who. And with him on this classy AOR/Westcoast themed album are his friends Göran Edman (Street Talk, Glory, Yngwie Malmsteen) and very promising newcomer Christian Hedgren sharing the lead vocals; Herman Furin (Work Of Art, Fergie Frederiksen) on drums; Linus Abrahamson on bass and Michael Ottosson on keyboards.
The tempo moves around from fairly laid back to uptempo AOR, but always it's all class. So much so I would have signed these guys to MRR. It's just one of those albums that I think sits a little above the shoulders of some others for being that little bit different.
The sound is very familiar – but the skill of the musicians and the way the songs are structured really caught my attention.
The fast moving feel good Conception of Life is Goran Edman at his Street Talk AOR best while the more mature Strange Nostalgia (featuring vocalist Hedgren) is equally appealing.
Insanity Call is the type of Toto-esque Swedish brilliance that Work Of Art delivers; Edman again shines on Like A Chameleon and the uptempo Toto styled Sanguine.
Feelings Of Luxury is a jazzy pop/Westcoast style I sometimes avoid, but Goran delivers a brilliant vocal over a catchy chorus.
Mr. Know-It-All is another feel good anthemic AOR gem; while Masterpiece in the Dark is pure Seventh One era Toto.
Meet Me There Tonight is another great track – a heartfelt ballad this time and the Goran Edman sung Champagne Wishes and Caviar Dreams is another Toto styled pop rocker to close the album out.

The Bottom Line

Another gem from Sweden and another quality debut album that should immediately put The Theadner Expression on the map. Quality songs, quality performances and quality musicians. Highly recommended for fans of AOR Toto, Work Of Art and the new brigade of Swedish awesomeness.

Kick Memoirs

Escape Music

· Produced By: Mickey Jones

· Running Time: 40

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: Escape Music

70%

To start with, if we are totally honest here, it's not really Kick is it? This is a new Mickey Jones solo project, dressed up under a more commercially viable name.
I don't mean that to sound as harsh as it might – but it is the reality of the deal, with past Kick members absent.
The album features songs that were written and produced by Kick's principle songwriter, Mikey Jones and follows up from his last solo release of several years back.
There is a lot of the Kick sound here and for that I'm grateful. I loved the band and wished they got a bigger break. Their straddling of modern and classic styles has a lot of commercial potential.
And the vibe continues here – but with mixed results. First of all, I definitely miss the fine vocal delivery of Nick Workman (now in Vega). Mickey Jones has the rougher feel of say Robbie from Goo Goo Dolls vs Nick being the Johnny Resneck of the band.
And some of these songs are truly off the wall. Stylistically they almost fall into alternative/experimental, and they certainly don't follow your AOR-101 path.
The production is better than expected and the depth in songwriting is certainly something to admire. But are these songs overly likable at the end of the day? That'll have to be up to the individual listener.

The Bottom Line

There are some great passages of melody here, but often they are cut short with an odd choice in chorus or a left turn that derails the track. Kick in name, but not in nature.

LaValle Dear Sanity

Kivel Records

· Produced By: Ty Sims, Paul Logue, Eddie LaValle

· Running Time: 49

· Release Date: 2013

· Released: USA

· Musical Style: Melodic Hard Rock

· Links: Kivel Records

86%

You may not have heard of him before, but you won't forget newcomer guitarist Eddie LaValle now - especially seeing that his album kicks ass and includes the powerhouse lineup of Paul Logue (Eden's Curse) on bass, Carsten Schulz (Evidence One, Domain, Midnite Club) on vocals and Ramy Ali (Evidence One).
Most of the songs are written by Eddie with lyrics by Paul and the style of the album is not far removed from Carsten's other projects Evidence One and Midnite Club, with some Eden's Curse writing and harmony vocal style thrown in.
Now Eddie is an American guitarist partnering with these European guys, so you have to factor some good old fashioned American rock n roll attitude blended into the above.
This is just a very good, very consistent melodic hard rock album with plenty of harmony vocals and plenty of hard edged guitar driven songs.
I must admit to not being huge on the opening track, but the catchy Scared To Love and the brilliant and intense Don't Cry well and truly make up for that.
Other highlights include the upbeat rocker The Lucky Ones; the big ballad Break Your Heart and the Evidence One styled Cry Of The Wolf.

The Bottom Line

Well worth checking out for fans of the above artists and fans of honest, no frills melodic hard rock.

Reece Compromise

AOR Heaven

· Produced By: Kelly Peterson, Joey Vera, Martin Kronlund

· Running Time: 43

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: AOR Heaven

87%

Star vocalist David Reece returns with his second solo album. It's been a busy few years for the singer, with Bangalore Choir, Reece/Kronlund and Gypsy Rose all part of recent history after a period of relative quiet.
It's great for fans of the singer to be surrounded with such strong releases and Compromise is anything but! This is a no holes bared, good old fashioned, honest hard rocking album with a lineup that includes Ronnie Parkes (7 Witches), guitarist Jack Frost (7 Witches, Savatage, Metalium), keyboardist Paul Morris (Rainbow, Doro, Jurgen Blackmore), and special guests Christian Tolle and Andy Susemihl.
This is not a commercial rock album though. Songs need a little time to absorb and the material is all very much in your face.
The noted exception to that is the wonderfully heartfelt ballad Someone Beautiful, which shows Reece's voice in a brand new light.
A cover of the Creedence classic Fortune Son is also good fun although I wouldn't have placed it in the front part of the album.
Fans of Reece's gruff vocals and attitude laced delivery will love the hard hitting tracks Disaster, End It All, Evil Never Dies and the furious All Roads Lead To War.

The Bottom Line

Quality performances and quality recording. As long as you are a fan of David Reece, this is another one for the shopping list.

Lost Weekend Evermore

AOR Heaven

· Produced By: Martin Kronlund

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock/AOR

· Links: AOR Heaven

88%

With all due respect to Lost Weekend, they are an unremarkable band. What mean is that they just do their thing without much pomp and ceremony, without the glamor of some other bands and certainly without the hype.
But the truth is they are every bit as good as some higher profile acts and this album proves it. This is a very well-produced album which features some fine traditional British AOR/melodic rock songs.
Waves of keyboards and solid guitar riffs dominate this record, with the dulcet tones of singer Paul Uttley sitting on top. Paul has the laid back kind of voice like Ten's Gary Hughes – not overly expressive and not for everyone, but thoroughly melodic and well suited to the music.
The album has a pretty consistent feel and tempo throughout – a mid-tempo style that doesn't make the music instantly memorable, but the hooks are there and repeated listening is the key here. That's when the songs deliver.
What sounds like a pretty sameish kind of record unfolds to a landscape of great British AOR. It's all very likable should the mood fit.
What I will say is that there could have been a little more control in the editing suite. 12 tracks clocking in at 60 minutes with most around or over the 5 minute mark is simply too much. These aren't epic styled tracks, just your good old melodic rockers and a few tracks definitely could have been clipped at the 4 minute mark.

The Bottom Line

For fans of British AOR like Ten and Dare – the band delivers possibly their best release to date.

Sideburn Electrify

AOR Heaven

· Produced By: Sideburn

· Running Time: 49

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: AOR Heaven

79%

I'm a little over AC/DC inspired riffage – if I want to listen to that style of hard rock, I'll listen to AC/DC themselves.
Switzerland has more AC/DC clones than Australia – no idea why, but Sideburn are another – even if they are one of the best. I'm not sold on the singer's raspy and somewhat strained vocals, but there is no denying this is a solid slice of hard rock and this wouldn't be a bad album to crank in a bar whist drinking and enjoying oneself.
Sometimes I really struggle to come up with a more descriptive or detailed analysis of an album. That's because sometimes it just isn't needed. If AC/DC, Rose Tattoo, Shakra with raspier vocals impress, then…Sideburn is your thing.
I wouldn't call it the most memorable album of 2013, but there's absolutely nothing wrong with it either and the guys can play.
And importantly, it's pretty well produced in that raw, bar room boogie kinda way.

The Bottom Line

At 50 minutes and 14 tracks though…it's about 2-3 tracks too long. There's not enough variety to spear over the length of this album.

Farraday Shade Of Love

AOR Heaven

· Produced By: Stathis Spiliotopoulos

· Running Time: 44

· Release Date: 2013

· Released: EU

· Musical Style: AOR

· Links: AOR Heaven

75%

Farraday is a new melodic rock duo, born in Athens, Greece in 2012. The group comprises of Roy Da Vis, who is the composer, singer, guitarist & keyboard player and Stathis Spiliotopoulos, who is the producer of the project and also plays drums, bass and also supports with backing vocals.
So you have a two man band deal going here, the guys delivering a selection of feel good, fluffy AOR tunes in an old-school 80s feel good style with vocals along the lines of Johnny Lima/Jon Bon Jovi.
Keyboards and guitars get equal billing on these high energy songs, with a few sentimental ballads thrown into the mix.
Production quality is not the greatest – the mix is very up and down across the album and that aspect makes it hard for an album like this to compete in 2013.
I'm sure the style will appeal if you can get past a sometimes hollow sound; this album is straight out of 1984.

The Bottom Line

10 tracks and 44 minutes is a pretty good running time. One for old school fans.

Niva Magnitude

· Produced By: Impera

· Running Time:

· Release Date: 2013

· Released:

· Musical Style: Bluesy Hard Rock

· Links: Escape Music

87%

Swede's Impera are back for album number two, picking up where they left off with their good value debut. I said in my review of that album that is was great to hear guitarist Tommy Denander crank it up and stretch out as far as his riffing and solo delivery.
He's still got that same guitar tone as always, but the production behind the debut and this album also is pretty impressive and helps beef up his sound overall. I'm particularly impressed with the rhythm section on this new album and the production gives it a real thumping beat.
As always vocalist Matti Alfonzetti sounds impressive and perfectly suited to the music. His voice one I could listen to for hours on end. Impera's style is a little different than some of the more instantly recognizable melodic rock being delivered out of Sweden.
This is a bluesier slice of hard rock. Crunchy hard rock guitars with a blues edge and Matti's voice in a more sultry delivery.
The only issue I have here is the work required to get into the songs. Even as I write this review there are still a few I'm not getting into, but the majority have finally clicked – but they required a lot of listening – more time than some others are likely to give.
Tommy Denander sounds great and rocks like never before and the rest of the band all deliver great performances. But the songs do require some effort to like and a few tracks with a more commercial feel could have balanced out the album in a more satisfying manner.
They really need to work on the hooklines within the songs. Everything else is in place.
Highlights include the punchy opener Beast Within; the slower bluesy ballad of sorts Since You've Been Gone; Easy Come isn't far short of being a great track and You And I is one that really grows into a favoruite.
The groovy and sultry Fire And The Flame is a good grinding track that's beauty is revealed with repeat listens.

The Bottom Line

But the general view I hold is that the album sticks to a similar pace throughout and some additional hooks could have gone a long way. As stated, everything else is in place, so the third album from the band should be their classic. Let's go guys!

Eden's Curse Symphony Of Sin

AFM Records

· Produced By: Paul Logue (Mixed: Dennis Ward)

· Running Time: 67

· Release Date: 2013

· Released: World

· Musical Style: Melodic Hard Rock

· Links: Eden's Curse

97%

Far too long between drinks for Eden's Curse, but they make up for it in fine style with an album that captures your attention from the get go and delivers everything you loved about the band, just intensified.
The guys are now looking to recapture lost momentum with over a dozen songs that deliver the Curse sound and style as expect, but with a surprising twist – the band is more melodic than ever.
The guys continue to deliver powerhouse hard rock, but instead of cruising (cursing?) towards melodic metal, Symphony Of Sin pulls towards melodic rock. However, they don't give an inch on quality or production values, nor in the intensity that the past albums delivered.
Produced by Paul Logue and mixed and mastered by constant collaborator Dennis Ward, Symphony Of Sin might just open the band up for a wider audience, especially as Serbian vocalist Nikola Mijic sounds remarkably like Kevin Chalfant in places, giving the material a further melodic edge.
I have to make a small (positive) point – I'm grateful to the band for not cutting the epic opening track into an “intro” and the song itself. I love those big building opening tracks that run at 6+ minutes and this 7:40 epic rocker is trademark Curse and just sounds that more epic for having that intro built in as part of the full song.
Break The Silence is a double kick drum pounder that sounds like Kevin Chalfant joining Hammerfall. Fantastic. The lower toned harmony vocals add that heavy edge, while Nikola's vocals glide over the top.
Evil & Divine is again a classic Curse track that could have come from any of the previous records and is a natural single. The high notes reached in delivering the hooks are something to behold.
Unbreakable is already being heralded as a new high point for the band and I think is an idea opening for new fans to check out the guys. Heavy, passionate and perfectly anthemic come chorus time while the drums hammer home the power. The soaring chorus and instantly likable hook makes this track a gem.
The near 6 minute epic power ballad fallen From Grace is power and finesse at the same time, with some astonishingly good vocals in play.
Losing My Faith turns things darker and heavier again and takes me back to the sound of the band's debut. Another solid track in an album with no filler.
Rock Bottom is another stand out for me as the power that drives the verse gives way to an almost AOR chorus – one that sticks in your head from the first spin. Again the Chalfant comparisons come to mind, but KC never sang with a band like this behind him.
Great Unknown, Turn The Page and Wings To Fly are just a flat out, fast moving feel good rockers with catchy choruses.
Sign Of The Cross features another stand out vocal from Nikola and stands alongside the band's best material with plenty going on in the guitars department – both electric and acoustic.
Devil In Disguise rocks hard and Where Is The Love is the perfect way to close the album – in traditional Curse fashion, rocking with a twist and a big chorus filled with harmony vocals. Awesome.

The Bottom Line

A 'must investigate' for all fans of this site and the music within. Power, melody, harmonies and major label production. Terrific songs and a wholly likeable singer brings this band to new heights and kick-starts them into a new chapter with plenty more to come.

The Winery Dogs The Winery Dogs

Loud & Proud

· Produced By: The Winery Dogs

· Running Time: 60

· Release Date: 2013

· Released: World

· Musical Style: Melodic Hard Rock

· Links: The Winery Dogs

95%

I've read some amazing accolades for this album and for the most part I'm going to mirror those. This is a fabulous record without doubt.
This is an impressive debut for the guys. Can three legends of the biz actually claim an album like this to be a debut? I say that in jest, as the guys have all recorded together and played together in the past, so the pairing seems so natural and they have so much experience between them, it hardly seems fair to pit other debut albums up against this immense record.
The production quality here is phenomenal too. The record sounds so crisp and clear and had this same sound been used on the last (brilliant) Mr. Big album, I probably would have rated it 110%.
Whatever discussion the fans had on that album's Kevin Shirley delivered sound has been corrected here.
And Billy Sheehan - the guy is simply a freeking genius. I could listen to his bass playing all day, all night, all year. Mike Portnoy delivers his expected powerhouse performance behind the kit, adding more groove than I've heard from him in recent years.
And Richie Kotzen simple sounds amazing as usual. His bluesy and quirky tone is not for all, but when in accompaniment from such legends as Billy and Mike, it's hard to imagine anyone else on vocals. Except for maybe Eric Martin – for as much as the guys stand on their own, I can't help but hear a lot of Mr. Big going on here (and that's a good thing).

Highlights include the naturally Mr. Big sounding anthem Elevate; the bluesy melodic angst of I'm No Angel; the immense musical intensity of The Other Side; the warmth and passion of You Saved Me and Damaged; the hard rocking wall of sound on Not Hopeless and Six Feet Deeper.
But most songs are great stuff. Funnily though, the only one I'm mot warming to is Desire, which I think it completely out of place at track two., In fact, the ones thing I'd say about the album is that perhaps the sequencing of tracks is a little “off”. Not sure what order I'd run them in, but I think that's the album's only flaw for my personal experience. Maybe 1 or 2 tracks too many also. It's a long record.

The Bottom Line

The Winery Dogs are firmly on the map with album number one, it makes one wonder what's going to be possible with album number two after touring together and really having a chance to feed of each other's talents. More please! But not before a new Mr. Big record please Billy.

Find Me Wings Of Love

Frontiers Records

· Produced By: Daniel Flores

· Running Time: 54

· Release Date: 2013

· Released: EU/US

· Musical Style: Melodic Rock

· Links: Frontiers

95%

This album is best described as a 54 minute, seat of your pants, AOR powerhouse ride. Producer/musician Daniel Flores brings his a-game to this free flowing, uptempo melodic rock gem, fronted by one of the biggest voices in the business today – Robbie La Blanc (Blanc Faces).
The sound won't be unfamiliar to fans of European AOR – the formulated mix of driving rock guitar and prominent keyboards, plus a thumping rhythm section has been done over many times, but seldomly as well as this.
Why so good? As stated the production quality and general pace of the album is very engaging, but the songs themselves are first rate.
And Robbie La Blanc has thrown himself head first into these tunes. He really does sing his ass off.
Primarily we have 4 Martin Brothers tunes here and several from Alessandro Del Vecchio (him again?!!). All quality songs!
The driving force of Road To Nowhere and Another World are undeniable, then there is the super melodic anthem Dancing To A Broken Heart (wonderful!) and a big AOR power ballad in Eternally.
Firefight gets heavier and edgier; On The Outside features another big vocal; On Soul is a fast moving tour de force with a killer chorus; Powerless is a little more restrained but features another strong chorus.
Bottom Of My Heart moves fast and has a feel good element to it.
The building anthemic Unbreakable is an Erik Martensson song, so you know it's all class.
Wings Of Love is yet another strong chorus and the album closes with the heavy/edgy Your Lips, which is a powerful way to close any album.

The Bottom Line

Get it. Simple as that! Big, loud, powerful.

Little River Band Cuts Like A Diamond

Frontiers Records

· Produced By: Rich Herring & Wayne Nelson

· Running Time:

· Release Date: 2013

· Released: World

· Musical Style: Pop/Rock/AOR

· Links: Frontiers

92%

Is this really LRB? Well, no, not really, but the name has floated around since the 90s with very different lineups than what is remembered for delivering all the hits of the 70s and 80s and ownership of the name has swapped around per court hearings, so it is a little messy.
So I'll take this album on face value. The band is long time member Wayne Nelson and some new faces, but what is most important is the musical content.
And I have to say – the guys have really delivered here.
They can't take much credit for the songwriting though. Only a few self-penned tunes here. What they can take credit for is choosing the right songs to record and in turn, making them their own, with a classic breezy Westcoast/pop/AOR Little River Band sound in play throughout.
The production is also nice and crisp and clean.
This is a pretty laid back affair, but the songs really do make for a thoroughly enjoyable experience.
The harmonies and hooks of The Lost And The Lonely and Forever You Forever Me are simply superb, and the title track Cuts Like A Diamond is another gem – no pun intended.
I'm An Island is a semi-country influenced tune, reinforcing the style of this album, but it remains a classy song.
And so it continues… The band doesn't really lift out of second gear, in the same way the Rembrandts tended to do on their debut.
The pace drops away a little further towards the end….only Who Speaks For Me really stands out in my mind of the last few tracks, but otherwise this is a very consistent record.

The Bottom Line

But overall, a very solid pop/rock record with Westcoast and AOR touches. Sweet harmonies, pleasant songs and lush harmonies. Pretty much what LRB always have been known for.

