I love these guys. The French duo of Frédéric Dechavanne (songwriting, vocals, keyboards) and Sébastien Montet (songwriting, guitars, keyboards, background vocals) have now created 3 great European melodic rock albums. Their last was so good I put it out on my old MRR label.
Now with AOR Heaven, I’m pleased to say that the guys have further upped their game. Once again featuring the same team as the last album - Steve Newman (production, mastering, backing vocals), Dave Bartlett (bass, backing vocals) and Rob McEwen (drums), 50/50 is an album filled with catchy and memorable AOR songs, mixing keyboards and guitars equally in a way only the Europeans seem to be able to do.
It’s old school sound with a snappy, up to date production. Largely an uptempo record with plenty of layers of music, the guys retain a strong connection to the music of Newman, the production values are very similar and the vocals of Frederic, while quite unique, are shaped by Newman’s influence.
If you’ve heard the guys before, this is a no brainer. Stronger guitar riffing and literal multi-layers of keyboards are backed with a powerful rhythm section, which some acts often cut corners with. Not here – this is a powerful sounding record.
Its also drenched in melodies and harmonies, so if the European style of AOR/melodic rock is something that appeals, I recommend checking out Paris right now.
The extraordinary, uber-versatile Jeff Scot Soto has taken this opportunity to run over 10 tracks from his very varied and distinguished career in “unplugged” form.
Unplugged may be the easiest term to describe this, but it’s a little simplistic for what this actually is. The 10 tracks have been re-envisioned and totally re-worked to the point where a couple are almost new tracks.
Every track is a winner – not hard when you’re picking 10 amazing songs – but even then, some stand out as really surprising and might even rival their original versions for passion and performance.
JSS’ vocals here are nothing short of amazing and give the stripped back nature of the songs, you really get to hear him wail. For me, the voice is the lead instrument on this release.
As JSS fans, you’ll know the songs – but special mention goes to:
Eyes Of Love was one of the big songs that really launched JSS as a solo artist and it sounds fresh and vibrant here.
The big ballad If This Is The End is simply sublime here. A vocal that defies gravity and so much passion.
Holding On was another key solo track and here features an even more soulful touch.
Till The End Of Time is re-made for acoustic guitar and sounds great.
Don’t Walk Away is perhaps the biggest left-turn of this release – re-imagined here as a R&B soul anthem….very cool.
Somebody 2 Love from the original Eyes album is another twisted gem. Soulful vocals, acoustic guitars and…a twang? Love it.
Great fun, relaxed and laid back, soulful and passionate – lots to love about these 10 songs and the production behind the re-thinking is well worth the investment here.
Bite The Bullet were originally formed in 1986 by singer songwriter Mick Benton and drummer Graham Cowling. The music played was in the style of Foreigner, Toto and Mr. Mister, an album was released in 1989 to some quiet success. In 2020 Mick and Graham decided to get writing new material for a second “Bite the Bullet” album.
It is available now and I must say it is a joyous soft melodic rock affair. A real pleasure to listen to. I’m finding comparisons hard to draw from, which to me is a sign the guys got it right.
I’m so tired of everything sounding the same, with only vocals differentiating one project from the next.
Black & White is a pure British AOR album, drenched in keyboards, but still driven by guitars and strong, unique vocals.
It’s a totally 80s sounding affair, yet a decent production keeps the sound in today’s realms.
There’s some Midwestern influences, some pop/AOR and straight up melodic rock amongst the albums 12 tracks. If you like real Bryan Adams, Heartland, Van Stephenson, Mr. Mister…give this a spin.
Aussie hard rockers Wicked Smile released their debut EP earlier this year. It’s a CD and digital release, so check your regular outlets for availability. For a release that’s only 4 tracks long, the guys make a real impact with this EP. 4 toe tapping, head banging, melodic hard rockers, with a classic era feel, yet a contemporary production courtesy of Paul Laine.
The band features the powerhouse vocals of Danny Cecati (ex-Pegazus & Eyefear), who delivers a raspy and at times gruff vocal, that ultimately turns melodic come chorus time. He really makes a big impact on this material. Guitarist Stevie Janevski (The Radio Sun & ex-Black Majesty) gets to really crank things up for the first time in a long while and he sounds ‘electrified’ on these 4 songs. Super heavy for The Radio Sun fans, but very comfortably at home for those that know Steve from the Black Majesty days.
Dave Graham joins Steve on guitars, with Glen Cav on bass and Jason Tyro on drums making up the very capable rhythm section.
It may only be an EP, but everything really comes together or Wicked Smile on this release. I’m left wanting more, with the 4 tracks all making their own mark. Outstanding start, hoping for a full-length album in the near future.
