Rock Sugar’s debut was one of the finest records and without doubt the most fun record of its time. It’s taken what seems like a decade for a new album to appear – wow, it really has been a decade and a touch! Yes, 11 years since the debut, the class clowns from the school of rock are back and firing on even more cylinders than ever.

If the debut was an experiment gone right, then Reinventinator is a mad-scientist’s end of year ball.

Why restrict yourself to mashing two or three songs together when you can do five or six or even - holy shit – 10!! This is a sure-fire party favourite and it takes many listens to unweave the madness that is each song and the ultra-complicated structures within.

True genius or utter madness will be up to the individual listener, but I can’t say enough, just how good the band performances are and just how well Jess Harnell is able to inhibit the personality of each vocalist on the many songs featured.

And the production is top shelf-big dollar stuff – clear, crisp and loud.

Where else are you going to hear classic songs by Guns N Roses, Motley Crue, Heart, Led Zeppelin, Queen alongside (or inside?) others by Survivor, Toto, Adele, Tears For Fears and Stevie Nicks.

We all need a laugh, and this record is funny but it’s no joke. Its just killer classic hard rock in a fun, non-stop party kinda vibe.

The two new solo albums from Toto’s Joseph Williams and Steve Lukather were signed in tandem, released in tandem, but recorded in completely opposing ways. Putting the two together showcases two very different sides of the Toto musical spectrum and being solo albums, it lets the listener sink into those individual realms a little longer than on an normal band record where you get a more filtered view. Luke has gone on record saying playing parts of the two records on shuffle would give fans a new Toto record and he’s not far off that truth.

Given that Joseph and Luke make multiple appearances on each other’s records as do fellow Toto alumni, it’s a neat crossover and a double dose of songs for Toto fans.

However, the two records could not be more diametrically opposed.

Steve Lukather’s I’ve Found The Sun Again is the essence of raw, stripped back, live by the seat of your pants, live in the studio recording. Taking just 8 days to record with guests Williams, David Paich and a core band of drummer Greg Bissonette, keyboardist Jeff Babko, and bassists Jorgen Carlsson and John Pierce all playing live in the studio, this record has an organic energy that really captures the talents of all involved.

With songs running from just 3 minutes to an epic 10 minutes, there is something special happening here. There will be some that simply don’t get the jazzy, free-form rock vibe of the album’s 8 tracks, only one of which is a rocker in the traditional Lukather solo sense. The Opener Along For The Ride is a splash of targeted energy and a biting lyric typical of Luke’s sharp mind.

At the other end of the spectrum is the epic The Low Spark Of High Heeled Boys, a mid-tempo track that slides in and out of full jazz instrumental arrangements and moody vocals. The piano/percussion mid-song section is to die for, as is Luke’s slow riffing and soloing throughout the song.

Journey Through is one the finest Luke instrumentals I can recall and despite my firm love of vocals, is another album highlight.

A pair of 6 minute mid-tempo songs continue the raw, live energy, while never once feeling underdone or missing anything like multi-layered overdubs and other production effects.

Run To Me is the obviously ‘happy’ song of the album and has a full Beatles vibe going on, propelled by guest drummer Ringo Starr playing his part.

Another epic closes the album. The 8 minute Bridge Of Sighs is musically intense, drenched in organs and guitar and some brilliant solo pockets where the guys all get to shine.

Some won’t get this album. It’s not all rock and it’s certainly not a commercial record. it’s largely mid-tempo and its very loose. But dropped into the Lukather discography, it really is a perfect fit. It makes total sense and blends a little of everything from the legendary guitarist’s career.

And there you have it. One loose, raw and live record paired with a highly structured, methodical production piece. Both records have unique personalities and distinct characteristics but also intrinsic crossed-over musical alliances and both work equally well in their own right and shuffled together. It is a unique situation and I hope fans embrace both records for what they are.

I’m equally comfortable playing one individually and the other the following day, but also back to back for two glorious hours of perfectly executed musical genius.

Unruly Child are one of those bands that should have received more due. Marcie Free is an international treasure and the core duo of Guy Allison and Bruce Gowdy are two very fine musicians who deliver every time.