Arc Angel Harlequins Of Light

Frontiers Records

· Produced By: Jeff Cannata

· Running Time:

· Release Date: 2013

· Released: EU/US

· Musical Style: Progressive Melodic Rock

· Links: Frontiers

90%

Chances are that the main group of people looking at buying this album are well aware of prog-pop-miester Jeff Cannata and his unique musical visions.
Jeff delivers thinking man's AOR – adult melodic rock with a slightly progressive twist, a raspy, moody vocal and layers upon layers of keyboards and guitarist.
Anyone familiar with Jeff's earlier Arc Angels release or his own solo releases will know that this is classic Cannata.
Everything expected is in play here and the production, while fairly raw in one sense, is authentic and works well with the material on offer. Very 70s in places…very real.
Songs wise Jeff delivers some great stuff here.
The twisting hooks and key changes, the leading bridges and moody verses are all part and parcel of the Arc Angel experience.
Favourites are plentiful. Of course the opening track is a winner as is As Far As The Eye Can See.
War is a particular favorite, with the mix of piano and acoustic guitars with heartfelt lyrics offering something unique.
The ultra-moody Voice Of Illuminati is cool; the soaring Kansas styled pomp-epic Through The Night is tremendous and the vocal a highlight and California Daze is an unusually upbeat and positive AOR anthem.
Same with the acoustic driven Get To You – a nice up-tempo double header for Cannata fans.

The Bottom Line

A must buy for those in the know. Others looking for something a little different and some musical intelligence to balance out the pink and fluffy, check this out!

ColdSpell Frozen Paradise

FRCD611

· Produced By: Whitesnake

· Running Time: 2CD

· Release Date: 2013

· Released: WORLD

· Musical Style: Hard Rock

· Links: Frontiers

87%

Ok, just to summarize – in the last decade Whitesnake have delivered no less than 5 live albums; 3 box set compilations and just two studio albums. That output is a little uneven and one hopes this is the last live album for a lengthy period.
That being said – it's probably the best of the bunch as far as a kick ass Doug Aldrich led band and a set list heavy on promoting those 2 studio albums.
The track list of the Made in Britain disc mirrors the Made In Japan disc closely – as stated, concentrating on the band's last 2 studio albums.
It is the more expansive “World Record” second disc that I appreciate even more so. Songs taken from various shows around the place – the lesser played songs of the tour, but some more great 'Snake tunes at any rate.
And again – they all sound marvelous in the manner in which this lineup executes the songs.
Again I could really do without these silly solo spots, but they aren't likely to disappear from Whitesnake's repertoire are they?

The Bottom Line

Oh well…another one for the die-hards. If you already have Made In Japan, this is probably next on your list. If you are wondering which of the two is better – I'd go with this.
But enough live releases already!

Deep Purple Now What?!

· Produced By: Bob Ezrin

· Running Time:

· Release Date: 2013

· Released: WORLD

· Musical Style: Hard Rock

· Links: Deep Purple

92%

It's taken me way too long to get to this review, but it wasn't all because of other things in the way. It's taken me an age to really get to know this album and decide if I just liked it, or really loved it. And I'm still not totally sure I love all aspects of it, but for the most part I have given up resistance to a couple of tracks I wasn't warning to and am just enjoying the rest.
Deep Purple's 19th studio album was a long time coming, but in the end was worth the wait.
Interestingly enough, for me I think the star of the show is successor to the late Jon Lord, Mr. Don Airey. He is all over this record with a ton of keyboard/organ tricks and fills and at all times is the backbone to the songs.
Ian Gillan sounds in fine form as does the always dependable Steve Morse. I think this is the band's best record since the classic first post-Blackmore release Perpendicular. But it has taken me some time to reach that conclusion.
I love the way the album opens. The building tension of A Simple Song is almost a song in itself and I could have used more of that great vocal melody from Ian Gillan. The other part of the song is a terrific straight up rock song.
Weirdstan is an apt title for a song that is diverse and offers some side passages of musical intrigue.
The 6 minute Out Of Hand is a classic Purple 70s rocker; while Hell To Pay is a faster mix of the band's 70s sound and their 80s output. I like it a lot.
Bodyline is a true groover and one that took some time to grow on me.
The darker and heavier Above And Beyond sees Ian Gillan deliver one of my favourite vocals for the album – good chorus too.
The band loses me a bit on Blood From A Stone which is followed by the intense 7 minute theatrical rocker Uncommon Man. I love the organ parts of this song and the whole overall vibe of it.
Après Vous is another groove rocker that sits in that mid-tempo plod that I'm not often a fan of.
All The Time In The World has a nice melody and a memorable chorus, but I think the sequencing of the album is a little off as I don't think this track suits being placed at this point in proceedings. Sonically it reminds me of Perpendicular.
The single Vincent Price sits second to last in the album, which again calls into question the sequencing of the album. Truly bizarre choice of single – it's one of the least memorable songs on the album.
Closing with the boogie rock n roll of It'll Be Me leaves me scratching my head. In fact, the sequencing of the last half of the album doesn't work for me at all, even if the songs themselves are ok.

The Bottom Line

A few misses, but a lot of good stuff within this album and I think the band has managed to capture the essential vibe of what a Deep Purple album in 2013 should sound like. Some inspired passages of musical brilliance and a couple of WTF moments.
But overall, the end result is an album I know I'll continue to play after this review process has been completed. Legendary producer Bob Ezrin hs managed to pull some interesting stuff out of the guys.

Newman Siren

AOR Heaven

· Produced By: Steve Newman

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: Newman

94%

Steve Newman is as about as regular and dependable an artist as you can get in this business. Another year (well, it's been 2 actually) delivers another fine Newman release to devour.
I've seen Steve develop his sound over the years and while I have really enjoyed every release, I did see him toughen up over the last few years and move away a little from the more AOR sounds of his earlier work that I personally prefer.
I am absolutely thrilled with this new Newman album for two reasons. One – the songs are just super compelling and super catchy.
Secondly – the sound mixes the recent harder edge sound with everything I loved about Steve's earlier work. There's a more pronounced AOR feel to several tracks and a ton of keyboards on here.
On top of all that – the album is one of his best sounding releases ever – production is terrific and there are a couple of absolute monster songs that will be right up there for end of year awards.
Highlights from the crunchy and melodic Siren include the pounding anthemic opener Scar Of Love, blasting a beefed up drum sound from Eden's Curse drummer Pete Newdeck; the wonderfully and blissfully melodic rocker Arcadia, featuring some memorable lead vocals and harmonies; and the contender for song of the year Feel Her Again – one of Steve's best melodic rock anthems with a chorus to die for; the drums are again in power overdrive for the hard rocking brilliance of Some Kind of Wonderful.
The title track Siren is also another great track; Crossfire mixes things up with hooks swapping in and out; and the big impassioned ballad The Foolish One is perfect and features a nice guitar solo.

The Bottom Line

The album mixes the best of yesterday and today. An 80s melodic feel, but with updated production and it also mixes the best of Newman of the 90s and more recent styles. But above all – great production and some of the best songs in one place that I've heard from Steve in a while. Just quality all-round.

Robin Beck Underneath

Cargo Records

· Produced By: James Christian

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: Robin Beck

92%

I have read some interesting comments about this release already, so I guess it's time to weigh in with my verdict. Some don't seem to like Robin's updated sound on several songs within this record, but it's something that I think suits her beautifully.
She has already proven she can sing rings around most and can deliver classic AOR in her sleep. So why not branch out a little?
The modernized sound of this record and the catchy nature of the material prove that Robin is still a force to be reckoned with and if any number of these songs was covered by the likes of Pink or Katy Perry, they would be all over radio.
It isn't modern rock by any stretch; it's just updated and contemporary AOR/melodic rock. I hope people have an open mind here, and there is still plenty of “old” Robin to enjoy also.
With songs like the bombastic and pomptastic Wrecking Ball, how could you go wrong? Simply one of Robin's best songs ever as far as I'm concerned and the updated production gives it a real hit single kinda feel.
Ain't That Just Like Love is the best song Fiona recorded in my mind, and Robin delivers a great version of it here.
The quite modern sounding Sprain could be on radio anywhere in the world, no doubt. I like the extra aggressive edge in Robin's voice.
Underneath is something very special indeed. What a powerful, emotional and enduring ballad. And what a vocal! Outstanding. Love it.
Ok, so every great album is allowed a WTF moment and Catfight seems to be the one most people have decided is this album's moment. Right at home on any Pink album, the song is another instantly memorable pop-rocker with angst. I'm not a big fan of this track though.
Check Your Attitude is perfectly placed next to Catfight as it's the album's other “ultra-modern” track. Again, not a favourite chorus, but I do love the absolute barnstorming pace and attitude of the song.
Burnin Me Down is a gorgeous ballad and another duet track with hubby James Christian. Another solid hook and chorus.
Perfect Storm is an uptempo, slightly darker melodic rocker that has certain House Of Lords vibe.
Ya Can't Fight Love is a more easy going, breezy, feel good pop rocker.
I Swear The Nights will get my vote as one of the year's best ballads – there are some good ones around this year. A huge vocal, huge chorus and huge 'hell yeah' from me!
Follow You is a brilliant version of the Glen Burtnik AOR classic. No one could screw up such a good song, but Robin makes it her own with a spirited vocal and a guest solo by Glen himself. Wonderful! And a cool way to close the album.

The Bottom Line

There's a great balance of melodic rockers, heartfelt ballads and more contemporary numbers on this album. Some might not like the update approach, but I think the tracks all work well together. Coupled together with some of the best vocals I have heard from Robin and a great sounding record, I think all fans of the gal will eat this up.

Lawless Rock Savage

Escape Music

· Produced By: Hume / Ogden

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: Escape Music

75%

Lawless are a pretty basic British melodic metal outfit featuring current Demon members Neil Ogden and Paul Hume along with Persian Risk guitar maestro Howie G and HeadrusH bassist Josh "Tabbie" Williams.
Their style is 80's anthemic classic rock with a solid beat and an impressive production quality.
The guys have nailed their brief as far as the sound is concerned; this is traditional old-school metal and hard rock. And at 11 tracks for 55 minutes, it is quite a lengthy release with most tracks coming in around the 5 minute mark.
There are some contemporary touches with the occasional down-tuned guitar, but for the most part their influences are classic Saxon, Dio and the band adds in Queensryche and Gotthard in their bio. Not sure about those last two.
The only issues I have with this release is that the vocals are a little flat or understated for my liking and I don't think the songs are as strong as they could be in the hooks department.

The Bottom Line

A solid sounding record, but a little more energy is needed.

Until Rain Anthem To Creation

Escape Music

· Produced By: Until Rain / Jens Bogren

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Progressive Metal

· Links: Escape Music

88%

Progressive metal and Greek folklore isn't necessarily what I would order for breakfast, but Greek hard rockers Until Rain seem to know what they are doing.
Musically the band suggests they sit “comfortably between the melodic progressive metal of Shadow Gallery or Circus Maximus and the more epic orchestral power of Symphony X or Time Requiem.”
Not sure I can add to that. Sounds about right. What I can do is say that the album packs a powerful punch. There is no denying the band's technical abilities, or their instrumental prowess.
This is a very intense and complex record that won't be digested in any one sitting.
I think it's done pretty well. I like some progressive when it's done well and these guys are seriously intent on blowing my speakers apart with some super heavy riffing and double pass thrashing.
I'm not totally sold on the vocals, although there aren't any accent issues going on. I think the main aim of the record is to pack in as may riffs as humanly possible. Chorus structure and hooks are a distant second in this regard.
My Own Blood is a more restrained and melodic track that I like and the strangely titled 10 minute epic Empty Helmet gives prog fans something to really sink their teeth into.
11 tracks and 79 minutes – including one 18 minute epic with theatrical and orchestral passages – and another 9 minute album closer – means that this album is not for the feint hearted.

The Bottom Line

There are rewards for patience and the whole affair is very well produced. But not for fans of pink and fluffy!

James Christian Lay It All On Me

Frontiers Records

FRCD609

· Produced By: James Christian

· Running Time: 45

· Release Date: 2013

· Released: EU/US

· Musical Style: Melodic Rock/AOR

· Links: Frontiers

84%

James Christian returns with solo album number 3 – his first in nearly a decade thanks to a busy schedule with House of Lords. Lay It All On Me is quite a superb set of songs, penned mostly with his HOL band mates following a tough, but successful battle with cancer.
The songs are some of the catchiest and most melodic from James in one place at one time. There are lots of keyboards on here – more than any recent HOL release and it's great to hear James singing along with them. The album does at times remind me of the keyboard dominated House Of Lords debut – an all-time classic for me.
And I'd have no hesitation in rating this album well into the 90s. Except for the production. And no, I'm not reviewing from MP3s, I have the finished completed CD here.
The quality really is extremely questionable and of major disappointment to me after James has previously proved his worth, producing his wife Robin Beck's own album and the more recent House Of Lords releases. So something has clearly gone wrong here.
The sound quality really does take away from my personal enjoyment of the songs. I have however, seen a lot of very favorable fan responses for the album, so it seems production quality is not as important to some as I thought it might be. To me though, it is.

For example – the sound on the opening lyrically reflective anthem Lay It All On Me is really quite hollow and the mix is totally dominated by a thumping overbearing bass line. Then on the next track Sacred Heart (great melody), the bass is still there, but there is almost no drum sound at all and the audio sounds as if it is coming from an AM radio.
Day In The Sun sees the full rhythm sound return – but the sound is still thin, giving the album a real up and down approach. But what a song. A clearly positive anthemic melodic rocker, Day In The Sun sees James in great voice and features a fine melody.
The mid-tempo pure keyboard filled AOR of Believe In Me has a terrible drum sound again, but is another wonderfully moody melody and another favourite of mine.
You're So Bad is a nice hands in the air type feel good AOR song as is the keyboard heavy Don't Come Near Me – but again, the sound is so muddy, some enjoyment is taken away.
Let It Shine is another feel good, moody song filled with keyboards.
She's All the Rage is more or less a House Of Lords song, but with worse production.
Sincerely Yours is infectiously catchy, but sounds utterly buried in a tunnel such is the hollow sound. Almost unlistenable, which is a shame. James' vocals sounds like they were added via that AM radio again.
Shot In The Dark sounds a little better and is another memorable chorus.
Welcome to Your Future sounds like it has programmed drums all the way through and even then, they are mixed way down. But again…another quality song.

The Bottom Line

I liken this album to Bob Catley's famous (for the wrong reasons) Spirit Of Man release. Great songs, but unlistenable production and to this day I still can't listen to it.
Same goes here – 11 compelling and wonderfully melodic songs that James sounds great on, but almost unlistenable in places. A travesty as the performances and songs deserve better.
I'd love to hear this whole album re-recorded. Then I could give it a 95. Terrific melodies, songs and style, but that production, not good enough in 2013.

Discography / Previously Reviewed

· Rude Awakening
· Meet The Man
· Lay It All On Me

Line Up:

· James Christian: Vocals, Acoustic Guitar, Bass Guitar
· Jorge Salas, Jimi Bell, Shelby Stewart: Guitars
· BJ Zampa, David Sherman: Drums
· Robin Beck: Background Vocals
· Jeff Kent: Keyboards

Essential For Fans Of:

· James Christian - Rude Awakening
· Kouse Of Lords - House Of Lords

Track Listing

· Lay It All On Me *
· Sacred Heart
· Day In The Sun *
· Believe In Me *
· You're So Bad *
· Don't Come Near Me
· Let It Shine
· She's All the Rage
· Sincerely Yours
· Shot in the Dark *
· Welcome to Your Future

--*Best Tracks

John Waite Live - All Access

No Brakes Records

· Produced By: John Waite

· Running Time:

· Release Date: 2013

· Released: Digital / Online

· Musical Style: Melodic Rock

· Links: John Waite

92%

The legend returns with a new live album – a follow up to 2010's live release In Real Time. But this time around we have a different band in tow. Bassist Tim Hogan remains, joining in now is guitarist Keri Kelli and drummer Rhondo. A tight little outfit is on show here.
There's only 8 tracks on offer – roughly half the length of a full JW live show, but they are 8 great songs.
And what's better – this is about as raw and live as it comes. A straight feed from the show itself, with no overdubs. Big credit to the recording engineers – this set sounds amazing – really loud and in your face, but without some of the naturally occurring sonic flaws live albums can have. And John's lead vocals are really superb here – powerful and crystal clear.
I like the fact we have basically 8 album cuts here, the nitty gritty of what makes John Waite such an engaging artist.
Kicking off is Change, the marvelous lead track from one of melodic rock's most consistent and brilliant debut solo albums (Ignition).
Then we get a taste of the current album in Better Off Gone – quite simply one of the best John Waite songs ever written. And is sounds great in this raw, electric, engaging format.
The also brilliant If You Ever Get Lonely (now a verging hit song from country band Love and Theft), shows John's powerful and unique vocals off nicely.
Head First delves back into the 70s with Keri Kelli's guitar adding a nice raw, hard edged approach that I loved with John's first few solo records.
In Dreams sees things stripped back to an intimate level, with some emotional vocals piercing the atmosphere of the recording.
Mr. Wonderful is another classic cut from the Ignition album and sounds great again here with Keri killing it on guitar – complete with a nice long solo intro.
Evil is another masterpiece track from the Rough & Tumble album. Honest to God, it is a serious injustice that this song wasn't a hit single. With Matchbox Twenty all over the radio and their guitarist Kyle Cook partnering with John on the album version, the pure commercial aspect of this song and its killer hook is undeniable. This rawer, heavier live version is a treat.
And closing the album is one of John's best hard rockers – the double timed rocker Saturday Night – the lead track from the classic No Brakes album. This is a great version too, extended and energetic – wonderful to hear it included in the live set.

The Bottom Line

So that's a wrap, so to the negatives – well, there is only 1 really. It's such an enjoyable set of songs; to have only 8 to feast upon seems cruel! This is primarily a digital release, so the physical copy is a no-frills CD Single style slip cover only. That's ok, a full jewel case would have been nice, but perhaps when there is a second live release (as John has commented upon), perhaps there will be a deluxe CD featuring tracks from both, fully packaged.
But for now – all John Waite fans need this now. A wonderfully powerful and engaging live recording, featuring some great songs from the Waite catalogue.

Discography / Previously Reviewed

· Ignition
· No Brakes
· Mask Of Smiles
· Rovers Return
· Temple Bar
· Falling Backwards - Best Of
· When You Were Mine
· Figure In A Landscape
· The Hard Way
· Downtown: Journey Of A Heart
· In Real Time (Live)
· Rough And Tumble
· Live: All Access

Line Up:

· John Waite: Vocals
· Keri Kelli: Guitars
· Rhondo: Drums
· Tim Hogan: Bass

Essential For Fans Of:

· All JW Fans

Track Listing

· Change *
· Better Off Gone *
· If You Ever Get Lonely *
· Head First
· In Dreams
· Mr. Wonderful
· Evil *
· Saturday Night *

--*Best Tracks

Pat Travers Band Can Do

Frontiers Records

FRCD608

· Produced By: Sean Shannon & Pat Travers

· Running Time: 55

· Release Date: 2013

· Released: EU/US

· Musical Style: Classic Blues Rock

· Links: Frontiers

65%

I'm neither here nor there with Canadian guitar great Pat Travers. His musical legacy is already enshrined for life in the hearts of classic rock connoisseurs. His bluesy tinged classic guitar driven rock n roll has won the hearts of many fans from as far back as the mid-late 70s when the Pat Travers Band was first formed. The first incarnation of that band in fact featured Pat Thrall and Tommy Aldridge in the lineup.
He's released music very consistently throughout his career and this is his first release for Frontiers Records.
There are no big names accompanying Pat here – he is well and truly the star of the show. Now when I say star, it is with regret that I use the term lightly as Pat has well and truly seen better days as a vocalist. His rough and raspy vocals here aren't going to appeal to a lot of folks.
Thankfully his guitar playing hasn't suffered any as he blasts his way through 10 new bar room rockers and a couple of covers – the most noticeable being Here Comes The Rain again by the Eurythmics. Not a bad cover in the sense that it turns the song on its head a little.
There are some decent rocking tunes on here and even a couple of more melodic numbers. But the biggest issue I have here is the production quality. Simply not good enough.
The album sounds rough and almost unfinished in places, especially the lead off track.
The affair has a live in the studio feel, but so does the sound quality. The drums sound pretty thin, the guitar at times distorted and overall the mix just sounds muddy.