Finland's Temple Balls have really kicked up the dials for album number 3. This is a fast moving, kick ass, tour de force of melodic hard rock, easily blowing away their first two efforts in terms of songwriting, production and performance.
This album compares favorably with the most recent HEAT album and also classic Gotthard alongside old classics like Motley Crue, Kix and LA Guns.
It has that European hard rock feel, but a monster production effort from HEAT's Jona Tee has the band firing on all cylinders and there is a lot of HEAT at their heaviest in the new album's sound. Tee also produced the band's last album and played on the debut, but this is head and shoulders above all that came before it.
It's an all-guitar high energy attack from the opening riff with vocalist Arde Teronen really driving the melodies home.
Berlin have joined a select few classic artists that have delved into their studio cuts to revive them with the backing of a symphony orchestra.
American 80s favourites Berlin, the sometimes pop, sometimes rock outfit have delivered a highly enjoyable set of 11 songs (and an intro), all given a really fresh revamp with the orchestral infusion. These aren't re-records - its the original songs, with a fresh mix.
This is a great reminder of how many great songs Berlin have - from the iconic Take My Breath Away to the underrated classic No More Words and their cult classics Sex (I'm A) and The Metro. Then in the latter years you get the rockier Like Flames, Will I Ever Understand You and the brilliant moody You Don't Know.
All wrapped in this rich symphonic tapestry - highly recommended!
The wonderful pure AOR voice of Robbie LaBlanc is back in focus under his own moniker after a few recent project outings.
This album is described as a 70s and 80s pop/rock affair and I think that’s fairly accurate. There’s some pure commercial 80s AOR, some 80s pop, some more soulful 70s pop and a couple of songs with a heavier bluesier edge.
The album is controlled musically by Tommy Denander (all guitars, keyboards and co-production), so you know the sound/production style you are getting right there. The majority of the album has that programmed feel, drums are credited to a “Michael Lange” (his only other credit is on the last Robert Hart album with the same production team), they don’t sound live to me.
Steve Overland joins in for backing vocals throughout and his contributions are always welcomed. Second track Start The Motor Running has him all over the song. The super smooth My Lips Are Sealed stays in my mind after playback.
Other highlights include the opening anthem Only Human and Good Time plus the heavier track Temptation.
I love Robbie, but I prefer his recent appearances on East Temple Avenue, Find Me and the sublime Cannonballz album.
Fans of Radioactive and the Denander sound will appreciate this and the vocal quality of LaBlanc raises the overall quality of the songs.
Credit where credit is due, this is one of Frontiers Records best project ideas and the fact that the guys are delivering album number 4 shows that it has worked.
And in delivering their forth studio album, the W.E.T guys deliver another powerhouse statement. This is another classic for the genre and features 11 brilliant songs that lay a fresh path for the band without going outside the parameters of what we loved about the first three records.
‘Retransmission’ is melodic hard rock perfection from start to finish. From the glorious Big Boys Don’t Cry to the closing stadium knockout One Final Kiss. The album has a more direct, straightforward approach and is more guitar driven than its predecessors, changes you might think put the sound firmly into Eclipse territory, but no, W.E.T retains its own personality and there are still plenty of Robert Sall delivered keys underneath the layers and Jeff Scott Soto is a joy to listen to.
There are moments where you think this is Eclipse, but the JSS stamp quickly reminds you what you’re listening to. Erik Martensson is of course the chief architect and he has built another impressive 11 track structure here.
There’s two songs that could be described as ballads – but they’re more anthemic AOR songs (Got To Be About Love andWhat Are You Waiting For) – and the rest are all hands in the air singalong hard rockers with a crunch only matched by the sheer gloriousness of the harmonies.
Not only are there several moments that rival the best songs W.E.T have delivered to date, but there’s a few places where you think, wow, that’s a fresh take for these guys (such as the bombastic rhythm of How Far To Babylon).
And just when you think it just can’t get any bigger or better you get a song like You Better Believe It.
A perfect melodic hard rock record. Sharp production, blindingly good songs, huge vocals and even bigger harmonies and there’s 11 tracks of this where the pace barely take a breath and the quality doesn’t let up for a second.
Italian power/progressive metal outfit Secret Sphere return with their 9th studio album since their debut in 1997. Quite a feat considering how many bands come and go in just half the time the band has been active. This album sees the return of vocalist Roberto Messina to the fold, whom fronted the band from 1997 – 2012.
To be honest, I’ve overlooked these guys apart from an occasional glance, but Lifeblood has got my attention.
To be spoken of in comparative terms to Dream Theater for their prowess, or Masterplan for their power gives you a decent indication of what’s happening here.
Production and mix are both flawless and give the energetic songs their best chance to shine.