The Bottom Line

The combination of rough vocals and a raw production makes this a pretty hard album to listen to and I doubt I'll ever come back to it now I've been through the review process. I'd say that means this is for established die-hard fans only.

Discography

· www.pattravers.com

Line Up:

· Pat Travers: Vocals, Guitar
· Kirk McKim: Guitars
· Sandy Gennaro: Drums
· Rodney O'Quinn, Sean Shannon: Bass
· Doug Bare, Carl Cleaver: Keyboards

Essential For Fans Of:

· 70s Pat Travers

Track Listing

· Can Do
· Stand Up / Give It Up
· Diamond Girl
· As Long As I'm With You
· Long Time Gone
· Wanted (That Was Then / This Is Now)
· Armed And Dangerous
· Here Comes The Rain Again
· Keep Calm & Carry On
· Dust & Bone
· Waitin' On The End Of Time
· Red Neck Boogie

Indicco Karmalion

New Venture Music

· Produced By: Indigo Balboa

· Running Time: 42

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock/AOR

· Links: www.avenue-of-allies.com

70%

Indicco is a Spanish melodic rock project that features the duo of Indigo Balboa (vocals) and Paco Cerezo (Guitars, ex 91 Suite). The band is completed by Antonio Muñoz (ex-91 Suite) on bass, Lean Martinez (ex-91 Suite) on drums and Angel Valdegrama on keys.
So with the pedigree of the great 91 Suite fresh in your mind and Mark Spiro and Jimi Jamison appearing in duet form on several tracks, high hopes were established for this release.
Those high expectations are not quite met however. There are some definite positives within the album and it is a nice example of pleasant 80s influenced melodic rock. But it doesn't match the output of 91 Suite.
The production here is one main issue. In the eyes of some, no matter the quality of the songs, it would never be a world class release or compare to the mighty 91 Suite because of this.
The sound is quite muddy in places and the guitars in particular are buried on the bass heavy mix.
Song wise the lead track Crying does impress. Second track Days Of Wine And Roses shows some flaws in the vocals of Indigo. The heavy accent and pronunciation of some lyrics really stands out unfortunately. When lined up against the great Jimi Jamison on three tracks, that is only further highlighted.
I hate saying this, as there is passion and conviction in the performances and the guys deserve credit for that. And for the most part, the songs themselves are all consistently strong mid-tempo and ballady AOR/melodic rock songs.
But simply put, the production quality just isn't going to give the bigger players a run for their money. Leaving Me, All About You and the Jimi Jamison featured Ride The Wave are the best of the consistent songs.

The Bottom Line

Some star guests and an acclaimed lineup, but not quite the album it could have been with a couple of short comings letting the quality of the material down. Investigate before purchase unless you just have to collect everything Jimi Jamison appears on, even if his role here is fairly small.

Discography / Previously Reviewed

· Karmalion

Line Up:

· Indigo Balboa: Vocals and Additional Keyboards
· Paco Cerezo: Guitars and Additional Keys
· Lean Martinez: Drums
· Antonio Muñoz: Bass and Additional Keys
· Angel Valdegrama: Keyboards

+ Guests Tim Pierce, Mark Spiro and Jimi Jamison

Essential For Fans Of:

· -

Track Listing

· Crying *
· Days Of Wine And Roses *
· All About You *
· Wrong
· Feel So Good
· The Voice Of The Wind
· Leaving Me *
· Grateful
· Moonlight
· Ride The Wave *
· Feel No Shame

--*Best Tracks

Bret Michaels Cashing In With Friends

Indie

· Produced By: No One

· Running Time: Far Too Long

· Release Date: 2013

· Released: US

· Musical Style: Cash In

· Links: Bret Michaels

10%

Utter crap. Purely and simply….shit. Even worse, as at least shit can be used for fertilizer. Composting this release would be akin to dumping a 50 Gallon drum of highest quality Chernobyl soil into your veggie patch.
This type of collaboration release really is the lowest form of musical intelligence. Frankly, I'm amazed that Michaels found yet another excuse to roll out the same tired old songs for yet another run. Note to Bret – no one wants to hear these songs again, ok?
Take for example Nothing But a Good Time. Not only is this version devoid of any energy or signs of life, but he has rapper Lil Jon cannibalize any hint of a chorus melody. My ears are still pissed off with me. Just because you hung out with the dude on Celebrity Apprentice doesn't mean you need to make music with him. Didn't Meatloaf's last CD teach you any lessons?
And Sweet Home Alabama? Oh yeah…there's a song that is never covered elsewhere – let's do that!
I could go on, but frankly – if you need to read any further evidence to decide if this release is for you, then you deserve it.
The production is beyond shiteous. The singing is horrendous. The songs are the same tired old craptastic tunes as featured on Bret's last 4 releases and the energy level rates about as high as his latest foray into getting laid on reality TV.
This is an insult to fans, an insult to all the guests rounded up to appear – seriously – how did he do that? Is Michaels really owed that many favors?

The Bottom Line

In a word – embarrassing. Embarrassing for all involved. Stunning that it took this may people to make an album this epically bad. One of the worst releases by a major artist that I have reviewed in the last 15 years.

Bombay Black Bullets & Booze

Triage Music

· Produced By: Ty Sims & Erik Johnson

· Running Time: 61

· Release Date: 2013

· Released: US

· Musical Style: Melodic Hard Rock

· Links: Bombay Black

90%

It wasn't until I was recently lining up music from those appearing at MRF3 that I realized I hadn't reviewed this gem of an album. Shame on me! So, rectifying this situation now, I can wholeheartedly recommend Bombay Black's latest opus as another essential piece of the BB puzzle.
The band's fourth album sees them continuing to deliver some quality American melodic hard rock, backed with fabulous production and an ear splitting rhythm section.
The band's bombastic anthems backed with layers of harmony vocals have won them a lot of fans over the years and this will only enhance their reputation as a very consistent and reliable band.
The 15 tracks of Bullets & Booze are every bit as engaging as past efforts and every bit as lyrically biting. That's my favorite aspect of the BB style. Their self-depreciating attitude, their funny lyrics and the unique way they deliver salvo's preaching bad nights out, lost love and jilted heroes of the dating scene.
All done with high energy guitar riffing and sing along anthems that stick in your head forever.
On this album we have the groove driven Helluva Time, the opening heavy rocking Queen Of Denial, the hilarious lyrical groove of All The Same In The Dark, the 80s riff-friendly Bad Boy and the killer slamming groove of Love Like This and Dragon Tattoo.
The band's sense of humor even flows through to the CD packaging. I'm sure those with the CD already have found what I'm talking about.

The Bottom Line

These guys know how to make an album sound great, so all you need is the songs and Bullets & Booze has 15 fun time hard rockers that are infectious and engaging.
Another great album from a very consistent band that deserve a lot more attention…and more timely reviews by yours truly. But it's never too late – check this one out asap!

Discography / Previously Reviewed

· Mercy
· Anger Management
· Psycho Magnet
· Love You to Death
· Bullets & Booze

Line Up:

· Erik Johnson: Vocals, Guitar
· Justin Velte: Guitars, Vocals
· Rob McCauley: Drums, Vocals
· Ty Sims: Bass, Vocals

Essential For Fans Of:

· US Hard Rock fans

Track Listing

· Queen Of Denial *
· Rock 'n Roll Pain Train
· Helluva Time *
· All The Same In The Dark *
· Bad Boy *
· Honey Lemon Kisses
· No Room For Emotion
· Let Me Be
· Love Like This *
· Dragon Tattoo *
· Bullets And Booze
· Take Another Picture
· The One You Love
· That's The Way It Is (At A Rock 'n Roll Show)
· One Single Drop

* --*Best Tracks

Magnus Karlsson's Freefall

Frontiers Records

FRCD607

· Produced By: Magnus Karlsson

· Running Time: 53

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Metal

· Links: Frontiers

95%

Manus Karlsson has one of the best guitar sounds in the business. He's also a fine all-round musician and songwriter and we can't forget producer too.
So any new project from the Swedish Guitar God is welcomed in my world. His debut solo album comes some time after a flurry of projects were delivered for his label Frontiers. The trilogy of Allen/Lande records were superb, Starbreaker was also amazing, then there was The Codex and his original (underrated) band Last Tribe.
Now he stands alone, taking a break from guitar work in Primal Fear.
This solo record could almost be classed a 'greatest hits' affair, as he gathers nearly all of his former collaborators to join him on 12 cracking melodic metal songs.
You get the very best of all past Karlsson works in one perfectly recorded album with a monster sound and some even bigger songs. Interestingly, the mixing of the project was left to drummer Daniel Flores, who has done a superb job also.

This is a monster sounding album. The opening metal shred duo of Free Fall (lead vocals: Russell Allen) and Higher (lead vocals: Ralf Scheepers) are just classic, but it's the melodic sounding Heading Out that gets my attention even more so. The man himself takes up lead vocals and I have to say, he sounds great! What took you so long Magnus?
Folks should then prepare to have their senses blown away with what must be in the running for ballad of 2013 with the Tony Harnell sung track Stronger. What an amazing track…and what an incredible vocal. Magnus chimes in with some truly inspired guitar soloing.
Rick Altzi takes us back to the metal with the pounding Not My Saviour (I prefer Rick here than on Masterplan); which is followed by possibly the most commercial anthem of the album - Us Against The World (lead vocals: David Readman, sounding awsome).
Our Time Has Come is a replay of The Codex sound with Mark Boals on vocals. He sounds terrific.
Ready or Not has Magnus back on vocals and sounding great. Another very commercial sounding metal track, followed by a reunion with his former Last Tribe band mate Rickard Bengtsson on vocals…on a track called Last Tribe!
Fellow Swede Herman Saming from prog-metal outfit A.C.T. joins Magnus on the prog-friendly pompous metal track Fighting, which features a driving hook filled chorus.
Another pretty commercial and fast flowing metal song Dreamers & Hunters features Mike Andersson and Magnus himself finishes up the album on vocals for On Fire – another really enjoyable vocal and another great chorus driven song.

The Bottom Line

A winner for all fans of Magnus and his various projects and for fans of the singers involved – which is pretty much the same fan base by my estimations!
So if you know Magnus' style and have anything that he has delivered in the past – jump on this one for a fix of melodic metal perfection.

Discography

· Last Tribe
· Allen/Lande
· The Codex
· Starbreaker
· Freefall

Line Up:

· Various: Vocals
· Magnus: Everything Else
· Daniel Flores: Drums

Essential For Fans Of:

· Everyone Involved

Track Listing

· Free Fall *
· Higher *
· Heading Out *
· Stronger *
· Not My Saviour
· Us Against The World *
· Our Time Has Come
· Ready or Not
· Last Tribe *
· Fighting
· Dreamers & Hunters
· On Fire *

--*Best Tracks

Jorn Traveller

Frontiers Records

FRCD606

· Produced By: Jorn Lande & Trond Holter

· Running Time: 49

· Release Date: 2013

· Released: EU

· Musical Style: Dio

· Links: Frontiers

78%

It is officially time to notify Jorn that he has a problem. I shouldn't have to restate my love for Jorn's voice – but I will. It's awesome. Or at least, it was awesome.
As of this release, I'm handing back by Jorn Fan Club card. He has a very distinct possibility of becoming a parody of himself.
I'd just about given up on Jorn even before this release. Each album has simply become a repeat of the last as he stubbornly holds onto the idea he is Ronnie James Dio's brother from another mother.
There is too just may issues to address. But I'll try.
- His albums plod incessantly. There is little variation in pace.
- The dark heavy tone of the music mirrors Dio too closely.
- Lonely Are the Brave; Spirit Black, Bring Heavy Rock to the Land and now Traveller are essentially all the same album. Dark, heavy, plodding.
- There is far too much other crap released in-between albums. Since The Duke in 2006 we've had three 'best of' releases (Symphonic being one of those and the best easily); three live albums and two covers albums! That's 8 additional albums on top of 4 studio albums. Spend some time away writing the best album you can Jorn. Stop bothering with all the padding.
- His vocals have been steadily deteriorating over this same period. There is far too much yelling and growling on his albums. Where is the God-like voice that soared over the two Masterplan albums…Ark…Milennium…and his early solo albums. The melodic edge has all but evaporated.

I had hopes for Traveller. A new band stepped in. Now I'm pissed off at those guys too. Guitarist Trond Holter and bassist Bernt Jansen (both of Wig Wam) should have brought back the best in Jorn, but they too have succumbed to Jorn's way of delivering the same old formula of previous albums.
Yes, there are a few great tracks on here that show promise – the opening track Overload chugs along pretty well and the more uptempo Traveller impresses, as does the faster still Widow Maker and Legend Man.
But Make Your Engine Scream, Cancer Demon, Carry The Black (black...again?), Monsoon and The Man Who Would Be King just plod in that chugga chugga chugga style that just bores the shit out of me.
Demons…the colour black…crows…kings…it's all done done done Jorn. It's time for a radical overhaul of your approach to songwriting and it's not just me stating this – the chatter has become a chorus of pleases from your fanbase.
The time has come to think carefully about the next album and where to from here.

The Bottom Line

If I hadn't heard that past 3 albums I'd rate this more highly. But Jorn's sound and style needs such a radical overhaul that even a pretty decent album like this falls into the predictable formula that is all too familiar and largely uninteresting to a legion of fans that are as frustrated with Jorn as I am.

Discography / Previously Reviewed

· Starfire
· World Changer
· Out To Every Nation
· The Duke
· Unlocking The Past
· The Gathering
· Lonely Are The Brave
· Dio
· Symphonic
· Traveller

Line Up:

· Jorn Lande: Vocals
· Trond Holter, Jimmy Iversen: Guitars
· Willy Bendiksen: Drums
· Bernt Jansen: Bass

Essential For Fans Of:

· Jorn

Track Listing

· Overload
· Cancer Demon *
· Traveller *
· Widow Maker *
· Make Your Engine Scream
· Legend Man *
· Carry The Black
· Rev On
· Monsoon
· The Man Who Was King

--*Best Tracks

Black Star Riders All Hell Breaks Loose

Nuclear Blast

· Produced By: Kevin Shirley

· Running Time: 45

· Release Date: 2013

· Released: WORLD

· Musical Style: Hard Rock/Classic Rock

· Links: Black Star Riders

91%

There is probably as much debate surrounding the name of this band than there is the actual music on it. Better known as the touring lineup of modern day Thin Lizzy, it was decided not to use the name to record new material (or was it a legal matter that they couldn't in the end?). Either way – I and just about everyone else it seems are happy with the fact.
So it is impossible not to bring Thin Lizzy into this despite the fresh name and the sound within this album is more or less lifted from Lizzy's glory days.
Of course it is guitarist Scott Gorham who stands alone as the only actual member of the acclaimed Thin Lizzy with Phil Lynott. Still, the sound of this album is so authentically Lizzy, I makes me ever the more curious as to why Gorham only has a hand in writing 4 of the album's tracks.
The majority are written by frontman Ricky Warwick and second guitarist Damon Johnson (Brother Cane, Alice Cooper).
Major props to Ricky Warwick here – I've always been a fan of his with The Almighty and his recent solo work, but he has totally captured the spirit and energy of Phil Lynott with his vocals and the band in the songwriting.
Enjoyment of this album is will depend on your outlook. Me….I'm taking it on face value for what it is – a tribute to Thin Lizzy – just with fresh songs and attitude.
And I think fresh is the best description of this. The Kevin Shirley production has once again captured the band in a raw, live, no frills style, but without some of the all-too-prominent bottom end sound that the producer gets criticized for at times.

The songs – very enjoyable to my ears. Totally immersed in the 70s and true to the classic rock sound of the original Thin Lizzy.
The upbeat and catchy Bound For Glory for example could easily have been a part of Thin Lizzy's “Greatest Hits', as could the Celtic strains of Kingdom Of The Lost – giving me a reminder of the great Gary Moore in the process.
Kissing The Ground is straight out of 1975 (as is most of the album) and the storming Valley Of The Stones has a little Almighty attitude buried deep in there.
It took a few spins, but I'm really digging this album and it's not necessarily because I am a card carrying Thin Lizzy fan club member.
It's partly because I'm reminded of Gary Moore's solo rock albums which I love and I think Ricky Warwick is outstanding here.
And the flow of the album is just so smooth. The 45 minutes goes by in a flash, closing with the brilliant 6 minute more reflective blues number Blues Ain't So Bad.
And I must give credit to Jimmy DeGrasso's drum work on the album - a real pleasure to listen to.

The Bottom Line

So name issue or no name issue - the end result is a great 70s blues based retro-rock album. Everyone contributes and the main source of the albums strength is the quality of the song writing. The production style is also perfect for what the album is trying to achieve. I really enjoyed this, more please.

Discography / Previously Reviewed

· All Hell's Breaking Loose

Line Up:

· Ricky Warwick: Vocals, guitar
· Scott Gorham, Damon Johnson: Guitars
· Jimmy DeGrasso: Drums
· Marco Mendoza: Bass

Essential For Fans Of:

· Thin Lizzy
· Gary Moore
· Ricky Warwick -

Track Listing

· All Hell Breaks Loose *
· Bound for Glory *
· Kingdom of the Lost *
· Bloodshot
· Kissin' the Ground *
· Hey Judas
· Hoodoo Voodoo
· Valley of the Stones *
· Someday Salvation
· Before the War
· Blues Ain't So Bad *

--*Best Tracks

Tom Keifer The Way Life Goes

Merovee Records

· Produced By: Tom Keifer

· Running Time: 52

· Release Date: 2013

· Released: WORLD

· Musical Style: Classic Rock / Melodic Hard Rock

· Links: Tom Keifer

93%

The first thing I noticed about this album was just how good it sounds. The guitar sound is so clean and up in the mix and the overall production is fabulous. It's just a really great sounding record.
It's amazing that it has taken the Cinderella frontman so many years to get this album done considering the relative lack of activity from his band.
But vocal problems aside – it's finally here and I think the majority would have to say that it was worth the wait.
So what to expect from a solo Tom Kiefer album? He was the main man behind the majority of the Cinderella material, so would this simply be an extension of that band?
In short – no. It's a more musically adventurous record that explores a retro theme revolving around Tom's bluesy rock n roll roots in the 70s – The Stones, Rod Stewart and Small Faces to name a few.
But there are some contemporary elements in there too – a little of the bluesier side of Cinderella and even a couple of tunes that could almost be country hits given an extra twang/tweak.
It's basically a very organic and earthy feeling album. Very genuine and despite several different sounds and styles within, the album flows cleanly and is very consistent. In short – it suits Tom's vocals and style.
On the rocker side of the ledger you have the feel good uptempo opener Solid Ground, the bluesy swagger of Cold Day In Hell; the guitar driven It's Not Enough and the darker, more contemporary Welcome To My Mind.
On the softer side comes the great country tinged A Different Light and the excellent heartfelt power ballad Thick And Thin. The track that follows Ask Me Yesterday is another quality mellow earthy tune.
Rod Stewart comes to mind with the “flowery” The Flower Song, which closes a mid-album 4 track mellow streak that in other circumstances could be deemed too much. But it works here.
Mood Elevator kicks things back into high gear with a flourish of guitars.
The Rolling Stones in their heyday come to mind with the classic 70s sounding Ain't That A Bitch.
Babylon is a bluesy rocker that closes the album much like it started.

The Bottom Line

After so many years in the making – I had pretty low expectations to be honest, be that fair or not. But the album has far exceeded my highest expectations and I'm pleased to say that Tom and band have really delivered a knockout album here.
Sounds amazing, songs are of the highest quality and the style really matches the attitude.

Discography / Previously Reviewed

· The Way Life Goes

Line Up:

Not Listed

Essential For Fans Of:

· Cinderella
· 70s Rock
· Small Faces/Rod Stewart

Track Listing

· Solid Ground *
· A Different Light *
· It's Not Enough *
· Cold Day In Hell *
· Thick And Thin *
· Ask Me Yesterday *
· Fool's Paradise *
· The Flower Song
· Mood Elevator
· Welcome To My Mind
· You Showed Me
· Ain't That A Bitch *
· The Way Life Goes
· Babylon

--*Best Tracks

Masterplan Novum Initium

SPV Records

· Produced By: Roland Grapow

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Metal

· Links: Masterplan

76%

Mixed reviews floating around for this one and I can understand why. I'll have to side on the negative I'm afraid. This band really has tried the patience of fans. After two killer albums back to back, the band lost vocalist Jorn Lande, delivered a much weaker album with Riot's Mike DiMeo singing; then went back to Jorn only to deliver another weak album and now – they are onto vocalist number 3 in only 5 albums.
This time around we have Rick Altzi fronting the band. Not only do we get a vocalist with a much different approach and sound to that of Jorn, but the band has changed up their style somewhat.
This isn't nearly as pompous and bombastic as the first three records. This time around it is derived from a more straight forward driving metal sound with Altzi screaming at full capacity for much of the record.
I don't mind him as a singer, but here I don't think he fits Masterplan at all and the songs quite frankly, just aren't as good as they should be from such veteran musicians.
But that all said – there are many that will dispute my view as the style change has found itself some new fans.
It's not all doom and gloom though. Keep Your Dream Alive and Black Night Of Music are classy metal tunes; No Escape is cool and the closing title track is an epic 11 minutes. The album in general is a more concise statement than the longer albums of the past.

The Bottom Line

So a lot of the enjoyment of this album hinges on the simple fact of whether you appreciate the singer and the style. I think Masterplan were a far more unique outfit on the first two classic records. Now I think they sound far less original and are now simply just another standard European metal band.

Discography / Previously Reviewed

· Masterplan
· Aeronautics
· Mk. II
· Time To Be King
· Mk. II

Line Up:

· Rick Altzi: Vocals
· Roland Grapow: Guitars
· Martin Marthus Skaroupka: Drums
· Jari Kainulainen: Bass
· Axel Mackenrott: Keyboards

Essential For Fans Of:

· Rick Altzi
· Masterplan - Mk II

Track Listing

· Per Aspera Ad Astra
· The Game
· Keep Your Dream Alive *
· Black Night Of Magic *
· Betrayal
· No Escape *
· Pray On My Soul
· Earth Is Going Down
· Return From Avalon
· Through Your Eyes
· Novum Initium
· 1492
· Fear The Silence

--*Best Tracks

Timo Tolkki's Avalon The Land Of New Hope

Frontiers Records

FRCD600

· Produced By: Timo Tolkki

· Running Time: 50

· Release Date: 2013

· Released: EU

· Musical Style: Symphonic Metal

· Links: Frontiers

81%

It's probably taken me too long to get into this album for me to do an about face and proclaim my love for it. It's a very select release I feel – you either have to be a die-hard Timo Tolkki fan, or a general fan of bombastic rock opera's, where shredding takes as much importance as the vocals and 'plot' of the album.
Avalon is tremendously well produced and executed. The performances are great and the sound top notch. And the vocals of Russell Allen on his two main tracks are brilliant.
But this isn't much of a 'chorus' album and therefore it take a dedicated mind to sit through and listen from start to finish each time - especially with so much going on musically.
The star of the album in my mind is Elize Ryd, who has a beautiful voice – I must check out her work in Amaranthe.
Rob Rock also delivers power and finesse with his three lead vocals.

The Bottom Line

Its fast, it's furious, it's a flurry of vocals and guitars. It's intense. Lots of positives there, but at the same time, it isn't overly accessible and takes a lot of time to get into.

Discography / Previously Reviewed

· Timo Tolkki's Avalon

Line Up:

· Michael Kiske, Elize Ryd, Rob Rock, Russell Allen, Sharon Den Adel, Tony Kakko: Vocals
· Timo Tolkki: Guitars, Bass
· Alex Holzwarth: Drums
· Jens Johansson, Derek Sherinian, Mikko Härkin: Keyboards

Essential For Fans Of:

· Timo Tolkki

Track Listing

· Avalanche Anthem *
· A World Without Us *
· Enshrined in My Memory
· In the Name of the Rose
· We Will Find a Way *
· Shine
· The Magic of the Night
· To the Edge of the Earth
· I'll Sing You Home
· The Land of New Hope

--*Best Tracks

FM Rockville

Membran/Riff City Records

· Produced By: FM

· Running Time: 51

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock/AOR

· Links: FM

92%

They are just great aren't they? Leaders in the British AOR sound, FM return with their second post-reformation album – and another cracking slice of fun, feel good melodic rock. And what's more it is part of a two album set. Rockville II will be reviewed shortly.
Here, the band manage to be themselves, sound just like you'd expect an FM album to sound like, but still manage not to repeat themselves or sound stale.
This is just FM being FM – that means a selection of harmonious, feel good melodic rock with equal doses of guitar and keyboard/organ, all driven by the powerful and unique voice of Steve Overland.
Only Foolin', Tough Love, Crave, Better Late Than Never – all classic 'up' FM songs.
Show Me The Way reveals more of the band's soulful side; My Love Bleeds is classic 80s without ever sounding dated; and Story Of My Life is a passionate belter of a ballad.
Crosstown Train rocks and High Cost Of Lovin' is another fine melodic rock song to close the album.
I love the fact that the album was written collectively by 'FM'. The guys have a unity that keeps them fresh and energized and it shows throughout this record.

The Bottom Line

Maybe not quite as brilliant as their comeback Metropolis album, but quality as always and an absolute must for fans of Steve Overland, the band's back catalogue or just those that live by the British AOR sound these guys do so well.

Fair Warning Sundancer

SPV Records

· Produced By: Fair Waring

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: SPV

88%

I really like these guys and I'm pleased to say that I think this is one of the band's better albums. But for the life of me, I still don't understand why they have such a muddy sound. Especially with the guitars. The rhythm section is kind of a rumble too. It's the band's trademark sound yes – but with each album I continually think things could be so much better with a better production style. Nice crisp guitars and an audible bass line…
But – to the music at hand. Good songs here. Solid album from start to finish, perhaps a bit long at 61 minutes and 14 tracks. 50 would have been more impactful I think.
Vocalist Tommy Heart is in fine voice though and the perforamnces within can't be questioned.
Troubled Love is a solid opening track, bathed in guitars and swirling keyboards and the big riffing Keep It In The Dark is classic Fair Warning.
But the 5 minute ballad Real Love is a bit of a momentum killer at track 3. Not a bad song as such, just out of place in my view.
Hit And Run well and truly gets things going again quickly and the flow of Man In The Mirror, Natural High and Jealous Heart is great.
Stand out tracks in the second half include the ballad Send Me A Dream, the anthemic duo of Pride and Get Real and the storming Cool to close the album at high speed.

The Bottom Line

A solid set of songs here and an album that I think most Fair Warning fans are going to be pretty happy with straight away. One of the band's best albums overall, but that production style is I think holding them back from real greatness.

Last Autumn's Dream Ten Tangerine Tales

Bad Reputation

· Produced By: Last Autumn's Dream

· Running Time: 48

· Release Date: 2013

· Released: EU/JP

· Musical Style: AOR

· Links: Bad Reputation

70%

I really dig these guys – they are so consistent in delivering a fresh album each year for their Japanese label. Trouble is – there is no PR outside Japan and their European deals (different for almost every album) seem to be devoid of any kind of push and these albums just disappear without a trace after a few weeks.
This is album number 10 for the band! It's a little bit rawer this time around and isn't one of their better produced affairs. Nor does it feature their best material.
But the glorious voice of Mikael Erlandsson is still a joy to listen to and the band sure knows how to deliver some pristine Scandi-AOR when they are on song. Pickin' Up The Pieces, The Man I Used To Be and New York Rain are killer. Lie To My Heart is pretty good also. The retro styled For You is raw, but likeable.
The closing ballad My Final Love Song is as passionate as always.
But the slight style change here means there's a few fillers. Missing the boat here is the funky 2nd Look; the programing filled I Will See Through You; plus the confused It's Magic and their cover of the Sweet track Rebel Rouser is well out of place.

The Bottom Line

Not bad, but not essential either. One of only a couple of mis-steps by this band, which over 10 albums is pretty damn good. Where to from here will be interesting. Established fans of the band and Scandi-AOR fans will enjoy as always.

Hardcore Superstar C'Mon Take Me On

Spinefarm

· Produced By: Not Listed

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock / Sleaze

· Links: www.hardcoresuperstar.com

90%

If you disregard the stupid intro track, this album blows out of the speakers at 500 miles per hour and doesn't let up for the next 45 minutes. It's thoroughly in your face, over the top and glorious!
C'mon And Take Me is fast, Above The Law is furious and one of the anthems of the year; Won't Take The Blame and Dead Man's Shoes are as commercial as the band gets. In fact, for all its intensity, this is a pretty commercial record all around.
It used to be the hallmark of Los Angeles, but now it's the Swedes that dominate the glam/sleaze realm and this album is on top of the heap.
For all fans of Ratt, LA Guns, Motley Crue and Hanoi Rocks.

Bill Leverty Drive

Leverty Music

· Produced By: Bill Leverty

· Running Time:

· Release Date: 2013

· Released: US

· Musical Style: Classic Rock

· Links: Bill Leverty

82%

Firehouse guitarist Bill Leverty delivers another solo outing while the rest of the world wait (im)patiently for Firehouse to record something new. This wasn't my ideal idea of new music from the talented Leverty – an all-covers affair featuring classic rock tunes from the way back days of Creedence Clearwater Revival, Little Feat, The Ohio Players, Three Dog Night, Eric Clapton, Edgar Winter, The Guess Who, Stevie Wonder, Steely Dan and Rare Earth.
Bill's gruff voice suits the material here and I must say I'm impressed in the methods he uses to rock up the material. There is definitely some fine shredding guitar moments here. And some fine tunes – but not all work for me and it will all depend on the taste of the listener to whether you like the whole album or only parts of.
Personally I really like Fortunate Son, One, No Time and I Just Want To Celebrate (funky goodness).
I hate I Shot The Sherriff (but then again I always have), the funky Fire and Ricky Don't Lose That Number (I know…it's a classic, but I've never liked the song). Those are personal taste issues though.
Somewhat of a mixed bag song wise, but really well produced, expertly played of course and fans of Bill should have no trouble appreciating the authenticity of the project.

Axe Live 2012

NEH Records

· Produced By: Bobby Barth, Mark Pinske, Ben Watts

· Running Time:

· Release Date: 2013

· Released: US

· Musical Style: Melodic Hard Rock

· Links: NEH Records

87%

Maybe not the original lineup, or even close, but with Bob Harris and Bobby Barth fronting the band and a quality team including keyboardist Alessandro Del Vecchio behind them, Axe live at Sweden Rock Festival in 2012 was a treat for all – despite the heavy rain during the band's set.
This is a DVD/CD combo pack which is great value for money. Even better than the DVD looks great and the audio recording is nice and clear.
I generally hate digipacks and this packaging is very simplistic (actually it's barren, not even adding a track list), so that is disappointing, but the music within is thankfully much better quality.
Definitely one for Axe fans to check out – both Bobby and Bob sound great – Bob Harris in particular is a fantastic vocalist.

Voodoo Circle More Than One Way Home

AFM Records

· Produced By: Dennis Ward

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: Voodoo Circle

77%

German rockers ~~Whitesnake~~ Voodoo Circle are back for their second album Slide It Crying In The 1987 Tongue. Vocalist David Readman (Pink Cream 69) may front a Whitesnake tribute band, but that's no excuse for the absolute blatant plagiarizing of the late 80s Whitesnake sound here.
Most of the classic Whitesnake album 1987 could be transposed into the songs on this album. From the screams, the riffs, the arrangements and even the lyrics….it's all here. But sadly – just not done nearly as well.
The album may be produced extremely well – this has a monster sound, but the songs lack the warmth of the album they are imitating and to be honest, simply aren't as good.
Considering how much the band take from those original Snake songs, it's a wonder they didn't take the choruses as well – as that's what is missing here.

S.U.N. Something Unto Nothing

Indie

· Produced By: S.U.N.

· Running Time:

· Release Date: 2013

· Released: US

· Musical Style: Hard Rock

· Links: S.U.N.

88%

Without the confines of her role judging Canadian Idol, the original Queen of Rock Sass Jordan gets to show how it's done for the many that followed her. What a powerhouse vocal performance on this, the debut SUN album.
Classic rock at its best here – mixing 70s Led Zep styled attitude with contemporary hard rocking riffs delivered by drummer extraordinaire Brian Tichy. Yes, the drummer is a killer guitarist also, delivering some earth shattering riffs while Sass wails over the top.
The album is all riffs, groove and screams….and is funking great!
It's an acquired taste in parts – the heavy retro vibe and the bluesy hard rock won't be for all, but anyone that appreciates no frills honest, hard driving retro rock will appreciate this.

Taste Taste

AOR Heaven

· Produced By: Taste

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Westcoast/AOR

· Links: AOR Heaven

65%

Taste was formed by the two brothers Christoffer and Felix Borg the day before new year's eve in 2009. First, Taste was only supposed to be a side-project, because both also had played in other groups. But it didn't take long before the Swedes decided to turn Taste into a full band.
Taste apply their own take on the Scandi keyboard/synth sound of the 80s. Not quite AOR, not quite pop, not quite melodic rock. And not quite good enough to make any inroads in this congested melodic scene.
The production is a little thin and the keyboards really date the album – but not in a timeless way. And I'm not sold on the vocals either – despite a few catchy pop/rock tunes included here. It all just sounds a little lightweight and under produced.

Shylock Walking Tall

AOR Heaven

· Produced By: Shylock

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: AOR Heaven

85%

The two masterminds behind Shylock, Matthias Schenk (vocals) and Johannes Amrhein (guitar), have been working together for more than two decades. With their band mates Achim Thiergärtner (drums) and Bernhard Schwingenstein (bass) they continue to follow their roots and show us again their strengths on album number six which is entitled "Walking Tall".
The German hard rockers come back with a very good sounding album that delivers just what is expected of them – upbeat, commercial European hard rock, with nothing but riffs and rhythm taking no prisoners over the course of 50 minutes.
If you like German hard rock – yes, they have their own sound (think Bonfire, Scorpions, Fair Warning), then you will like this. There's nothing here that hasn't been heard before, but it's done well and it's an enjoyable ride. And best of all – it's produced very well and sounds great cranked up loud.

Thunderfuck & The Deadly Romantics – Starfucker – Indie – Oh boy…you can just see the look on my face can't you? The name and the title say it all. And if in doubt, the horrendous cover art will complete the job. I review this for one reason only – to save the ears of innocent rock fans all over the world. The music here would make the worst bar room band in Bumstool, Idaho think they had a shot at the big time. It would give hope to deaf, talentless, drunk dope smokers around the world… Awful vocals, shiteous production, and banal lyrics that make Kiss sound like Shakespeare and a name that makes Big Cock sound like the best band name ever.
The band was annoyed that Versailles Records didn't use their cover of Def Leppard's Have I Ever Needed Someone So Bad – I know why - they turn it into a soulless, emotionless, pointless punk rock song and is perhaps the biggest insult any fine song has ever had bestow upon it since the Bulletboys shot American Pie right through the temple. I can't believe the band wasted postage on sending me this. What a pile of steaming shit.

-1%

Various Artists – Songs Of The Century - Tribute To Supertramp – Purple Pyramid – Thankfully these tribute albums seem to be on their way out. Only because every single artist has been covered and some twice. This Supertramp one comes courtesy of Billy Sherwood and at least features some big names. John Wetton, Mickey Thomas, Richard Page, Joe Lynn Turner, Rod Argent. Production quality is pretty decent as you'd expect. Likeability will depend on your appreciation of Supertramp (that counts me out sorry). I thought Mickey Thomas on The Logical Song would have been better, but Richard Page on Give A Little Bit is as good as hoped. Still not as good as Tony Harnell's Morning Wood version though. John Wetton on Breakfast In America was good. JLT on Bloody Well Right is average. In the end…pretty disappointing overall.

48%

Various Artists – Take Your Whiskey Home - A Tribute To Van Halen – Versailles Records – Versailles Records have become nothing but a clearing house for repetitive tribute albums and this is their latest. This one is their second Van Halen tribute along with separate David Lee Roth and Sammy Hagar tributes. I think the well has run dry folks. There isn't much here to talk of. A lot of indie rock bands that you'll never hear of, with varying results from bad to ok plus a couple of 'name' covers – Rowan Robertson appearing on And The Cradle Will Rock plus Takara w/JSS on Dance The Night Away (an old old track) and Stephen Pearcy on a horrible Runnin' With The Devil. Avoid.

35%

Various Artists – Who Are You - A Tribute To The Who – Cleopatra Records – Another tribute featuring John Wetton (on the boring Eminence Front) and Joe Lynn Turner (on a more rollicking The Seeker) and a few fresher names such as Joe Elliott (singing a very emotive Love Reign O Er Me); Gretchen Wilson (rocking Who Are You). Derek Sherinian, Carmine Appice, Rick Wakeman, KK Downing are among the musicians that help sings like Iggy Pop, Donnie Van Zant, Peter Noone and others kill a bunch of great classic rock tunes. Another waste of time I'm afraid. Great songs…mostly terrible versions.

40%

Giant X – I – SPV – German modern hard rockers Giant X make their debut with this album of diverse (mainly) fast paced, in your face rockers. Trouble is…I don't really get their “thing”. The vocalist reminds me of Bonfire's Claus Lessmann at times, when he isn't screeching too much. The style is all over the show though. A ballad straight after a head-kicking opening track and then an effects filled modern rocker is certainly a confusing message to send the listener. There are some strong moments here, but generally speaking I'm not getting into the singer or the confusing modern metal production effects mixed with old school Euro-metal.

50%

Little Caesar – American Dream – Another album that deserves more words, but it has been out some time now and I need to get it reviewed. Best point here is singer Ron Young who sounds his usual impressive self. The music isn't too far removed from what you'd expect from the band who delivered that classic debut album all those years ago. This time it might be classed as a little more loose and rugged, but certainly still drenched in hard riffing blues driven rock. The guys still manage to pull off a credible ballad too. I like the consistency and energy of this record, even if it isn't one to rely on choruses to drive the message home.

84%

Icarus Witch – Rise – Cleopatra – Cleopatra took a break from releasing tribute albums and re-recorded nonsense to sign these guys. The US traditional mettalers deliver a great sounding, high energy and rather melodic album, considering the tempo and the heaviness factor. There is a mix of traditional US metal and more contemporary production sounds on this, making it perfect for “crossover” appeal. It deserves a bigger review, but don't let the lack or words deter you – melodic metal and US hard rock fans should absolutely check this out.

88%

Russ Dwarf – Wireless – Smoothline Ent. – Unplugged albums are squarely aimed at fans of the artists involved and can be a hit and miss affair. But when they get it right it really is refreshing to hear some of artists' songs on offer in a fresh new light. Russ – frontman for cult Canadian rockers Killer Dwarfs has fortunately nailed his acoustic excursion. 10 tracks from the past, no frills – just a voice and some acoustic backing. Very nice and Russ sounds great still. Well worth checking out for fans of the Dwarfs.

86%

High Road Easy – Drive – Indie – This indie release from German independent melodic rockers HRE came out late last year, but deserves to be included, late as it may be! It's hard sometime to review these sorts of releases alongside bands that have 20 times the money and 50 times the resources to get their albums sounding right, and even then they sometimes fail. So much respect to High Road Easy who have recorded an enjoyable set of tunes for this, their second album. The songs here – melodic rock in nature – are simple, yet diverse enough to require repeat listens. The production is a bit thin – the programmed drums the main factor. Importantly, the songs are worthy of repeat listens.