Vocalist Roberto is a powerhouse without sign of a heavy accent, giving the band a true international flavour and at 10 tracks clocking in under 50 minutes in total, there are only room for 2 longer tracks here, the rest get to the point fairly quickly. That means you’ve got hooks and progressive noodling competing for time, which is a winning combo for fans of a great song.
Its fast and sometimes furious, the double kick drum gets a real beating, but with strong vocals and an emphasis on melody, Lifeblood makes a big play for one of the best metal albums of 2021.
Guitarist and founder Andreas Gullstrand said Creye have never sounded better and I’d have to agree. The superb pure Scandi-AOR debut has been bettered and expanded upon on ‘Creye II’ and the transition to new vocalist August Rauer seems complete with no interruption to the sonics or pure AOR fans fell in love with the minute the band were introduced to the world.
Creye ‘II’ uses a more contemporary production template, with more effects, some programming that give it a strong modern edge, but the songs and the vocals especially are pure 80s at heart.
The upbeat and free flowing tempo give the album a sense of urgency, and with only one ballad you might think its overkill. But the fact is there is so much texture within the songs, moments of reflection, big choruses, passages of moodier moments and then some moments of more prominent guitar, which comes as a contrast to the layers upon layers of keyboards and piano.
So many song highlights to speak of. At 13 tracks it might seem a little long, but the album clocks in at 42 minutes, so these songs are all straight down to the business of delivering heartfelt emotions and big choruses.
All in all, this is quite wonderful ‘old school contemporary’ record wrapped in the pure keyboard driven AOR of Scandi-80s pop/rock and the programming and production techniques of today. The production and mix are first rate, which is vital to making the record sound so fresh. It could easily have been a muddy mess if not done correctly.
Masterpieces don’t come around too often, nor do albums that push the glacial boundaries of what normally defines the AOR/melodic rock genre. This album is everything I love about melodic and heartfelt music, wrapped up into a contemporary package that will appeal to old school devotees and a new generation who appreciate well crafted pop songs with an edge.
In an age where synth-wave is a growing phenomenon, Levara mix the best of a retro meets modern sound, delivering a bright, fresh and uplifting collection of songs, supremely written and crafted and expertly produced like a slick major label release from the 80s.
If you’ve been living under a rock with no internet connection, Levara are Trev Lukather (son of Steve Lukather) on guitars, bass and keys; drummer Josh Devine (son of vocalist Mick Devine) and vocalist Jules Galli. They are an extraordinary trio.
Half of the 10 tracks are already released as videos and if those haven’t convinced you of the brilliance of these guys, then there’s still 5 more chances with the remaining album cuts.
Of those, On For The Night offers listeners a lush mid-tempo melodic rocker before a Toto-esque rhythm sets up the monster ballad Allow.
Towards the end of the 38 minute album is a pleading modern rock song Just A Man that gives way to one of the finest and most gut-wrenching ballads in recent memory. No One Above You is simply wonderful – perfection personified and the bombastic end is majestic.
Chameleon is still on the top of my Best Songs of 2021 list, you just don’t get intelligent, unpredictable songs like this that often.
Oh, and vocal God Steve Perry pops up in amongst the choir of harmony vocals that are all over the record.
It’s a rare occurrence for me to agree wholeheartedly with a band’s own press release, but the words of Trev Lukather to sum up Levara are as good as any I could write. He says Levara is “Anthemic, massive drums, epic fills, loud guitars, soaring solos, huge vocals, unreal high notes, strong melodies and a hook that you can’t get out of your head.”
Proof that everything happens eventually, here’s a brand-new AC/DC album, designed to drop some rock n roll healing on a shitty year. Could this be the last ever new AC/DC studio album? Never bet against accadacca but given it has been 6 years since the last album, it’s entirely possible.
Having cranked the contents of ‘PWR/UP’ several times in quick succession, I wouldn’t say the band have delivered a career defining record befitting a grand exit, but they have exceeded expectations to deliver a very credible late-career record that I think will please most fans.
It is true that the guys could possibly have written this album in their sleep and there is no deviation from the style or delivery of the last several records, but there is something very comforting about new AC/DC tunes.
Twelve tracks at 41 minutes in length should give an accurate summary of the contents here. I am comfortable stating that the first 4 tracks are amongst their best in many a year. Realize is a superb opener, with Rejection, the single Shot In The Dark and Through The Mists Of Time all delivering great riffs and hooks.
Elsewhere it’s a pretty consistent run. Only track 8, Wild Reputation, drags significantly for me.
I do wonder how good this would have been with someone like Bob Rock or Kevin Shirley at the helm. The lack of urgency and a harder hitting sound is what I think it missing from latter day records.
Brian Johnson sounds as good as ever, which I’m really pleased about. He’s one of the good guys.