75%

Sven Horlemann – Standing Tall – Indie – Sven, guitarist from High Road Easy has more recently released this guitar instrumental album. Well, mainly instrumental. There are three likable lead vocals on the album (from Klaus Schmuck), which mixes things up a little. Production has improved from the High Road Easy album, which means things are heading in the right direction. The guitar playing can't be faulted – a relatively restrained display of picking and plucking that avoids the shredsphere for a more melodic structure that's appreciated by this reviewer.

80%

Burning Rain Epic Obsession

Frontiers Records

FRCD601

· Produced By: Doug Aldrich & Keith St. John

· Running Time:

· Release Date: 2013

· Released: EU JP US

· Musical Style: Hard Rock

· Links: Frontiers

93%

Groove baby, groove! Guitarist Doug Aldrich revs up his Burning Rain project for the first time in 13 years to prove once again that he is the king of the hard rock groove and is well and truly on top of his game in recent years. Since joining Whitesnake in 2001 Doug has given the David Coverdale vehicle a real shot in the arm. Now it's time to once again show why he is one of the premier guitar players in the world.
Together with writing partner and singer Keith St. John, Doug delivers 12 smoking hard rock tunes that are going to appeal to all fans of the recent Whitesnake albums as well as the two earlier Burning Rain albums. With Epic Obsession, the band's sound has been tweaked slightly into a more solidified hard rock groove from the bluesier sound of the first two albums.
That's not to say that the blues don't play an important role here again – it's just wrapped up in some truly momentous guitar riffs.
Keith St. John has a unique voice that takes the listener back to the 70s, as does the vibe of the album overall. He may be an acquired taste for some – but I've never heard him sing better than right here. Epic Obsession is part Whitesnake, part 70s rock groove and part Led Zeppelin - but all class.
From the bombastic groove of Sweet Little Baby Thing, to the double timed hard rocking Till You Die, to the Led Zep inspired slower Heaven Gets Me By, the album goes from strength to strength.
Highlights are plentiful - the layered riffing on Pray Out Loud, with its fast rhythm; the dual personality of the acoustic driven, sentimental Our Time Is Gonna Come, which turns Zeppelinesque retro rock; to the sensual groove of My Lust Your Fate to the commercial ballad Made For Your Heart.
The album closes with the big ballad When I Believe In Love, which is as sentimental as it comes. I could imagine David Coverdale singing this.
The two bonus tracks are a cover of Led Zep's classic Kashmir – you know this suits the guys down to the ground. Then there is the acoustic Heaven Gets Me By which is a nice change of pace from the earlier full band version.
St. John reminds me of a raspier James Christian in places on this album. There's a certain feel of the Sahara album from House Of Lords at times.

The Bottom Line

A definite winner here. One of the biggest sounding albums in a while, with Doug Aldrich simply on fire. An absolute must for fans of recent Whitesnake and the past Burning Rain and Bad Moon Rising albums.

Discography / Previously Reviewed

· Burning Rain
· Pleasure To Burn
· Epic Obsession

Line Up:

· Keith St. John: Vocals
· Doug Aldrich: Guitars
· Matt Starr, Brian Tichy: Drums
· Sean McNabb: Bass

Essential For Fans Of:

· Whitesnake - Bad To Be Good
· Keith St John
· Doug Aldrich

Track Listing

· Sweet Little Baby Thing *
· The Cure
· Till You Die *
· Heaven Gets Me By *
· Pray Out Loud
· Our Time Is Gonna Come *
· Too Hard To Break
· My Lust Your Fate *
· Made For Your Heart
· Ride The Monkey
· Out In The Cold Again
· When Can I Believe In Love *
· Kashmir
· Heaven Gets Me By (acoustic)

--*Best Tracks

The Poodles Tour De Force

Frontiers Records

FRCD602

· Produced By: Mats Valentin

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: Frontiers

95%

The Poodles come storming back after their Performocracy album disappointed some with one of their best efforts yet. The last album was still rated highly by myself, such is my respect for what these guys do. But not everyone was sold on it. Tour De Force is that much better though. It delivers a 13 track er, tour de force, filled with inspired anthemic rock n roll.
The band captures the best elements of their 4 previous albums, with powerful vocals, some memorable guitar riffs and solos, but most importantly – the album is comprised of just great songs. Period.
The head pounding Misery Loves Company couldn't be a better introduction to the album with its great chorus, but what makes this album different from its predecessor is that it doesn't stop there. Shut Up! is even better and bigger with an anthemic hook and chorus, followed by Happily Ever After, which is all groove and a super intense, multi-layered chorus.
Viva Democracy is down and dirty, but still features a strong melody. Same goes for Going Down, which rocks nice and fast.
Leaving The Past To Pass is one of the band's best ballads to date; while 40 Days And 40 Nights is another big anthemic rocker with a melodic heart.
The intensity continues for the remaining tracks, which is something the last album didn't do.
The bonus En För Alla För En may be in Swedish, but it seriously rocks and is a fitting close to a great energetic album.

The Bottom Line

The Poodles are back on top and Tour De Force should be a must buy for any fan of their previous work. Fans of the new breed of Swedish melodic hard rock bands also need this. The album needed to be good and the band delivered. It is arguably the band's strongest album to date.

Discography / Previously Reviewed

· Metal Will Stand Tall
· Sweet Trade
· Clash Of The Elements
· Performocracy
· Tour De Force

Line Up:

· Jakob Samuel: Vocals
· Henrik Bergqvist: Guitars
· Christian Lunqvist: Drums
· Pontus Edberg: Bass

Essential For Fans Of:

· Swedish Melodic Hard Rock

Track Listing

· Misery Loves Company *
· Shut Up! *
· Happily Ever After *
· Viva Democracy *
· Going Down
· Leaving The Past To Pass *
· 40 Days And 40 Nights *
· Kings & Fools
· Miracle
· Godspeed
· Now Is The Time *
· Only Just Begun
· En För Alla För En *

* --*Best Tracks

Laneslide Flying High

Avenue Of Allies Music

· Produced By: Bruno Kraler

· Running Time: 40

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: Avenue Of Allies

91%

I've been pretty hard on guitarist/writer Bruno Kraler for some of his past efforts in Brunorock, but that project's last outing finally showed real promise. That promise has now been fully delivered with Laneslide, Bruno's brand new vehicle featuring cult AOR vocalist Frank Vestry, with session star John Billings on bass and the always impressive Alessandro Del Vecchio on Keyboards & Grand Piano.
And you can't go wrong adding guests like Bobby Altvater - Rhythm Guitars, Backing Vocals; plus Michael Bormann and Erik Mårtensson on Backing Vocals.
The awesome Frank Vestry turns in a great performance here – his melodic tone and strong vocals make the album. Don't expect a repeat of Marchello/Vestry though – this is a different beast. More melodic/AOR than the Danger Danger style of M/V.
One thing I take from this album is just how well it flows along. From the opening anthem Flying High to the more restrained AOR bliss of You Can Make It; the groovy River Of Love and the 1983 style of the keyboard heavy rocker Dancing Girls, it's one track into another of fine old-school melodic rock and AOR.
And I love the vocals on Understand – a powerful, yet melodic tone I can't get enough of.
Unusual to cover a Laura Brannigan tune (written for her at least), but she was an underrated pop/rocker in the mid-80s and I love those albums. So hearing Self Control re-done is great.
Only one ballad of the 10 tracks on offer and that is washed Away which closes the album. And it was worth the wait – it is beautiful piano lead ballad.

The Bottom Line

Another winner for Frank Vestry and a definite career highlight for Bruno Kraler. I hope this partnership will continue as the debut Laneslide album deserves to find some fans out there in AORland. Well worth checking out if you like old school melodic rock.

Discography / Previously Reviewed

· Flying High

Line Up:

· Frank Vestry: Vocals
· Bruno Kraler: Guitars
· Dominik Hülshorst: Drums
· John Billings: Bass
· Alessandro Del Vecchio: Keyboards

Essential For Fans Of:

· Frank Vestry
· Brunorock
· Alessandro Del Vecchio

Track Listing

· Flying High *
· Hangin' Out Here
· You Can Make It
· River Of Love *
· Dancing Girls *
· Understand *
· Self Control *
· Look The Other Way *
· Your Fight
· Washed Away

* --*Best Tracks

Paris Only One Life

Avenue Of Allies

· Produced By: Alessandro Del Vecchio

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: AOR/Melodic Rock

· Links: Avenue Of Allies

88%

Curious album this! Very very good…but curious! Why? Well, Paris is (not surprisingly) a French AOR project from the pairing of Frédéric Dechavanne (Vocals, Keyboards) and Sébastien Montet (Guitars) plus guests. But it may as well be tagged a Newman release, such is the influence of sound from British AOR star Steve Newman. Indeed, Steve appears on backing vocals here, but his influence is so pronounced on the record that I had to ask him if he co-wrote the songs also.
Not so it appears, but he did state that Frederic is a self-proclaimed big fan of the Newman releases. That shines through here – in the style of the songs as well as their structure and the production sound. Now all that said – the influences are what they are and don't detract from the album in any way. In fact, if you are a fan of the Newman sound, this needs to be examined ASAP!
The album is a very consistent and enjoyable affair – the song quality strong and the choruses are plainly defined and upon repeat listens, annoyingly embed themselves in your mind to the point of distraction. There aren't any fillers in sight (again, especially if you are a Newman fan) and the sound is very authentically keyboard and guitar driven mid-80s fare.
Highlights are the great anthem South Of Love and the opening feel good Dancing On The Edge; the big ballad Everytime You Walk Away; the very catchy fast moving America; Longer Than I Care to Remember and the moody, feel good When The Lights Fade Away.
For the Time Still to Come is another quality ballad to close out the album.

The Bottom Line

The vocal pronunciations may not be as clear as Englishman Steve Newman, but aren't an impediment to enjoying the album. Overall, this is a very consistent and highly enjoyable release, especially if you love British/European sounding keyboard lead 80s melodic rock.

Discography / Previously Reviewed

· Only One Life

Line Up:

· Frédéric Dechavanne: Vocals, Keyboards
· Sébastien Montet: Guitars

With:
· Alessandro Mori: Drums
· Anna Portalupi: Bass
· Steve Newman, Alessandro Del Vecchio: Backing Vocals

Essential For Fans Of:

· Newman

Track Listing

· Dancing on the Edge *
· What Should We Be Saying
· South of Love *
· Every Time You Walk Away *
· America *
· Longer Than I Care to Remember
· The Clock
· On Fire
· When the Lights Fade Away *
· Handle With Care
· For the Time Still to Come

* --*Best Tracks

Charming Grace Charming Grace

Avenue Of Allies

· Produced By: Davide "Dave Rox" Barbieri

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: Avenue Of Allies

84%

Interesting album this. It is one of those true “project” albums, featuring 400 special guests aiding one key person – in this case that being Italian singer Davide Barbieri (Wheels Of Fire). Appearing as guest musicians are the likes of: Sven Larsson (Street Talk, Lionville, Sapphire Eyes, Coastland Ride); Peter Friestedt (Williams/Friestedt); Roberto Priori (Danger Zone); Stefano Lionetti (Lionville); Tom & James Martin (Vega); Alessandro Del Vecchio (Edge Of Forever) and more...
Vocal wise is where it gets really interesting. Each track is in fact a duet between Davide and some very cool guests.
Now the songs themselves are very good and very consistent. This is all very approachable, very commercial melodic rock/old-school 80s AOR, the type of songs that are the backbone of this site.
However, the weak point of the album is in fact Davide's lead vocals. When by himself on Wheel Of Fire it's not so much an issue. But he has done himself a disservice here. When you line up against some of the best vocalists in the scene, there is every chance you are going to come off sounding second best. And that's what has happened.
Compared to the likes of Nick Workman, David Forbes and Moon Calhoun, the heavily accented vocals of Davide stand out for the wrong reason. And the quality of the songs definitely drops off in the second half of the album.
Everytime You Touch My Heart - Duet with Nick Workman (Vega) and The Way You Feel Inside Duet with Moon Calhoun (Michael Thompson Band) are both solid and enjoyable tracks. But it is Shining Light - Duet with David Forbes (Boulevard) that is really quite superb, the melody is gold and the chorus is classic soaring, anthemic wonderfulness! And how good to hear David Forbes back in full voice? Wow.
Just Take My Hand - Duet with Gui Oliver (Auras) is very pleasant also. Sweet natured AOR.
A double dose of Italian AOR with Close Your Eyes - Duet with Michele Luppi (Los Angeles, Secret Sphere). Sorry, but the accent overload is a bit much on this one.
Still Dreamin' - Duet with Thomas Lassar (Crystal Blue) features a nice memorable chorus, but isn't as strong as some other tunes.
More superstars of the Italian AOR scene on the feel good, easy going The Sound Of Your Heart Duet with Alessandro Del Vecchio (Edge Of Forever). Not bad, but those accents again!
Everybody's Broken - Duet with Josh Zighetti (Hungryheart) features another strong, feel good chorus.
The fine ballad Bring My Life Back sees the great Kimmo Blom (Urban Tale) in control. It's been too long since we heard his divine voice on a big AOR ballad.
The added bonus track is a fun upbeat cover of the Belinda Carlisle song Leave A Light On. The accent of Davide doesn't quite work, but the female lead is compelling.

The Bottom Line

The album is probably a couple of tracks to long, there is 70 minutes of similarly styled and paced music here, so the tracks towards the end do tend to run into each other. Plus the heavily accented lead vocals in places are a little off-putting. But, a decent album with a few definite highlights for fans of European AOR. Awesome to hear Moon Calhoun and David Forbes.

Discography / Previously Reviewed

· Charming Grace

Line Up:

· www.melodicrock.com/showcase/charminggrace.html

Essential For Fans Of:

· The guest vocalists involved

Track Listing

· Everytime You Touch My Heart *
· The Way You Feel Inside *
· Shining Light *
· Just Take My Hand
· Close Your Eyes
· Still Dreamin'
· The Sound Of Your Heart
· Everybody's Broken *
· The Answer Was You
· Run Away
· Through The Stars
· Endless Flame
· Bring My Life Back *
· Leave A Light On

--*Best Tracks

Vega What The Hell

Spinefarm

· Produced By: Vega

· Running Time: 65

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: www.vegaofficial.com

95%

What The Hell? What the hell took the label so long to release this when it leaked online at the close of 2012. Shameful to have such a leak in the first place, but to then wait 4 more months to release this wonderful album officially should be a criminal offense. How many downloads in that time I wonder?
Anyhow….it's here and it's great, so buy it.
Britain's new Kings of AOR Vega have delivered what should be regarded as one of the year's best AOR releases. Rather than rest on the comforting sounds of their classy old-school debut, the lads decided to mix it up a little – contemporize their sound, add some production bells and whistles, beats and tweaks.
And it works so well…nothing like hearing your favourite style of music modernized in the right way.
Production is first class, mix is pristine and the energy palpable. And the songs – better than ever folks, with anthems left right and center here.
White Knuckle Ride precedes another silly half minute intro piece (arrgh!), but makes up for it by being what you might describe as a perfect AOR anthem. And I just love the tone of Nick Workman's voice. Perfect for the material.
What The Hell is as bombastic as the title suggests; Not There For You is urgent and compelling; Cry is simply melodically joyous and features a stand out chorus; Raise Ya Game is where the guys turn about as modern as they get on this album, with beats and a groove based riff; Fade Into Flames is a modern feeling sultry ballad; You Can't Run is filled with beats and urgency and another strong vocal; Bless My Soul is modern AOR at its best; She Walks alone is another great little anthem; Turn It On is perhaps one of the albums weaker tracks; Saviour features a great vocal and a driving beat for what is a very moody track; It's Gonna Be Alright is yet another strong song, but has other similar tracks like it on the album; Hands In The Air is an absolutely melodic rock gem and deserved to be closer to the front of the album I think.

The Bottom Line

14 tracks and 55 minutes is a bit long I think. Drop two tracks (which too is always a very hard call for artists) and tweak the track sequence a little and you get a perfect modern feeling AOR album full of great performances, big vocals and layers and layers of production. But regardless of those suggestions, this is a must buy for fans of melodic rock at its most melodic.

Discography / Previously Reviewed

· Kiss Of Life
· What The Hell

Line Up:

· Nick Workman: Vocals
· Tom Martin: Guitars
· Daniel Chantrey: Drums
· James Martin: Keyboards

Essential For Fans Of:

· British Melodic Rock
· Kick
· The Martin Brothers

Track Listing

· Audeat Somniare
· White Knuckle Ride *
· What The Hell! *
· Not There For You *
· Cry *
· Raise Ya Game
· Fade Into The Flames *
· You Can't Run
· Bless My Soul *
· She Walks Alone
· Turn It On
· Saviour
· Tell Me it's Gonna Be Alright *
· Hands In The Air *

--*Best Tracks

VindictiV Cage Of Infinity

Escape Music

· Produced By: Stefan Lindholm

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Heavy Metal

· Links: Escape Music

85%

The third in a trilogy of metal albums to be reviewed in this set – Vindictiv probably sits between the other two (Tainted Nation and Giuntini Project). Had the band retained the same style and feel of their first two albums, it probably would have won out easily. But Cage Of Infinity is a different beast entirely for Swedish guitarist and band founder Stefan Lindholm.
Gone is vocalist Goran Edman, gone is the hard rock/symphonic melodic metal sound.
In place is new vocalist Marco Sandron (finding a home after an all too brief stint with Eden's Curse) and a new metallized sound more reminiscent of Judas Priest.
The emphasis on chorus and melody has gone too – not that the album is devoid of these elements, but they now play second fiddle to frantic riffing and over the top screaming vocals.
I'm not sold on this change of direction to be honest. But to make the most of the album, some patience is required and the mood must suit. Not much point putting this on in the early mornings unless you feel the need to pummel your brain into working condition for the day.
Surprisingly, the songs within the album aren't overly long. They are all pretty concise and get to the point immediately. The point being big vocals and big riffs.
Upon further listening some of the chorus passages become more prominent and the album makes a little more sense. Still, it's a long way from the catchy elements of the original two albums.
There are some fretalicious moments here that would impress Yngwie Malmsteen and Marco delivers a truly menacing vocal performance.
But this is well and truly for fans of European metal. Song highlights include the title track Cage Of Infinity and Astronaut, plus the frantic Resistance and closing crunch of Screaming For Answers.

The Bottom Line

Another one of those change of direction equals change of quality situations. The name doesn't necessarily represent what came before it, so some will be disappointed. But now that a new style is in place, some new fans might find themselves quite impressed. In short – test drive before purchasing.

Discography / Previously Reviewed

· Vindictiv
· Ground Zero
· Cage Of Infinity

Line Up:

· Marco Sandron: Vocals
· Stefan Lindholm: Guitars
· Henrik Hedman: Drums
· Nalle Påhlsson: Bass
· Pontus Larsson: Keyboards

Essential For Fans Of:

· Marco Sandron
· Swedish Metal

Track Listing

· The Chosen
· Cage of Infinity *
· Down In a Black Hole
· Choices
· Astronaut *
· Human Emergency
· Resistance *
· Orphans
· Son Of Fate
· The Encounter
· Screaming For Answers *

--*Best Tracks

Giuntini Project IV

Escape Music

· Produced By: Aldo Giuntini

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Metal

· Links: Escape Music

80%

It's been a while between drinks for Italian guitarist/composer Aldo Giuntini and for that matter, same can be said for vocalist Tony Martin, after appearing on what seemed to be a dozen albums in as many weeks a few years back. Good to see this pair reunited again for another round of classic style 80s metal. Roll out all the Black Sabbath and Rainbow references you can, add in Tony Martin's unmistakable vocals and you can sum up what the album offers.
Not much has changed from any of the other 3 Giuntini Project albums, dating back to 1993. This is a good sounding album. Tony sounds in strong voice, which I was beginning to worry about last we heard from him. The production is solid – typical in your face guitars and louder than loud approach.
I think the drum sound could have had a more impressive crunch. They appear a little tinny at times and the constant cymbal crashing can be distracting. The pace varies around the album – perhaps a little too much in the mid-tempo plod style that some metal albums take on. But there are some rousing screamers on here.
The only thing that I would state about IV is that the album – if anything – is unsurprising. It's very solid yes, but also very safe and somewhat predictable in its direction and execution.