God bless AC/DC, may their reign over metal heads until the end of time itself.
Kreek was first formed in the summer of 2019 after Bigfoot parted ways with frontman Antony Ellis, who went on to form this new group.
I personally found the Bigfoot debut to be fairly likable and a solid album. Unfortunately for Ellis, Kreek doesn’t carry the warmth or appeal of Bigfoot over to the new band.
In fact, one of the weakest aspects of the Kreek debut are the lead vocals of Ellis. His tone and delivery just aren’t what they were in Bigfoot.
Also missing are the songs. I honestly can’t find a lasting appeal with any of these songs and now reviewed, probably won’t revisit this album ever again.
Its not melodic rock. Its not quite hard rock. Its not quite sleaze and it’s not straight-ahead rock. I think it lacks personality and the quality of songs are just not there.
Production is average, songs are average and the vocals are very average.
::: NITRATE returns with “Renegade” on July 30th, 2021! :::
(c) Nitrate/ Nick Hogg
Nitrate is back with their third album; ‘Renegade’, a follow on to their previous highly rated albums ‘Realworld’ in 2018 and ‘Openwide’ in 2019, which achieved great success. Inspired by the late 80’s rock scene with bands such as Def Leppard, Europe, Motley Crue, and Bon Jovi, Nitrate is the brainchild of song writer Nick Hogg (bass guitar) from Nottingham England. Nick has this time changed the line-up and enlisted Alexander Strandell (Art Nation) to take over on Lead Vocals & has teamed up with Tom & James Martin (Vega) & Mikey Wilson (Kimber) to produce an album that has been heavily influenced by Def Leppard’s ‘Hysteria’. With Tom Martin playing all the rhythm guitars and James Martin taking over on Keyboards the album delivers a more melodic/AOR feel than ever before. Renegade delivers 11 Hook filled tracks with great melodies, walls of keyboards and backing vocals supplied by Alessandro Del Vecchio. Tracks were inspired from bands such as Def Leppard, Starship, Journey, Skid Row, and Roxette making for a true 80s sound. Taking over on Lead Guitar is Dario Nikzad (Hell to Play).
Nitrate is: Nick Hogg - Bass Guitar, Alexander Strandell - Lead vocals, Tom Martin - Rhythm Guitars, James Martin - Keyboards, Dario Nikzad - Lead guitars, Mikey Wilson - Drums p; & additional guitar and keyboards, Alessandro Del Vecchio - Backing vocals;
Produced by Tom & James Martin & Mikey Wilson; Mastered by Alessandro Del Vecchio; Engineered by Tom & James Martin, Mikey Wilson, Alexander Strandell, Dario Nikzad, Alessandro Del Vecchio & Paul J King
Music recorded at Strandell Studios - Sweden, Osborne Studios - UK, Ivorytears Music Works - Italy, Soundwave Studios - UK
Mixed by Mikey Wilson ; Mastered at Ivorytears Music Works
All songs written by Nick Hogg, Tom Martin & James Martin Except ‘Alibi’ & Children of the Lost Brigade’ Written by Nick Hogg & Rob Wylde & ‘Renegade’ written by Tom Martin, James Martin & Nick Workman
::: STEPHEN CRANE & DUANCE SCIACQUA team up for “Big Guns”! :::
Big Guns was formed in 1985 as a direct follow up to the record “KICKS” by Stephen Crane (MCA 1984). Due to Irving Azoff’s departure and the ensuing shake up at MCA that year, KICKS was left without any marketing or promotional funds and was basically ‘Dead on Arrival’ and did not chart. Although, interestingly enough, the record has subsequently been re-released two times in Europe and has received rave reviews!
As a result of MCA’s inability to promote the album and band, Stephen Crane and Duane Sciacqua continued their quest to write and record new songs that were, and still are relevant in the world of Rock! Joined by then band member, Johnny Burnett (RIP), Crane and Sciacqua soon enlisted fellow band mates Paul Daniel (drums), and Matt MacKelvie (guitars, keys, vocals) and created “BIG GUNS”. They began a series of recordings with engineer Brett Gurewitz at his Hollywood studio. Crane and Sciacqua wrote, or co-wrote, and produced the songs that would become their self-titled album “BIG GUNS”. The band became a staple playing around Hollywood at the ROXY, FM Station, and other well-known rock venues. They received label interest but could never reach an amicable agreement and their search waned - players moved on, lives changed and BIG GUNS faded into the Rock n Roll sunset.
Many years later as good fortune would have it, the once forgotten Stephen Crane album (KICKS) received its popular acclaim, and the search for the long forgotten tapes was on. Georg Siegl at AOR Heaven, sought out guitarist Sciacqua for material, and the re-emergence of BIG GUNS was underway. After searching through the archives of years past, Sciacqua found the missing BIG GUNS tapes and through careful remastering and some re-recording was able to render the 10 tracks that make up the album.