The Bottom Line

13 tracks at 58 minutes with little variation in theme is probably a track or two too long for this album, but fans of the previous Giuntini Project releases and fans of Tony Martin's unmistakable voice will no doubt enjoy every note on offer here. Not for everyone, but it certainly does what it says on the tin.

Discography / Previously Reviewed

· I
· II
· III
· IV

Line Up:

· Tony Martin: Vocals
· Aldo Giuntini: Guitars
· Roberto Gualdi, Fabiano Rizzi: Drums
· Fulvio Gaslini: Bass

Essential For Fans Of:

· Tony Martin
· Rainbow

Track Listing

· Perfect Sorrow *
· Born In The Underworld
· Shadow Of The Stone *
· Cured
· I Don't Believe In Fortune
· If The Dream Comes True
· The Rise And Fall Of Barry Lyndon
· Bring On The Night *
· Not The Jealous Kind
· Saint Or Sinner
· Last Station: Nightmare
· How The Story Ends
· Truth Never Lie

--*Best Tracks

Tainted Nation F.EA.R.

Massacre Records

· Produced By: Tainted Nation

· Running Time:

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Metal

· Links: Tainted Nation

92%

In a word – superb. This is a cracking, in your face, modern melodic metal album. I say modern, as it is naturally tuned into a contemporary sound, whilst still offering an equal dose of traditional British metal. With Eden's Curse drummer Pete Newdeck out front on lead vocals, his Ozzy-esque tone makes this is the best Ozzy Osbourne album since the stunning duo of Ozzmosis and No More Tears.
For those wishing Ozzy had made those two albums into a trilogy of classic metal, Tainted Nation has done it for him.
The all-star band comprising of Newdeck (Eden's Curse, Grim Reaper); bassist Pontus Egberg (The Poodles, Lions Share, Zan Clan); guitarist Ian Nash (Steve Grimmett, Lionsheart) and drummer Mark Cross (Outloud, Helloween, Kingdom Come) – deliver a debut album that uses every ounce of their prior experience to make a truly thunderous and energetic statement here.
The pace barely drops below whirlwind for the entire album and by the end you should be exhausted from the playback. The classic/modern hybrid sound is as sonically destructive as you can imagine, but that doesn't mean there aren't any melodies. In fact, there are tons, making this album even more likeable for metal and hard rock fans that love to be blasted into space.
The opening crunch of Dare You, the swagger of Loser, the fury of You Still Hang Around and the almost anthemic melody of Your Only Friend are just the beginning.
Hell Is A Lie is just as impressive when it comes to memorable hooks, and the fast and furious Never Promised You Anything (featuring guest Ted Poley on some prominent backing vocals) is as commercial as anything Ozzy has released.

The Bottom Line

A raucous debut album with an authentic heart and ton of great songs. The performances reflect the experience of those involved, but the energy within is more representative of a group of teenagers getting their first shot at the big time. Deserves to be heard by as many metal fans as possible.

Discography / Previously Reviewed

· F.E.A.R.

Line Up:

· Pete Newdeck: Vocals
· Ian Nash: Guitars
· Mark Cross: Drums
· Pontus Egberg: Bass

Essential For Fans Of:

· Ozzy - No More Tears
· Eden's Curse
· British Metal

Track Listing

· Dare You *
· Loser *
· You Still Hang Around *
· Nothing Like You Seem
· Who's Watching You
· Your Only Friend *
· Hell Is A Lie *
· Don't Forget Where You Came From
· Never Promised You Anything *
· Haunted
· Don't Tell Me
· What Are You Waiting For

* --*Best Tracks

Mike Tramp Cobblestone Street

Target Records

· Produced By: Mike Tramp

· Running Time: 44

· Release Date: 2013

· Released: EU

· Musical Style: Acoustic

· Links: Mike Tramp

80%

Stark. That's the word that comes to mind. Gifted songwriter Mike Tramp lays bare his soul with a very personal album of stripped back acoustic guitar driven songs on his new album Cobblestone Street. Mike Tramp solo is probably an acquired taste at the best of times, so for him to record this, the “album he always wanted to do” is throwing down the challenge to his fans to appreciate or move on.
Mike may be speaking from his soul here, but how many will be listening is something I'm not sure of.
I for one like this album. I like just about everything Mike has done. But I don't love it in the same way I do his Recovering The Wasted Years, More To Life Than This and the also awesome Stand Your Ground.
I don't love it, as it's not an album that can be played anywhere anytime, as I can do with his other solo material – and the White Lion albums for that matter.
The sheer nature of this acoustic record lends itself to being a mood music piece. If the mood suits – perfect. If not, then some are going to look upon this as a cure for insomnia.
When Mike Tramp is on point – he delivers like nobody else can. He has this ability to bare his soul in a heart crunching way. Songs that I think he nails here are the opening title track, Ain't The Life I Asked For, the psychedelic Revolution and Beatlesesque Find It In Your Heart. The ballad What Are You Gonna Do also resonates.
Where I don't quite match the journey Mike is on is with the “too happy” New Day, the slow duo of We'll Be Alright and Angel Of Devil.
And the musical accompaniment around Once, not to mention the lyrics, don't work for me either.

The Bottom Line

The album is one for certain tastes at certain times. And it's a little too long for the nature of the material. This album will produce some very divided opinions, but you have to respect Mike for always doing what is true to his heart.

Discography / Previously Reviewed

· Capricorn
· Recovering The Wasted Years
· More To Life Than This
· Rock N Roll Alive
· The Rock N Roll Circuz
· Stand Your Ground
· Cobblestone Street

Line Up:

· Mike Tramp: Vocals, Guitars
· Soren Andersen: Guitars, Keyboards, Bass, Drums, Harmonica

Essential For Fans Of:

· Mike Tramp unplugged

Track Listing

· Cobblestone Street *
· Caught In The Storm *
· New Day
· Ain't The Life I Asked For *
· Revolution
· We'll Be Alright
· Angel Or Devil
· Find It In Your Heart
· What Are You Gonna Do? *
· Once

* --*Best Tracks

Code Of Silence Dark Skies Over Babylon

Mausoleum

· Produced By: Paul Logue

· Running Time: 60

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Metal / Hard Rock

· Links: www.codeofsilence.co.uk

90%

Another newcomer to the scene here, but with some familiar names behind the scenes. British band Code Of Silence may call themselves melodic metal, but have melody in spades coming with each track and some very commercial songs featured on this, their very classy debut album.
Fronted by Brazilian vocalist Gus Monsanto (Timo Tolkki's Revolution Renaissance / Adagio / Symbolica / Lord Of Mushrooms), and young virtuoso guitar player Ben Randall (Power Quest), the band wrote their album with producer Paul Logue (Eden's Curse), whose writing and production style is all over this album.
Any and all fans of Eden's Curse are going to hear parts of their trademark sound throughout this album. Any number of songs like the pounding Sky Is Falling Down could come from Eden's Curse.
After a short intro, the head kicking opener Bitter Sweet Paradise is simply layered in vocal melodies and features a killer chorus.
This is quite an epic album – there are 11 tracks totaling over 60 minutes running time, with 5 tracks over the 6 minute mark. The first major epic is the slow building 7 minute heavy ballad Dark Skies Over Babylon. Really quite superb.
idnight Cathedral (Veritas) features a nice dose of organ and some chopping riffs.
The closing hard rocker Here To Heaven is another epic that builds to a shredding climax. Harmony vocals (again typical of Eden's Curse) are plentiful which add extra melody to the heavy nature of the songs.

The Bottom Line

A quality release from a quality band – what better way to make your debut. Fans of Eden's Curse, Ten and moody British hard rock should all find plenty to enjoy here, with the album delivering some great intense, melodic heavy rock.

Discography / Previously Reviewed

· Dark Skies Over Babylon

Line Up:

· Gus Monsanto: Vocals
· Ben Randall: Guitars
· John Clelland: Drums
· James Murray: Bass
· Scott McLean: Keyboards

Essential For Fans Of:

· Eden's Curse
· British Melodic Metal

Track Listing

· Omerta (Intro)
· Bitter Sweet Paradise *
· Sky Is Falling Down *
· Tame The Tempest
· Dark Skies Over Babylon *
· Seventh Seal
· Witches Of November *
· Black Abyss
· Knights Of The Crimson Cross
· Midnight Caphedral (Veritas) *
· Here To Heaven *

--*Best Tracks

Redrum Victims Of Our Circumstances

RMB Records

· Produced By: Michael Bormann

· Running Time: 53

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock / Hard Rock

· Links: Redrum

90%

Now this is a great album! The debut album from Greek rockers Redrum (with German vocalist Michael Bormann) was very good – but this is great! This is one of the best Bormann fronted albums I have heard since the Jaded Heart 1999-2004 classics.
The band's second album does everything it should – it improves upon all elements of the debut – better production, better sound and mix and most importantly, even better songs. This is a great selection of European melodic hard rock, with Bormann in full control and the rest of the band delivering the power behind the voice.
The album kickoff though gives me pause. Why bands use an intro of just 50 seconds in length is beyond me – I hate these – just add it on to the start of the first track!
But besides that gripe, the opening track Scream sets things up, but it's the melodic joy of You Can't Buy No Hero that really gets things moving.
The near 6 minute acoustic backed Dust In Your Eyes might be a little misplaced in the sequence of the album, as the mid-tempo song is followed by the ballad Empty Promises, which kills the momentum of the opening two tracks. Thankfully it's a great ballad though with a strong vocal melody driving the song.
Pokerface is a stronger rocker (no, it ain't a cover of that tune) and Dirty White Boy (no, not that song either) continues that trend.
Mother I'm Coming Home is rock ballad with an epic feel, while Tear Down The Walls cranks the album up again.
Have A Nice Day (no, once again, not that song) does have a Bon Jovi feel to it, especially with the vocals and the acoustic intro.
The tile track has a certain groove to it and a good chorus.
Closing with You're The Voice (yes, it IS that song), the guys go out on a high, as you just can't screw up this great song. A great Bormann vocal closes the deal.

The Bottom Line

An above average melodic hard rock record with solid production, engaging songs and some great typically enjoyable Michael Bormann vocals. The Redrum guys seem to have a pretty good handle on what they about and where they are going, so I hope the collaboration with Bormann continues into the future.

Discography / Previously Reviewed

· No Turning Back
· Victims Of Our Cicrcumstances

Line Up:

· Michael Bormann: Vocals
· Panos Baxevanis : Guitars
· Hanos Sarketzis: Drums
· Alex Kidd: Bass
· Marco Grasshoff: Keyboards

Essential For Fans Of:

· Michael Bormann
· Redrum - No Turning Back

Track Listing

· One of Us
· Scream *
· You Can't Buy No Hero *
· Dust in Your Eyes
· Empty Promises *
· Pokerface *
· Dirty White Boy *
· Mother I'm Coming Home
· Tear Down the Walls
· Have a Nice Day
· Victims of Our Circumstances
· You're The Voice *

--*Best Tracks

Kingdom Come Outlier

SPV Records

· Produced By: Lenny Wolf

· Running Time: 41

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: Lenny Wolf

65%

Captain Plod returns with yet another album of dreary sounding mid-tempo European hard rock. At least this time German mastermind Lenny Wolf mixes things up with a reworked music production style – modernizing his sound with effects, overdubs and heavy synth over the top of the usual slow, heavy guitar riffs and his painfully slow wailing vocals.
Sound like a hater right? Actually, no. I really dig Lenny's vocal tone. I just wish he'd really take a look at the tempo of his songwriting and either ramp it up or bring in someone to help co-write.
I adore the debut Kingdom Come (Kingdom Clone) album and its sequel wasn't too bad either. But after that Lenny took full control of the band and lineup, taking the band back to Europe and dropping his star lineup. These days he takes care of most elements himself, which is why the last few albums have all sounded exactly the same and all with the same depressingly slow pace.
God Does Not Sing Our Song is a dramatic song that I do like, but the pace…arghh, the pace! The second track almost breaks into a decent trot before Lenny pulls it back.
Rough Ride Ralleye is more programmed synth than anything else, a curious left turn.
Holy Curtain is slow (of course), but I quite like the dramatic feel and the guitars are certainly in your face.
The Trap Is Alive actually breaks into a cantor, and isn't as imposing a track as the intensity of first half of the album. And it even features a chorus. Good stuff.
Skip The Cover And Feel (what does that mean?!) however, heads straight back into plod mode as is Don't You Want To Wait.
Such A Shame is one beat faster, but doesn't really deliver a chorus and the album closes with another song that doesn't really go anywhere as far as I'm concerned.

The Bottom Line

The albums relatively concise 40 minutes of music feels more like 80 at the pace it goes at, which is my constant disappointment and issue with Kingdom Come. An interesting musical twist is lost in the frustrations of the tempo and again, choruses aren't really a strong point.

Wild Rose Dangerous

AOR Heaven

· Produced By: Andy Rock

· Running Time: 47

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Hard Rock

· Links: AOR Heaven

75%

The Andy Rock fronted Wild Rose – Greece's answer to Bon Jovi circa 1984 are back for album number two. And they pick up exactly where they left off with their debut – back in 1984 with some old fashioned commercial hard rock.
There is an equal dose of guitar and keyboard in play with these guys, with guitar riffs taking the more prominent position in the mix.
I saw this album rated 10/10 on another portal and without wishing to cast dispersion upon that review, I simply don't hear anything remotely close to making this a review of similar standing.
The band is competent and their songwriting does manage to deliver some songs that catch in your mind. There are some nice riffs, memorable keyboard fills and some choruses that stand out.
The biggest compliment you could give this album is that it captures the era it pays homage to well.
However, it doesn't deliver anything that stands out from the crowd, nor does it deliver what hasn't already been done many times previous.

The Bottom Line

It doesn't shape as a must buy release, purely because there is so much completion out there and others have managed to be a little more unique and original.

Heartbreak Radio On Air

AOR Heaven

· Produced By: Claes Andreasson

· Running Time: 44

· Release Date: 2013

· Released: EU

· Musical Style: Westcoast/Pop/AOR

· Links: AOR Heaven

70%

Swedish AOR-lite/Westcoast Heartbreak Radio started off as a spinoff project from the band Last Autumn's Dream. LAD's Michael Erlandsson appears on vocals for 4 tracks, other vocalists include Jim Jidhed (1); Pierre Weinsberg (2) and a couple of others.
Now for the project's second album, the musician lineup consists of Mats Johannson (Asia, Guitars), Berra Holmgren (Ace Of Base, Bass), Peter Strandberg (Jeff Scott Soto, Drums), Johan Axelsson (Keys).
This is more Westcoast/pop than it is AOR. It's very lite on guitar, heavy on keyboards and synth and very very sweet.
Angelina is a great little Westcoast song with a catchy chorus; I Will Love You is a smooth ballad featuring a powerful Jidhed; Live Out Of Love is more powerful and uptempo and you have to love Erlandsson's voice. Same with the poppy melodic rock of My Heart's Just Missing You.
But elsewhere it's a little too polite for me. It's a little jazzy, very pop/soul and generally just too much happy juice being drunk by these guys. For someone who likes their music moodier and darker on most occasions, there's too much sugar here.

The Bottom Line

Think Jay Graydon, Chicago, George Benson even…it's smooth. I don't think the song strength is quite there to convert me to the style on offer here.

Heaven And Earth Dig

Quarto Valley Records

· Produced By: Dave Jenkins

· Running Time: 58

· Release Date: 2013

· Released: US

· Musical Style: Melodic Hard Rock

· Links: H&E

95%

Heaven And Earth is the brain child of British guitarist Stuart Smith, a lifelong fan of Richie Blackmore, Deep Purple, Rainbow and all things classic rock. The first album under the H&E moniker featured the cream of the crop as far as vocalists go – Glenn Hughes, Joe Lynn Turner, Richie Sambora, Bobby Kimball (on the second pressing) and Kelly Hansen. The second album featured just Kelly Keeling on vocals and the following EP featured Paul Shortino.
So it is no surprise to see that on the band's official third release, another vocalist is in the picture. This time it is Joe Retta - and what a find he is. With a raspy and soulful tone not unlike Joe Lynn Turner, Joe takes the material on offer here and makes it his own, with a powerhouse performance.
The lineup has solidified also, with the great Chuck Wright on bass, Arland Schierbaum on Hammond B3, Richie Onori on drums and of course Stuart Smith at the helm on guitars.
If the pedigree of these guys couldn't deliver a knock-out classic rock album, then no one could. Thankfully that isn't a problem.
Dig makes a powerful statement that the band is back and better than ever.
What I really love about this album is the authentic, analogue feel it has. That big 70s hard rock sound, filled with organ and authoritive guitar work that such bands has Rainbow and Purple featured. Not to mention a rhythm section to die for.
The album takes a few listens to click – some of it on the first listen yes, but all great albums are ones that grow over time.

After the expected pomp-friendly intro, the bravado of the opening track Victorious takes control. The six minute track is everything you'd expect from H&E – big, authentic and filled with guitars and a pounding rhythm, plus that unmistakable organ sound that bands like Rainbow and Deep Purple brought to the mainstream.
Victorious starts with a flourish before pulling back a bit, only to build as the songs goes on, with vocal discovery Joe Retta in full control. At some point he hands over to guitarist Stuart Smith who takes the song to another level with some inspired soloing.
No Money, No Love quickly follows on, with a more commercial feel and a more rapid pace. This is the most obvious track for a single and so it is. The song is great – a big authentic 70s rock song with a memorable chorus and layers of guitars and organ over a tight rhythm section.
I Don't Know What Love Is is simply a monster ballad. Straight out of the Joe Lynn Turner song book, Joe Retta delivers a stunning vocal that takes the song where it needs to go. The emotion of the song is great and once again harkens back to a real old-school way of music.
Man & Machine is a more simplistic statement, which does just one thing – it rocks. The hard driving beat of the song matches the subject matter – the car, and driving it fast. A big bluesy hard rock song.
House of Blues is a long, slow rocking track that bases its sound heavily on 70s blues and once again that authentic Rainbow-esque style. It's not a ballad, nor a rock song; it's one of those organ drenched blues tracks that H&E are known for.
Back in Anger is a good pace lifter after the long previous track. The guitar and organ swirl around each other and the rhythm section grooves. This is another great track for vocalist Retta and Stuart Smith delivers another great solo.
Waiting for the End of The World is the perfect sequel to the last track – moving down in tempo, but equally impressive in its 70s rock roots, complete with some Richie Blackmore style acoustic work and a driving chorus. The song has a certain darkness to it that appeals.
Sexual Insanity is a moody song that builds, with some dramatic passages of music surrounding a charged chorus.
Rock & Roll Does is one of the album's biggest rockers. It is certainly the fastest and features some great harmonica intermixed around the rest of the song's groove based tempo. A simplistic rocker at heart, a good fun addition to the album and well placed within the sequence of tracks.
A Day Like Today is one of those oddball tracks that Heaven & Earth have managed to produce over time – again based on Stuart Smith's various influences of the 70s. This baroque style piano/vocal ballad, complete with acoustic guitars and mandolins, violins etc… I love it. Richie Blackmore would no doubt rate this is favourite song of the album.
Good Times continues a run of what I think are the album's best songs. This frantic paced rocker isn't as heavy as earlier tracks, but works so well. I love the percussion within this song, with emphasis on other things than the straight drum sound.
And closing this epic album is the perfect epic ballad Live as One. It runs Four and a half minutes, but feels like 8, as it builds from a slow start to a huge finish with Joe Retta delivering one of the best vocals of the album. This is a power ballad in the vein of Foreigner or Styx in the 70s, with a vocal orchestra blowing the song apart towards the end.
It should have been longer!