This project stands as a monument to the songwriters, the singers and the players who dedicated their time and talents to comprise their self-titled album “BIG GUNS”.
:::TUPLE releases new video for ”Welcome To Hell” today!” :::
“Welcome To Hell” (out today) is the follow-up to the highly-acclaimed “Wooden Box” album by TUPLE which was released in 2020 via AOR Heaven and resulted in a charty entry in the native country of this Finnish artist.
Finland is well-known for its Heavy Metal roots. Far and wide comes the list of Metal bands that are known all around the world. But there’s also a strong Melodic Rock/AOR community. Bands that rely, not only on heavy riffing, but also strong melodies and larger-than-life keyboards. TUPLE is a good example of it. Catchy songs, great melodies, fine artistry.
To celebrate today’s album release, TUPLE has released another video today:
Who on earth wants a Goo-y Christmas album? This monstrosity of cheese soaked, soggy cardboard ‘music’ is the ultimate 2020 ‘fuck you’ to fans of this once great band. As if everything else this shit sandwich of a year has served up isn’t enough, the Goo’s end all hope for humanity with this ultimate betrayal of everything the band once stood for. This almost makes me wish for a shit sandwich. More like a soggy lettuce hemorid.
Yes, I hate Christmas albums. Yes, I hate most Christmas songs, although there’s a handful out there that allow me to stop saying bah humbug long enough to enjoy.
And yes, the most recent Goo Goo Dolls output has been largely uninspiring. It’s been a long while since Long Way Down and Slide ruled the airwaves and the band sounded half interested in rocking their fanbase.
But this horrendous record is simply too much. Safe, boring, cheesy and lazy are its good qualities. This is so insipid it makes Wham sound like Napalm Death. One of their kids even sings lead on one track. I don’t even care enough to find out who. It will never pass my ears again.
From tracks that sound more like a badly imitated Tom Petty (his track opens the record) to jazzy Michael Buble standards, this is almost criminally bad.
Only the original track This Is Christmas (which is basically the sappy parts of Iris re-written) has anything remotely connected to the band’s past sound.
No redeeming features to this at all. Horrible. It gives new meaning to the word bland and if your ears can stomach all 30-odd minutes of this disaccharide goo, a good blast of the aforementioned Napalm Death is required to cleanse one’s musical palate.
Not sure how to categorize this one. Perhaps if Poison were a Christian band from the Midwest?
Martin Perticone is the Argentinian behind the band, but to my ears there is still a lot of work to do to take the next step and compete with today’s melodic rock artists.
The production and mix feel underdone and the songs are a little awkward in places as a result.
Steve Overland (FM) takes lead vocals on the opening track, but I didn’t even pick it was him such is the mix. Eric Martin takes lead vocal on two versions of the same song – a present enough acoustic driven pop rocker. After those tracks there is only 6 others to take in and while uplifting in its premise, the finished product feels like half an album. It needed more songs and a sharper sound to make an impact. And something completely different for the artwork. It looks like record for an independent rap artist.
A nice throwback to old school harmonies and a mixed acoustic/electric uptempo approach, but like I said, still a lot of work to do.
US melodic hard rockers SHAD should be well known to readers of MelodicRock. Their 2 singles to date have created solid interest, but now that’s all going to go into overdrive thanks to one of the classiest EPs I’ve heard in a long while.
I generally avoid EPs as I like a full plate of music, but the 5 tracks offered up here on ‘5ive’ – all powered by hotshot producer Bob St. John – pack the equivalent punch of many full albums.
Produced & Engineered by Bob St. John at PDQ Studio, Miami and then backed up with mastering by Ted Jensen at Sterling Sound, SHAD’s new EP puts them on the same playing field as the big boys.
Not only with the sonic quality and expert mix, but also by delivering 5 compelling, enjoyable solid rock anthems.
Back To You, Fool, Belittle, Today & Poor Excuse are five different tracks that work alone and also together, as the sound and the sequence of the tracks takes the listener on the same kind of journey a full album normally would.
Crunchy guitars, real drums, thumping bass are all clearly audible in the mix, then add some big layered chorus harmonies.
The sound is hard rock, commercial American – not necessarily 80s – but an amalgamation of what made the late 80s/early 90s so good with an updated feel. There’s a touch of blues, a little funk, but mainly its just all rock. Very loud, very good rock!
The mighty Jeff Scott Soto celebrates his birthday week with the release of a brand-new solo album that seems him paired for the first time with Frontiers in-house go to guy Alessandro Del Vecchio. That will draw some automatic presumptions over the sound and style of this record, which I must immediately dispel.
This is not a project release that has Jeff phoning in his vocals. Fans of Jeff will already know that he doesn’t put his name on anything that doesn’t include his heavy involvement, and this is even more true of a record that bares his name.
Tasked with production and music, Alessandro has worked in partnership with Jeff, who wrote all the lyrics and additional melodies. And the in-house band isn’t the usual ADV crew, with long-time Soto/JSS drummer Edu Cominato taking command of the kit and really belting out a powerful performance.
What I love about this record – and what I told Jeff after he sent me the album some months ago - was that I thought Alessandro had done a superb job in crafting a set of songs that play like a JSS Greatest Hits record. Throughout the record you hear parts of Jeff’s career, solo as well as a taste of Talisman, Yngwie Malmsteen and even WET. I can hear parts of Lost In The Translation, Prism and Damage Control.
Wide Awake (In My Dreamland) sounds like the best of all parts of Jeff’s career, wrapped up in a seriously well produced and sounding package. On top of that, Jeff himself sounds as fresh as ever.
This is a classic Jeff Scott Soto record.
To showcase just a few of the songs, the album opens with one of the best solo tracks of Jeff’s career is the Talisman sounding Someone To Love, this is just everything fans love about Jeff.
Paper Wings again heads back to the heavy groove of Talisman, mixed with some Yngwie guitar hero stylings.
The heavy but melodic Love Will Find A Way has groove, funk and driving attitude that wraps up several eras in one song.
Between The Lines is a superb AOR ballad while the dark and heavy Wide Awake (In My Dreamland) is almost at the opposite end of Jeff’s spectrum.
No filler, just winner after winner, with the inspired paring of ADV and JSS really delivering for fans. As already stated, this is the best of JSS comprising of 11 new songs and another killer live set as a 10 track bonus disc.
Wig Wam in 2021 is exactly what I pictured after announcing their welcomed return. At times delivering mixed results in the last few years of their first run at fame.
Older, more mature and pretty much perfectly aware of what the name means to fans and what is expected of them, Wig Wam deliver on Never Say Die.
A little heavier, a little more contemporary (darker) and a little more straight ahead, this album is chock full of big anthems, big guitars and big attitude.
I hate 90 second intros and I’m still not completely sold on the second full track Hypnotized, nor the late in the album instrumental Northbound, but everywhere else I’m hypnotized!
The band have seldom sounded so good – the powerhouse approach works, and the big budget sound certainly ensures all songs are presented in their best light.
For those unfamiliar with my affinity with Night Ranger, they’ve been close to my favourite band since 1985 and have rarely disappointed throughout their distinguished recording career.
They’re also responsible for a couple of my most loved live albums over the years.
Add in solo albums, favourite songs and general songwriting prowess and you should get the picture - Night Ranger are melodic rock royalty.
With that status, each album is therefore highly anticipated. For a band recording since 1982, with 12 studio albums to their name (yes, I’m including the marvellous Mojo record), they have a remarkably consistent catalogue. And in the last decade they have continued to prove that veteran bands can still deliver fresh, energetic and engaging new music.
The guys peaked with the flawless Somewhere In California in 2011 and followed it up with the also excellent High Road in 2014. Don’t Let Up slipped a little off the pace in 2017, so fans were anxiously awaiting the band’s 2021 statement.
And I’m sorry to deliver the point of view that the band has missed a step here, delivering for me at least, their weakest album since 2007s inconsistent, modern-rock dominated Hole In The Sun album. And the reasons are very similar to why. Basically, the band has again veered off path, leaving some of their much-loved trademark sound behind. There are less harmonies, much less keyboards and a whole lot less of Kelly Keagy on this record. And while the band’s most popular songs showcase their knack of delivering emotional uplifting mid-tempo anthems, here the band is either rocking hard, or not. There’s not much middle ground.
Track By Track:
Opening with the furious rocker Coming For You, the band are off to a flying start and make up for the lack of a sing-along chorus with added raw power.
Bring It All Home To Me adds those layered with harmonies, which is a plus and its dominated by some sterling shred work from Brad Gillis, which culminates in the closing minute, but overall the song straddles the line between styles. Strip the guitars and add a banjo and it wouldn’t sound out of place on country radio. A theme that makes repeated appearances on ATBPO.
Breakout sees a welcomed increase in keyboard presence and is another track that races along at breakneck speed. Being the lead single there are considerable public comment on this track and many bemoan the lack of a big chorus. I say that note and appreciate the excellent melodic bridge that leads into the short, sharp chorus. A track that sounds great to me.