The Bottom Line

So Heaven And Earth return in their third incarnation in as many records, but this I think is the lineup that will stay together and build the brand that has previously suffered from a lack of momentum. They need to get out on the road and sell this material with some kick ass live performances. It's the only way to reach the masses these days, and this album deserves to be heard. But for those reading this site that know where to find good music already, don't hesitate to check out this marvelous slice of killer classic rock with a big 70s groove and a wonderfully produced set of songs.

Discography / Previously Reviewed

· Heaven And Earth
· Windows To The Soul
· Dig

Line Up:

· Joe Retta: Vocals
· Stuart Smith: Guitars
· Richie Onori: Drums
· Chuck Wright: Bass
· Arlan Schierbaum: Keyboards

Essential For Fans Of:

· Heaven & Earth
· Classic Hard Rock
· Rainbow/Deep Purple

Track Listing

· Victorious *
· No Money, No Love *
· I Don't Know What Love Is *
· Man & Machine
· House Of Blues *
· Back In Anger
· Waiting For The End Of The World
· Sexual Insanity
· Rock & Roll Does *
· A Day Like Today *
· Good Times
· Live As One *

--*Best Tracks

Steve Lukather Transition

Mascot Records

M7400 5

· Produced By: Steve Lukather & CJ Vanston

· Running Time:

· Release Date: 2013

· Released: WORLD

· Musical Style: Melodic Rock

· Links: Steve Lukather

94%

As a solo artist, guitarist, singer, songwriter, multi-instrumentalist, Steve Lukather has always walked diverse path, never turning in the same record twice.
However, the man affectionately known as Luke has found a nice groove over the course of his last 3 solo records, with producer CJ Vanstone a key factor in creating a monster sound and some of the best produced and mixed records my ears have had the pleasure of knowing.
The trilogy of records started with Ever Changing Times, continued with All's Well That Ends Well and now reaches to Transition.
And while it features the same musical base as the last album and that unmistakable high-tech, high class performance, this album has its own soul.
Transition is to me, a far mellower vibe than we are used to with Luke. It's an introspective record that sees its author coming out the healthier side of a period of mourning. So the songs have their usual outstanding lyrical depth that few artists achieve and some soul searching moments are laid bare for all to witness, but some of the songs have a very positive energy to them, despite the mellower and laid back appearance.
Even the album's opening epic, the title track Judgement Day, has a slightly reserved feel to it. But the guitar work is nothing short of amazing and the biting lyrical content will have someone's ears burning.
The funky Creep Motel is similarly themed, with some terrific instrumentation giving it depth beyond the norm. Again the lyrics make you thankful you are not in the firing line, but that's what we love about Luke. Always honest.
In Once Again and Right The Wrong, we find two of the best and most heartfelt ballads Luke has ever written. They run back to back and display some gut wrenching angst and the intense arrangements make them two outstanding tracks.
The mostly instrumental Transition features some stunning guitar work and leads into the more positively themed Last Man Standing, itself a sonically joyous tune, the pace more restrained.
Do I Stand Alone is the albums only regulation uptempo rocker, with a great little pop chorus, making it one of the most instantly likable songs of the album.
Rest of The World is a slow bluesy number that features another side of Luke and some stunning guitar work.
Unfortunately I'm not that interested in the closing instrumental cover of Smile, despite some fine string plucking from Luke.
That closes the album for me with the weaker track, but the class within those songs has meant that this album has been on steady rotation now for 6 months, and few other albums can boast that claim.

The Bottom Line

Lyrical depth and musical maturity, topped with some of the finest guitar playing of Luke's career, not to mention the soulful edge of his warm vocals. That's enough to sell me on this album once again. Another great addition to the Lukather story, even if it's a couple of tracks short of the classic that the last album was in my mind.

Discography / Previously Reviewed

· Lukather
· Candyman
· Luke
· Ever Changing Times
· All's Well That Ends Well
· Transition

Line Up:

· Steve Lukather: Vocals, Guitars
· Eric Valentine + Guests: Drums
· Lenny Castro: Percussion
· Various: Bass
· CJ Vanston, Steve Weingart: Keyboards, Effects

Essential For Fans Of:

· Steve Lukather - All's Well That Ends Well
· Toto

Track Listing

· Judgement Day *
· Creep Motel *
· Once Again *
· Right The Wrong *
· Transition *
· Last Man Standing
· Do I Stand Alone *
· Rest Of The World
· Smile

--*Best Tracks

Covered Call Impact

AOR Heaven

· Produced By: Covered Call / Mixed: Lars Chriss

· Running Time: 44

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: AOR Heaven

93%

Let us never underestimate the joy that is listening to Goran Edman in full melodic rock vocal glory! Swedish rockers Covered Call come back with their second album, this time featuring Goran Edman at the helm, replacing fellow Swedish metal crooner Thomas Vikström.
Without any exaggeration, the opening two tracks on this album represent the genre at its finest, with two of the most joyously melodic and compelling tracks of 2013 blowing the speakers apart. And those vocals! Melody in every word…
Lorraine is simply a powerhouse anthem and When The Lights Are Out is a mellower, yet equally engaging track, especially with the brilliant chorus.
It just keeps on delivering with the great mid-tempo AOR anthems Think About All Times and Look Into Your Mind, plus the darker, more urgent and heavier Hold On all just oozing melodies. And those vocals!
And so it continues… I think every track is a winner, right up until there's a bit of a left turn on the last two tracks for some reason, which suddenly sees an earthier, rawer guitar driven sound immerge. Stop right there guys! You had it right on the rest of the album; don't feel the need for a change.
The last 2 tracks are ok, but they don't match the melodic bliss of the rest of the album. I'll forgive them the experimentation as the rest is just so good.

The Bottom Line

It just doesn't get better than this for fans of feel good Scandi-rock. Those holding out for a return of Street Talk will have to rely on this album to bring all the Goran edman AOR goodness that all musical collections should feature. Rich production, layers and layers of vocals and a nice mix of keyboards and guitar. Love it.

Discography / Previously Reviewed

· Money Never Sleeps
· Impact

Line Up:

· Göran Edman: Vocals
· Joel Carlsson, Morgan Rosenquist: Guitars
· Ronny Svanströmer: Drums
· Andy Loos: Bass

Essential For Fans Of:

· Street Talk
· Scandi MelodicRock
· Goran Edman

Track Listing

· Lorraine *
· When The Lights Are Out *
· Think About All Times *
· Look Into Your Mind *
· Hold On *
· Make A Wish
· Nothing Lasts Forever *
· Wake Up
· When I´m Gone *
· Live It Up
· Last Goodbye

--*Best Tracks

Bai Bang All Around The World

AOR Heaven

· Produced By: Pontus Assarsson

· Running Time: 35

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: AOR Heaven

92%

What a difference 18 months can make. I panned the band's last album – the songs were ok, but the production was just horrible and ruined any chance of the record having any lasting power. In fact, I haven't played it once in the last 18 months.
But, things are entirely different for this little beauty. The band has obviously spent a lot of extra time on songwriting and the production problems of the last album have been forgotten.
This is a monster album for fans of anthemic, in your face melodic rock, with that Def Leppard style of layered harmonies and the Mutt Lange style production. What I didn't notice last time around, was that the vocals of singer Diddi Kastenholt have a distinct resemblance to those of the Stage Dolls' Torstein Flakne.
So what I'm hearing here is Adrenalize era Def Leppard with Stage Dolls lead vocals! It's quite a tasty mix to be honest. The album is completely over the top of as far as anthems and choruses and indeed energy also.
The frantic pace of the first two tracks Everybody Everywhere and Gonna Make It will leave most folks out of breath.
Crazy is slower, but no less catchy and a song names after their own moniker sees some Joe Elliott moodiness in the vocals. Bai Bang is every bit the Def Leppard rocker.
How About Now is a huge ballad with hands in the air harmonies and hooks.
Raise Your Hands and Summertime are two more killer anthems with a moody edge, but layered chorus harmonies to the hilt.
Now You're Gone is darker still and quite intense and perhaps the heaviest track of the album.
All Around The World pounds through the speakers with more hooks and a chorus that never stops, while Get It On closes the album with a fierce guitar riff and another thumping beat.

The Bottom Line

Credit where credit is due - the band could have been over after the last album, but they refused to take it lying down. Instead they have stormed back with 10 consistently enjoyable and ear thumping tracks that comprise what might just be their best album ever. At 35 minutes, there is no padding and no bullshit here – just wall to wall Scandi-rock anthems.

Discography / Previously Reviewed

· Enemy Lines
· Cop To Con
· Riding High
· Attitude
· Best Of Bai Bang
· Are You Ready
· Livin' My Dream
· All Around The World

Line Up:

· Diddi Kastenholt: Vocals
· Pelle Eliaz, Jens Lundgren: Guitars
· Johnny Benson: Drums
· Joacim Sandin: Bass

Essential For Fans Of:

· Def Leppard
· Stage Dolls
· Grand Design

Track Listing

· Everybody Everywhere *
· Gonna Make It *
· Crazy *
· Bai Bang
· How About Now *
· Raise Your Hands *
· Summertime
· Now You're Gone
· All Around The World *
· Get It On

--*Best Tracks

Stala & So Play Another Round

Escape Music

· Produced By: Not Listed

· Running Time: 49

· Release Date: 2013

· Released: EU

· Musical Style: Glam/Rock

· Links: Escape Music

75%

Sampsa “Stala” Astela (former lead vocalist of Finland's kings of quirk Lordi) and fellow bandmate, bassist Nick Gore are the main pair behind Stayla & So, a quirky and different band that almost defy being defined. There's some Lordi style exaggeration, a lot of old school 70s groove and some strong doses of power pop and glam also.
Dare I say that not only is vocalist Stala an acquired taste, but so is the entire album. And overall I remain unconvinced, despite a few really catchy songs on offer. No, that doesn't entirely make sense, but there are simply some songs that despite being very catchy that I don't like! I'm not sold on the vocals either to be honest.
The opening Rock Until I'm Done and Tokyo Delights are two songs that just can't not be liked. Especially the opening anthem. Great stuff. But The Boys And Having Fun and Never Again I don't go for at all, despite some good melodies on offer.
Back Together is a nice ballad, while Alrite Tonite is total 80s power fuzz-pop, but the vocals take some getting used to.
I much prefer the feel good melodic rock of Life Goes On and the harder guitar driven All Alone. The second ballad All She Wrote is pretty good too.
The bonus tracks include the non-starter Pamela and an acoustic ballad cover version of the Ozzy tune Shot In The Dark. Now that's an interesting twist…

The Bottom Line

The band reminds me in part of the quirkiness of Enuff Z Nuff, another band that I have failed to get into for the past 20 years, despite them having a legion of dedicated fans. It's all just a matter of personal taste and this album is something I'm struggling to fully appreciate due to its quirks.

Discography / Previously Reviewed

· It Is So
· Play Another Round

Line Up:

· Sampsa "Stala" Astela: Vocals
· Sami J., Pete Vaughn: Guitars
· Hank: Drums
· Nick Gore: Bass

Essential For Fans Of:

· Sampsa "Stala" Astela

Track Listing

· Rock Until I'm Done *
· Tokyo Delights *
· The Boys And Having Fun
· Never Again
· Back Together
· Alrite Tonite
· Life Goes On *
· All Alone
· All She Wrote
· For Your Love
· Rockstar
· Pamela (Bonus Track)
· Shot In The Dark (Bonus Track)

--*Best Tracks

Snowfall Cold Silence

Escape Music

· Produced By: Martin Kronlund

· Running Time: 52

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Hard Rock

· Links: Escape Music

90%

Snowfall is the new melodic hard rock project for singer Lee Small (Phenomena, Shy) and bassist/keyboardist/songwriter “PB” Riise. Mixing anthemic hard rock and bluesy with keyboard filled Scandi AOR, the project sees Small in his full-blown Glenn Hughes rock vocalist mode, which is never a bad thing.
The sound quality and clear mix is guaranteed when produced, mixed and mastered by Mr. Dependable: Martin Kronlund, so Snowfall gains another credit there. Lastly the songs – good, punchy, strong performances here and chorus hooks that develop over time.
What Snowfall offers is some really punchy melodic hard rock that requires several listens to best appreciate. The choruses are there, but not immediately obvious apart from a few “instant” tunes like the huge opener Don't Drive Me Home Tonight; the big ballad Heaven's Not Up There, the layered vocals of Jack Of Diamonds and the punchy rock beat on I Won't Be Lonely Anymore.
And the second to last song Alexandria is possibly the catchiest song of the entire album. Should have been closer to the top I think.
Elsewhere it takes a little time, but the king of this album is Lee Small and his monster vocals. Just check out the tone on the big groove-rocker Oscillate.
The orchestral and slightly progressive The Vesper Bell closes the album on an impressive note.
The album could perhaps have used another uptempo tune or two, as mid-tempo groove is the most prevalent throughout.

The Bottom Line

Classy stuff from Lee and Rise and producer Kronlund. Three dependable names on one record, with enough quality to ensure this project gains some traction and gets a green light for a sequel at some point.

Discography / Previously Reviewed

· Cold Silence

Line Up:

· Lee Small: Vocals
· Tore Meli: Guitars
· Perra Johnson: Drums
· "PB" Riise: Bass / Keyboards

Essential For Fans Of:

· Glenn Hughes
· Lee Small
· PB Riise

Track Listing

· Don't Drive Me Home Tonight *
· Citadel Of Hope
· House Of Prayer
· Heaven's Not Up There *
· Jack Of Diamonds *
· Wolf's Lair
· I Won't Be Lonely Anymore *
· Stampede
· Oscillate *
· Alexandria *
· The Vesper Bell *

--*Best Tracks

Whitesnake Made In Japan

Frontiers Records

FRCD598

· Produced By: Whitesnake

· Running Time: Disc A: 73

· Release Date: 2013

· Released: WORLD

· Musical Style: Hard Rock

· Links: Frontiers

85%

Made In Japan is a good value set. There's two audio discs and the live DVD on offer, but disc 2 is not a continuation of the live show, but rather outtakes from the band's soundchecks (Love Will Set You Free, Steel Your Heart Away, Lay Down Your Love, Evil Ways – rougher, but still enjoyable versions) and no less than 4 acoustic versions of tracks from the last couple of albums (Fare Thee Well, One Of These Days, Good To Be Bad, Tell Me How).
The main disc is a 12 track live compilation of the band's appearances in Japan October 2011. Upon checking the exact set lists for those shows, it appears only the Deep Purple cover of Solider Of Fortune has been dropped from this 73 minute disc (time constraints obviously).
That makes the set list all that more puzzling, as it draws heavily from the latest album and the Good To Be Bad release (no problems there, both great albums), but instead of drawing songs from the past, we get 13 minutes of silly guitar and drum soloing. I guess David Coverdale gets to rest his well-worn vocals for a bit there.
Yes, David sounds worn, but wouldn't we all after so many years of delivering the goods. In reality, he still delivers more than most his age and that tone of his is something that won't ever be replaced.

The Bottom Line

Like most live albums, this is a die-hards only proposition, but the band sounds shit hot as usual and Doug Aldrich and Reb Beach shred throughout. The songs are unquestionably good and the sound for a live album is massive. Despite the solos, I like this a lot. Get ready for the (pushing the limits of live releases) companion release Made In Britain in July.

Amaze Me Guilty As Sin

AOR Heaven

· Produced By: Peter Broman

· Running Time: 42

· Release Date: May 24

· Released: EU

· Musical Style: AOR / Rock

· Links: AOR Heaven

60%

Sweden's Amaze Me – for the record – is one man band and producer Peter Broman and vocalist Conny Lind. I had really high hopes for a new Amaze Me record. Their past life was summarized in a nice collection from AOR Heaven earlier in the year, but if anything, that collection only highlighted how far audio recording quality has come since Amaze Me was last making music a decade ago. The fact was that they didn't really cut it back then, despite some amazing songs and sadly, they still don't cut it in 2013 with a production style that hasn't improved any.
While some of the performances here have been captured quite nicely and some of the songs hold true promise, the fact is that the overall mix is horrible and general arrangements within the songs just confuses matters more.
Vocals are up front too far in one song, then buried deep in others. The drum sound is clearly programmed, which doesn't fly anymore in this day and age.
The guitars are also part buried in the mix and part front and center elsewhere.
In a nut shell, the album sounds too busy. Take the song With Or Without You. Love the premise of it – love the hook and the potential of the dramatic chorus. But the execution is just a mess. Too much going on and none of it sounding like it's in the right place.
The almost catchy Guilty As Sin is the same. It's just a mess.
Production issues aside, the songs themselves are quite diverse. There's some pop rock, a little traditional AOR and some harder moments. Plus a couple of songs that are fairly contemporary. But there is no common sound between them all and the quality, to be blunt, isn't what past Amaze Me records had.
The songs were always the element that made an Amaze Me record bearable in the face of bad production.
With that missing here, there isn't much to get excited about. Sadly.

The Bottom Line

Messy and disjointed I'm sorry to say. Some highlights and promise, but another poorly executed record from Peter Broman.

Discography / Previously Reviewed

· Amaze Me
· Dream On
· Wonderland
· Ultimate Collection
· Guilty As Sin

Line Up:

· Conny Lind: Vocals
· Peter Broman: Everything Else

Essential For Fans Of:

· Amaze Me

Track Listing

· Everybody
· Lost In A Dream
· Can't Stop Loving You
· Save Me
· Endless Love
· With Or Without You *
· The Pain
· Guilty As Sin *
· On The Run
· Dying To Be Loved
· Love Is Blind
· On Fire

--*Best Tracks

Stryper Second Coming

Frontiers Records

FRCD591

· Produced By: Stryper

· Running Time: 67

· Release Date: 2013

· Released: EU/US

· Musical Style: Melodic Hard Rock

· Links: Frontiers

88%

Normally I'd call these kind of releases – re-recordings of “greatest hits” – die-hard fan only affairs. But there is something about the freshness of this collection of tunes that might just go beyond the fan-only base and serve as an introduction to the band for newcomers.
Stryper have been gaining renewed popularity in the past few years since reforming, on the back of the very good trilogy of releases Reborn (2005), Murder by Pride (2009) and their covers album The Covering (2011).
You've got the original lineup still in place here covering songs from their original EP and the first two full length albums.
Being that those songs are now considerably aged, one would have to say that the production here is far superior and the punch in the bottom end matches that extra power the band has delivered on their most recent albums.
I'm not going to go into individual songs here, as they are all part of Stryper history. Fans will know them by heart, but for newcomers, this is a very good look into the early days of the band, with today's production quality.
What I will discuss further is the two brand new songs included here.
Bleeding From Inside Out is an emotional, yet powerful rock semi-ballad with a groove driven chorus featuring tons of guitars and that modern day Stryper sound.
Blackened is a solid melodic rocker with a pretty commercial feel to it. Sounds like prime 80s commercial hard rock, with a contemporary feel.
Both are very good tracks.

The Bottom Line

Well worth checking out for new, and of course, old Stryper fans. The two new songs are the obvious highlight, but the freshness in the older material gives those songs a new lease on life and further adds to the solid recent output from the band.