Hard To Make It Easy is the first major left turn and will be one of the songs I edit out on my playback version. I simply don’t need honky-tonk Night Ranger and while the song ‘rocks’, it isn’t in a way I can appreciate and is another almost-country song.
On the first ballad of the album, Can’t Afford A Hero, the band stop hiding behind the pseudo-country hints and come out as a full country flavour acoustic driven track that’s more Shaw/Blades or Garth Brooks than Night Ranger. I’m sad to say it’s another hard pass for me.
Now, the start of Cold As December has my full and immediate attention. The opening riffs and melody hint at an anthem of epic proportions, with intricate keyboard and guitar parts lighting up my ears. But without warning at the 48 second mark, the song abandons the entire premise to become another pretty bland screamy hard rocker. The melodic refrain makes a brief return at 3.35 for a few seconds, but I’m left wondering where that song went and why we were left with the one here.
Dance is a feel good mid-to-up tempo rocker with another strong Shaw/Blades vibe and a reasonable chorus, but again, it’s not Night Ranger.
The ballad The Hardest Road sees the first appearance of Kelly Keagy on lead vocals. Where has he been? It’s a warm vocal, but the song is reminiscent of the other Beatlesque ballads Night Ranger have delivered on the last two albums.
The attitude filled hard rocker Monkey has some recent era Night Ranger familiarity to it, but the chorus is horrible. “‘Cause I’m your monkey, well I’m your money, I’ll be your junkie?” Guys…c’mon.
A Lucky Man is another decent track, but it’s another with a strong rock-n-country-pop vibe and I just don’t think this is Night Ranger.
Closing the album is a good rocker sung by Kelly again, which is welcomed. Tomorrow is one of the more traditional Night Ranger sounding tracks and will likely rate as one of the fan favourites.
And that is And The Band Played On. Honestly, as much as I love all things Night Ranger, I’m not afraid to make a stand when something doesn’t live up to my high expectations.
To me, this is more a Jack Blades solo album. And that isn’t meant as an insult in any way. Rather it is more a point of reference to describe what I think this album is. Less ‘Night Ranger’ and more dominated by outside influences and styles. Ones I’d rather hear on solo albums, than on a new Night Ranger album. We only get them every 3-4 years, so for me, I want to hear Night Ranger at their very best each time.
I might add for the record - I'm not at all opposed to a band trying something different, but to do that successfully, the songs really have to be there. For me, that isn’t happening here.
As I’ve followed these guys from demos to their debut and each album thereafter, I have seen the progress Sweden’s modern melodic rock masters Degreed have made. It started high and has been sustained over the last decade, making them one of the most consistent and reliable bands on the planet.
They are at the absolute top of their game and deserve to be mentioned amongst the superstars of the Swedish scene.
Every album has melodic bliss to these ears and their output as always been near the top of my annual Best Of lists. I expect this will be the same come Jan 2023.
The last record featured 3 or 4 ballads, which I thought were major class, but on this record, it is one rocker after another from start to finish. One anthem after another, all in that unique modern rock friendly style the guys have. Big choruses, big melodies and a near-perfect mix and production.
Ousey/Mann is none other than the great vocalist Chris Ousey (Heartland, Virginia Wolf, The Distance) paired with English multi-instrumentalist/guitarist Steve Mann (Liar, Eloy, MSG, The Sweet).
Together the pair have recorded a very fine album together. Suggested as a potential pairing together by the Right Reverend Khalil Turk, chemistry quickly evolved into a set of songs that is now released as the album ‘Is Anybody Listening’.
Fans of Chris Ousey will immediately be drawn the voice and the style of melodic hard rock on offer here – recent Heartland and solo offering compare favourably and fans of classic British hard rock get their fill with some in your face crunch from Steve Mann.
It’s not an unfamiliar sound – especially for Ousey fans – but what is impressive is the energy, the memorable songs on offer and the excellent production and mix.
Plenty of keyboards on offer for those that like some contrast to the riffs, but this is very much a guitar/vocal driven record.
There is an hour of music here, which might be one or two tracks too long, but I’m hesitant to call out any tracks that could have been omitted.
More great stuff for fans of the newly formed duo – and a record whose strength immediately demands a sequel.
Kraemer is another vehicle for Frontiers’ man for all occasions Alessandro Del Vecchio, this time pairing him with Finnish vocalist Erik Kraemer, a singer and performer who has years of experience touring in his homeland of Finland with different bands and musical productions. He is also known for being one of the singers of Finnish progressive metallers Simulacrum, which explains the metal edge to his voice on this, his step into hard rock/melodic rock territory.
Featuring songs written by all the usual Frontiers names, you might expect something very similar to the usual formula employed, but I’m pleased to say this album offers a lot more than that.
The heavier edge that borders on melodic metal at times helps it stand out from the usual fare, with a crunchy guitar sound dominating proceedings.