Discography / Previously Reviewed

· The Yellow And Black Attack
· Soldiers Under Command
· To Hell With The Devil
· In God We Trust
· Against The Law
· Reborn
· Murder By Pride
· The Covering
· Second Coming

Line Up:

· Michael Sweet: Vocals, Guitar
· Oz Fox: Guitars
· Robert Sweet: Drums
· Tim Gaines: Bass

Essential For Fans Of:

· Stryper
· Christian Rock

Track Listing

· Loud N' Clear
· Loving You
· Soldiers Under Command
· Makes Me Wanna Sing
· First Love
· The Rock That Makes Me Roll
· Reach Out
· Surrender
· To Hell With The Devil
· Calling On You
· Free
· The Way
· Sing Along Song
· More Than A Man
· Bleeding From Inside Out (New)
· Blackened (New)

Pretty Maids Motherland

Frontiers Records

FRCD593

· Produced By: Jacob Hansen

· Running Time: 50

· Release Date: 2013

· Released: EU/US

· Musical Style: Melodic Hard Rock

· Links: Frontiers

92%

The Danish hard rock band follows up their acclaimed Pandemonium release in very fine style here, taking all the energy and style from their last album, applying it to 13 brand new songs, which really are more melodic than ever.
The power and production crispness from Jacob Hansen remains as does the always probing rhythm section, the raspy vocals and some metal driven guitar riffs. But at the heart of the album are some very fine melodies, keyboards mixing with the vocal and guitar hooks to craft truly memorable songs.
The Danish rockers have been around since the early 80s, but really are in a golden period of their history. The band knows what fans want and are delivering it: power, melody and passion.
Highlights from the album are numerous and pretty much run the gamut of the whole album. This is an extremely consistent record with no real fillers in sight.
But my personal favorites include the opening bombastic Mother Of All Lies; the double kick drum fuelled anthem The Iceman; the more melodic and soulful Sad To See You Suffer; the reflective and symphonic-infused Infinity; the high energy title track Motherland and the brilliant heavy ballad Bullet For You.
The heavy groove of Who What When Where Why is also a good track to play ultra-loud and the closing 5 minute Wasted is one of the album's most layered tracks.

The Bottom Line

An early highlight of the 2013 hard rock year, with the band further cementing their reputation as one of the most consistent and reliable bands out of Europe. A no brainer for long time fans and those that have come aboard more recently, such as with the Pandemonium album.

Discography / Previously Reviewed

· Pretty Maids
· Red, Hot And Heavy
· Future World
· Jump The Gun
· Sin Decade
· Stripped
· Scream
· Spooked
· Anything Worth Doing Is Worth Overdoing
· Carpe Diem
· Planet Panic
· Wake Up To The Real World
· Pandemonium
· Motherland

Line Up:

· Ronnie Atkins: Vocals
· Ken Hammer: Guitars
· Allan Tschicaja: Drums
· Shades: Bass
· Morten Sandager: Keyboards

Essential For Fans Of:

· Pretty Maids - Pandemonium
· European Melodic Hard Rock

Track Listing

· Mother Of All Lies *
· To Fool A Nation
· Confession
· The Iceman *
· Sad To See You Suffer *
· Hooligan
· Infinity *
· Why So Serious
· Motherland *
· I See Ghosts
· Bullet For You *
· Who What Where When Why
· Wasted *

--*Best Tracks

De La Cruz Street Level

Frontiers Records

FRCD592

· Produced By: Casey Jones

· Running Time: 44

· Release Date: 2013

· Released: EU/US

· Musical Style: Melodic Rock

· Links: Frontiers

86%

Australia's De La Cruz just announced the departure of their guitarist/producer Casey Jones. Not the way one would prefer to celebrate the launch of your debut album, but that as they say – is life.
The guitarist may be gone (along with his production credit), but his and the entire band's contributions to their album Street Level are captured forever.
This debut is an impressive one, but there is room to move as far as honing their skills and making the jump from a good cult hard rock band to a worldwide draw. They can make it happen. First of all the guys have to work out who they are. There's a little personality conflict here as far as mixing up styles; from the glam-sleaze infused opening few tracks to commercial pop/rock and back again.
At times they are channeling Def Leppard – right down to vocalist Roxxi's Joe Elliott mannerisms and the layered backing vocals (Legions Of Love, Gimmie Love, Dreaming). At other times the guys think they are Cinderella (on the screechy World's Collide) or perhaps Motley Crue (S.E.X.).
And there are times where the band has their own style of commercial 80s rock and sound most comfortable. Cherry Bomb sounds pretty disposable lyrically, but you can't fault the catchiness of the material. The commercial and catchy Set The Night; the reflective ballad Shine and the anthemic Turn It Up are best examples.
Most of the time you feel as if you are listening to a compilation sampler of 80s hard rock artists, which really isn't a bad thing at all, it's just a little harder to keep up with the styles and song influences as they vary.
For a group of young guys, their musical prowess is unquestionable. Some solid performances here and some terrific guitar work.
The one soft spot in the band's armory (besides the departure of Jones) is vocalist Roxxi. His voice doesn't always carry the same authority as the music and it will be interesting to see what comes of the shakeup.

The Bottom Line

The departure of Casey will leave the band at an early and unexpected crossroads, I hope they are able to restructure and more forward as there is a lot of promise here – they just need to fully work out exactly where they are going and what their core sound is. I think the vocalist is perhaps the one that needs to lead the band by picking out what he is best at and keeping the band within that style.

Discography / Previously Reviewed

· Street Level

Line Up:

· Roxxi Catalano: Vocals
· Casey Jones, Rory Joy: Guitars
· LaceyLane: Drums
· Grant Daniell: Bass

Essential For Fans Of:

· Def Leppard
· Motley Crue
· Cinderella

Track Listing

· Street Level *
· Girls Go Wild
· Turn It Up *
· Legions Of Love *
· Gimme Love
· Cherry Bomb *
· Dreaming *
· Invincible
· Worlds Collide
· S.E.X.
· Set The Night
· Shine *

--*Best Tracks

Great White 30 Years - Live From The Sunset Strip

Frontiers Records

FRCD587

· Produced By: Great White

· Running Time: 73

· Release Date: 2013

· Released: EU/US

· Musical Style: Melodic Rock

· Links: Frontiers

85%

The jury is still out for me as far as Terry Ilous fronting Great White – despite my long held high regard for the singer and indeed the band overall. The latest studio album pushed me further towards the negative, but this 30 Year Anniversary Concert has gone song way to repairing that damage. There's only 11 tracks on here, which is probably my only main gripe – this 74 minute show can hardly cover the band's amazing legacy in just that number of tracks.
Thankfully they do stick to the biggest hits though, with only Back To The Rhythm included from recent years.
The rest is prime Great White classics such as Lady Red Light, Big Goodbye, House Of Broken Love (on which Terry really excels). As with the last album, the overall vibe is still fairly laid back in comparison with how the band rocked in the 80s, but the performances are still perfect.

The Bottom Line

Without Jack Russell in attendance the Anniversary show seems a little flat, but this is more about celebrating the songs (three of which aren't the band's originally) than the band. This is one for the absolute diehards I'm afraid, but it's still pretty good listening.

Bon Jovi What About Now

Universal

· Produced By: John Shanks

· Running Time: 52 / 65

· Release Date: 2013

· Released: WORLD

· Musical Style: Rock

· Links: Bon Jovi

80%

If you ever want to review an album that will divide the reader base and leave you damned either way you favor, go pick any of the last few Bon Jovi records.
The band still has a devoted fan base, but equally has just as many detractors calling for the band to be publically stoned for selling out their rock roots.
So where does one start with What About Now?

It's too easy to just shit on the band for selling out and redefining the term “rock” to mean anything plugged in – without the actual need to “rock” in the proper sense of the term. First – much respect to the band for still being viable in this day and age. They can still shift 100k records in the USA and they sell out stadiums around the world.
You just can't take that away from them. They may be the Jon Bon Jovi band since reforming a decade or so back, but it works for them and the other guys don't seem to have much to say about it. I was set to rant on about the under-utilization of Richie Sambora's immense talents, but after his last solo album, the blame for Jovi's mellowing can't be squarely laid upon the frontman.
I loved Have A Nice Day; thought Lost Highway, Bounce and Crush were okay and hated the most recent album The Circle.
So there seemed little chance I was going to appreciate anything within this one. So I'm surprised to find that there are parts I'm enjoying and a couple of songs I rate highly. But there is far too much filler yet again and the ballads kill the momentum of the album – especially with the overburdened Deluxe Edition. Should a Bon Jovi album really be relegated to a few great songs per release?
The ongoing mellower tone of the band these days really does give them the appearance of being on auto-pilot.

The album mixes the country/acoustic vibe of Lost Highway with the more recent modern rock tone of The Circle and H.A.N.D., but adds little more urgency in some of the songs, not to mention a few very likable choruses.
But there is filler here too. I could safely live without ever hearing another Bon Jovi ballad as long as I live, and nothing here changes my mind there. So I'm skipping Amen, Thick As Thieves, and The Fighter and also give Room At The End Of The World a pass. Seriously – what rock band ends their albums with 2 ballads in a row?
Then there's the “deluxe edition” which two more shiteously slow, horrible and countrified ballads. And that opening track – guys – that's simply I'll Sleep When I'm Dead slowed down to old man pacing. This is easily the worst Bon Jovi lead single/opening track in history. The cliché ridden track is so utterly predictable and slow paced, plus it wastes a decent Sambora lead break on a weak chorus.
On the good side of the ledger for this album is the ultra-moody I'm With You, with its dark and menacing edge, plus the excellent modern U2/Coldplay pop/rock of What About Now and Pictures Of You which both deliver strong choruses and some decent guitar parts.
I also rate That's What The Water Made Me (what the hell does that mean?) and the Lost Highway “leftover” What's Left Of Me.
And Army Of One is another fine brooding number with a rock edge that could have been better executed, but good try anyway and a favourite of mine.
Beautiful World is a total rip-off from Matchbox Twenty, but catchy enough and the Deluxe Edition adds one decent extra – the uptempo modern pop/rocker With These Two Hands.

The Bottom Line

Decent? Yes. Good even to some I'm sure. Great? No. Classic? Not even close. But I think it's better than the last release. But is What About Now any sign or hint of a rethinking of their direction and a move back towards their classic sound? No way…and don't ever expect it. Bon Jovi seem content on deliving average albums every 3 years. No great stretch and no great musical challenge for those listening.
The JBJ Band seem so comfortable in their slacks and skivvies with one eye on retirement, they are never likely to look back at the skin tight leathers at the back of their closet. Take each release as it comes for what it is and try and pick out a few new great tunes to stick on that ever changing "Bon Jovi Best Of" playlist.
If I was Bon Jovi or a similar band I;d be asking myself this: "how many fans do I have now that are with us because of what we did in the past? And how many of those are happy with what we are doing today? If the answer is not all of them, then get back to doing what you did when you were at your best."

Discography / Previously Reviewed

· Crush
· One Wild Night
· Bounce
· This Left Feels Right
· Have A Nice Day
· Lost Highway
· The Circle
· What About Now

Line Up:

· Jon Bon Jovi: Vocals
· Richie Sambora: Guitar
· David Bryan: Keyboards
· Tico Torres: Drums
· Voldemort: Bass

Essential For Fans Of:

· Bon Jovi - Lost Highway
· Bon Jovi - The Circle

Track Listing

· Because We Can
· I'm With You *
· What About Now *
· Pictures Of You *
· Amen
· That's What The Water Made Me *
· What's Left Of Me
· Army Of One *
· Thick As Thieves
· Beautiful World
· Room At The End Of The World
· The Fighter

--*Best Tracks

Crashdiet The Savage Playground

Frontiers Records

FRCD584

· Produced By: Otto Welllton

· Running Time: 62

· Release Date: 2013

· Released: EU

· Musical Style: Hard Rock

· Links: Frontiers

92%

After the quite superb Generation Wild album, expectations for the Swedish hard rocking glamsters to deliver again was at fever pitch. So what did the band do? A complete 180 of course! Anyone dead set on a continuation of the last album found themselves accosted by this fierce, raw, stripped right down, in your face opus of fury.
I've heard some negative reviews about this album, but I'm totally sold on it. The attitude within can barely be contained by the speakers and the delivery is nothing short of menacing.
It may be totally raw and barely produced, but the songs just rip your heart out and the style chosen can't hide their brilliance.
Tracks like Change The World and Cocaine Cowboys and the hate filled Anarchy just rip and tear. Then there is the monster anthem California which is simply one of the best sleaze anthems of the last few years.
The lyrical attack in Lickin' Dog is as compelling as the catchy chorus and the onslaught reaches a crescendo with the double time pounding rhythm of Circus.
This is truly an exhausting record to rock to. Sin City and Got A Reason don't give up the relentless energy, nor does the more melodic Drinkin' Without You.
The groove driven Snakes In Paradise grows on you and is followed by the similar Damaged Kid.
Excited offers up another catchy hard rocking chorus before the ultra-raw Garden Of Babylon delivers another essential hook and chorus.
Closing the album without skipping a beat for the entire 62 minutes is the punkish thrash of Liquid Jesus.

The Bottom Line

A ton of energy, a ton of attitude and a ton of hard rocking fun. The listener might have to adjust their ears to atone to the raw, unpolished delivery and the punked up sonic blast, but these songs just have so much charisma, I love it. Mix this energy and the polish of Generation Wild and you might just have the perfect hard sleaze album.

Discography / Previously Reviewed

· Rest in Sleaze
· The Unattractive Revolution
· Generation Wild
· The Savage Playground

Line Up:

· Simon Cruz: Vocals
· Martin Sweet: Guitars
· Eric Young: Drums
· Peter London: Bass

Essential For Fans Of:

· Crashdiet
· Swedish Sleaze
· Early Motley Crue

Track Listing

· Change The World *
· Cocaine Cowboys *
· Anarchy *
· California *
· Lickin' Dog
· Circus
· Sin City *
· Got A Reason *
· Drinkin Without You *
· Snakes In Paradise
· Damaged Kid
· Excited *
· Garden Of Babylon *
· Liquid Jesus

--*Best Tracks

N.O.W. Bohemian Kingdom

Escape Music

· Produced By: Lars Chriss

· Running Time: 50

· Release Date: 2013

· Released: EU

· Musical Style: Melodic Rock

· Links: Escape Music

92%

Nothing better than reviewing an album by an artist who knows what he has to do in order beat the album before (in this case, the N.O.W. debut Force Of Nature), and doesn't stop until that has been achieved. So what I'm saying here is that the new album Bohemian Kingdom is in every way a step up from the already impressive debut.
It has taken album writer, bassist and mainstay Alec Mendonca three years to achieve that, but the album sounds all the better for the time taken to get it right.
First up – the production is a big improvement – more evenly mixed and featuring a snappy rhythm section and vocalist Philip Bardowell's voice sounds even brighter in the mix, the man is in terrific form. The songs are also exactly what you'd hope for in a sophomore album – equally as catchy but ever more powerful and complex, showing growth as a writer and an artist for Mendonca.

Opening with the fastest and most rocking track I have heard so far from the outfit, I'm Alive signals there is to be no holding back here.
The moody I Feel Divine follows – perfect for Bardowell's voice and is wonderfully produced.
Of course there are comparisons to 70s Foreigner here and Don't Go Now and the anthemic killer ballad Strong Enough are great examples of that and also of N.O.W. at their impactful best.
The anthemic Mary-Ann is a great feel good track that is perfectly balanced by the quality Foreigner-esque ballad Tonight Is The Night.
The title track Bohemian Kingdom is one of the more complex of the album and takes a few listens to absorb, but what a chorus and great tempo.
Leon's Going Soft continues the dramatic passage of the album that concludes with the sweeping Cassie's Dream.
The album closes with the near-8 minute epic No One Can Feel It's Over – a ballad, but with slow and building parts and orchestral backing for good measure. A big ambitious track and I think it fits the mood of the album perfectly.

The Bottom Line

The album has a real organic, earthy feel to it which I love. Overall, it's a terrific melodic rock album and just that little bit different from a lot of the other melodic rock/AOR releases around.
I think 50 minutes is the perfect length for an album as long as there are no fillers and Bohemian Kingdom certainly doesn't. A Triumphant return for Alec Mendonca and his vocalist partner Philip Bardowell.

Discography / Previously Reviewed

· Force Of Nature
· Bohemian Kingdom

Line Up:

· Philip Bardowell: Vocals
· Juno Moraes: Guitars
· Lars Chriss: Drums
· Alec Mendonça: Bass & Vocals
· Jean Barros: Keyboards

Essential For Fans Of:

· N.O.W.
· Foreigner
· Philip Bardowell
· Places Of Power

Track Listing

· I'm Alive *
· I Feel Divine *
· Don't Go Now
· Strong Enough *
· Mary-Ann *
· Tonight Is The Night *
· Bohemian Kingdom *
· Leon's Going Soft
· Cassie's Dream
· No One Can Feel It's Over

--*Best Tracks

Diamond Dawn Overdrive

Frontiers

FRCD588

· Produced By: Diamond Dawn

· Running Time: 49

· Release Date: 2013

· Released: EU

· Musical Style: AOR / Melodic Rock

· Links: Frontiers

86%

There's a lot of PR around for these guys and they are doing their best to raise their profile with some gigs in their native Sweden. This is yet another example of classic old-school keyboard driven melodic rock/AOR from Scandinavia.
More catchy songs, more catchy melodies and feel good choruses surrounded by sweet harmonies and the unmistakable feeling that 1988 is just around the corner.
The single Take Me Higher is terrific and the even more uptempo Cryin' carries on the building tempo of the album that slows briefly before going into overdrive for the mid-album sequence of Indestructible, Turn It Up, The Hunter and Give It All. These four tracks are probably the most consistent of the album as far as energy and chorus highs.
The dramatic ballad Don't Walk Away is the sole tearjerker of the album before the album closes with the keyboard-heavy punch of Powergames.
There is some great songs here and Scandi fans will have to pencil this one in for purchase. The only thing I will say is that the band is not yet at the level of fellow Swede's H.E.A.T., Work Of Art, The Magnificent etc.
I think vocalist Alexander Standell needs to work on his tone and accented delivery more while the band cook up some knockout choruses.

The Bottom Line

As solid as this album is for a debut, I expect album number two will be the one to watch for. But it's still strong enough to warrant a "must-buy" tick for fans of everything that comes from Sweden, the sweet melodic musical empire it is!

Discography / Previously Reviewed

· Overdrive

Line Up:

· Alexander Standell: Vocals
· Olle Lindahl: Guitars
· Efraim Larsson: Drums
· Mikael Planefeldt: Bass
· Niklas Arkbro: Keyboards

Essential For Fans Of:

· Scandi Melodic Rock & AOR

Track Listing

· Into Overdrive
· Take Me Higher *
· Crying *
· Standing As One
· California Rush
· Indestructible *
· Turn It Up *
· The Hunter *
· Give It All
· Don't Walk Away
· Powergames

--*Best Tracks

Player Too Many Reasons

Frontiers Records

FRCD589

· Produced By: Peter Beckett

· Running Time: 60

· Release Date: 2013

· Released: EU / USA

· Musical Style: Westcoast / Pop / Rock

· Links: Frontiers

75%

Did the world really need a new Player album? Peter Beckett continues to be one of those much respected underground AOR figures, but Ron Moss??
Well, it's been a long while in-between drinks for the AOR/Westcoast outfit and Too Many Reasons is their first album since the early 80s.
Not a lot has changed, but fans would be expecting that. Beckett is in fine form running the band through 13 new tracks – all co-written, produced and played on by the talented musician. He handles lead vocals on all but 2 of the tracks, leaving partner Moss to provide vocals on 2 tracks and play some bass.
Of interest to AOR pundits is the appearance of Steve Plunkett, co-writing much of the album with Beckett and mixing several tracks.
There are a few fine AOR tunes here – the opening trio of songs all rate highly for different reasons.
The uptempo Man On Fire and the moody Precious rating the highest. Others, like the Moss sung You're My Addiction could have fit onto any Rembrandts record.
Some of the other tracks wander too far into Westcoast pop for my liking.
There are other highlights like the uptempo yet moody To The Extreme and the rousing Life In Colour; yet for each highlight there is a sleepy all-too-slow filler to match (A Part Of Me, The Sins Of Yesterday, Kites) and the completely unnecessary revisiting of that woeful 1978 pop ditty Baby Come Back.

The Bottom Line

A decent release for fans of Beckett, and the smooth Westcoast pop sound. A well-crafted album, if not a little dull here and there. But some quality AOR as expected to pick up the slack. Good, but not essential.

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