The vocals or Mr. Kraemer must be praised with a great deal of enthusiasm and credit given to Del Vecchio for a tight production and mix.
Heavy, but melodic, with some strong choruses delivered by a cracking guitar sound. An album that is being promoted as a step into the melodic, but perhaps should be investigated by fans of Magnus Karlsson style projects.
Def Leppard are back for their first studio album since the 2015 self-titled release.
Things to note about this album: Songwriting direction comes from Joe and Phil almost entirely. The album is a real mish-mash of styles, with influences from Adrenalize to X to Slang. There is no one dominant theme to the album and it’s all relatively mid-tempo’d. Joe’s voice is also a long way from its best and he sings within himself quite comfortably here, just don’t expect any old-school screams or vocal theatrics.
Despite the 7-year gap between records, many of the songs on Diamond Star Halos sound like they have been leftovers from past records.
For me there is a good 10 song record in amongst these tracks, but at 15 there are too many fillers and for that reason the album’s overall rating suffers. Too look at this album objectively, you have to get past the 'oh my, its anew Def Leppard album' hysteria first.
The album gets off to an energetic start, with 3 solid typical mid-tempo, mid-heaviness rockers – the type of song Def Leppard could write in their sleep.
The country tinged duet This Guitar (featuring Alison Krauss) totally kills momentum and is the first instant-skip for repeat album playthroughs. At 15 tracks, this was a bonus track if there was ever was one.
SOS Emergency gets things back on track with a cool pop/rock anthem, lead by a heavy riff that sadly doesn’t dominate through the song. A nice ‘Promises’ or Animal’ style commercial song.
Liquid Dust sounds like a Slang off-cut. I dig the vibe as I love that album, but the chorus here is a bit of a non-event.
The title U Rok MI is everything I hate about classic rock bands trying to sound cool. As much as I loved the band at the time, ‘Let’s Get Rocked’ was lame in 1992 and U Rok MI in 2022 is just juvenile. It’s another modern rocker with a Slang meets Adrenalize vibe.
Goodbye For Good This Time is a big sounding ballad, with some orchestral parts and an atmospheric feel, but the chorus does nothing for me and the melody just drags. Unusual for Def Leppard to fail to deliver when it comes to the ballads.
I like All We Need, which is a pleasant melodic feel good number, almost directly contrasted by the dark and moody, modern rocker Open Your Eyes, which I feel again suffers from lack of a good hook.
Gimmie A Kiss That Rocks is another silly title, but its nice to hear an uptempo song after several mid-tempo tracks. Old school Def Leppard here that might have sounded at home on Adrenalize.
Angels is another moody ballad. Its ok but lacks that knockout hook again.
The relatively slow Lifeless immediately sounds tinged with that American country influence and once again features Alison Krauss on duet vocals. Sorry, but no thanks.
Unbreakable and From Here To Eternity are both mid-tempo modern rockers with more Slang overtones. Still, both tracks are missing a knockout chorus and the dominance of slow to mid-tempo tracks on the album weight heavily on my enjoyment of the album.
All in all, just an average album for me. Half ok, half skippable or missing that certain spark the band used to deliver. It’s quite a moody/modern record after the first 3 tracks and I normally like that direction by the band. Here though, there is a serious lack of memorable choruses.
I went out and purchased a copy of the CD. I didn't want the deluxe edition because the bonus tracks are only alt-versions and the packaging is a shitty digipack. So I went for the preferred jewel case, just a shame I couldn't get the cover in colour that way. It won't be an album that I return to rotation. If I'm going to listen to some Leppard, I'll go with Pyromania, Hysteria, Slang and X.
Redemption all-round here! Harry Hess takes greater control over the First Signal project, the fifth album for the name, just one of the many Frontiers ‘project bands’, and instant rewards are reaped.
The last album ‘Closer To The Edge’ was as bland as they come. No spark and no energy, so Harry tells me he took far more control over this album, co-writing the songs and choosing the heavier direction. Daniel Flores is out and a trio of Italians come in.
The new team behind the music have delivered an album to rival the energy of the first two records. One thing that they do deliver which really took me by surprise, is a killer drum sound – really punchy and a hard-hitting performance which matches the energy of the songs, in fact, this is one of the heavier albums I have heard Harry sing in his career.
I have no idea who produced the album, as the press release and bio only covers the band up until the last album. There’s no actual info about this album at all. But credit to whoever it is.
It’s obviously not Harem Scarem in style, but it does have the great vocals of Mr. Hess, really going for it at his outer limit for range and rasp, yet still plenty of hooks and harmonies for everyone.
A great melodic hard rock record I’m pleased to say. Night and day compared to the energy and quality of the last record.