A band who started with a hard edge but veered more AOR and were accused by some of being too soft have found their grunt again, with this being the heaviest album since the classic major label debut back in 1992.

I love that there’s almost a prog edge to some of the band’s material, their songwriting definitely holds more complexities than the average melodic rock outfit. 12 tracks at 60 minutes means there is a lot to absorb. 10 brand new tracks and two semi-acoustic remakes of To Be Your Everything and Let’s Talk About Love.

What I find distracting is the production quality. The mix is muddy and the programmed drums lack punch and well, lack authenticity. There’s no replacement for a real live drummer.

Playing the album at high (really high) volume, as it deserves, isn’t very easy on the ears.

I love that the album has the moody groove of the debut and there’s some great lyrical angst and antagonism as has been scattered throughout.

Of course, when you think Unruly Child you think hooks and they are delivered throughout – just not as quite as obvious as the past, but a few listens and you can hear them all over the place.

Lots to soak up here and a lot of music to appreciate. Not an instant record, but I like the kind of albums that grow over time much better. If only the production quality was that somewhere close to the debut – then this would have been a monster.

Legacy Swedish AOR act Alien deliver their seventh studio album here, the first to see them turn their traditional style on its head in an attempt to reach a new crowd.

So Alien have ‘gone metal’ here, albeit metal with a strong melodic edge and the unmistakable voice of Jim Jidhed reminding us of their true AOR origins.

I’ve seen some very mixed fan responses to this and my initial reaction was very negative. However, despite an absolutely horrendous production (yes, that issue again and a pretty consistent theme of the last 3 Alien albums), there are some great songs on here to enjoy.

I do think the guys are having a bet both ways, with the album split between the new hard rock sound and several lighter AOR songs that could have come from any previous album.

It’s a hard call – do you fully embrace a new sound with all the risks that entails, or do you try and do something different and mix in the old sound to try and keep old fans happy.

Hard to make a cohesive album with two different styles and I think that’s what holds this album back. Not to mention that Jim really struggles vocally on some of the heavier numbers, especially the painful to listen to What Are We Fighting For and Into The Future.

Of the ‘metal’ songs I really like the opening salvo of You Still Burn and Night Of Fire, the band don’t sound any better than they do on these two tracks.

On the other hand, ‘classic’ Alien can be heard with the more keyboard friendly Time Is Right, Freedom Wind and Fallin Way Down.

It’s a mixed album with mixed results and yes, mixed feelings. I think I’ll probably pick a few tunes here and there for separate playlists, but as a start to finish album, there’s something not quite right about ‘metal’ Alien and the production/mix is very muddy to say the least.

I’ve actually passed the point of being sick of hearing Ronnie Romero’s name connected with every damn release coming from the metal world. In the last year or so we’ve had Vandenburg, Rainbow, Magnus Karlsson’s Freefall, MSG, Core Leoni, The Ferrymen and now in 2021 he’s fronting another project. Enough already?

I think so, but Lords Of Black is actually his band and Ronnie (together with guitarist Tony Hernando) is back where he started here and this is where I want to hear his voice and where think he sounds most natural. After all, he does have a killer voice.

The 4th Lords Of Black album is an onslaught of classic European melodic metal – mixing Dio, Maiden, Helloween and the other usual suspects into a nice blend of high octane, guitar and rhythm fuelled, uptempo metal with a strong commercial bent, not to mention offering both traditionalists and contemporary metal fans something to like.

It’s a very well-produced and mixed sounding record. Its frustrating to hear metal so well executed when so many AOR records have questionable production quality. Of course, that is a side issue to this. Can’t fault it – Lords Of Black deliver once again.

Eclipse are unquestionably one of the greatest and most consistent bands of the modern hard rock era. Now we get a new live CD/DVD, a happy accident after the guys set up recording and filming of a hometown gig themselves. It turned out so well the band offered it to their label, who were wise to act upon it immediately.

The set is really well recorded (and filmed) and sees the guys at the top of their game as far as performance, stage craft and energy in delivering these songs.

Viva La VicTOURia takes in the band’s performance in Gothenburg, Sweden on December 21, 2019 and covers 18 tracks as well as 3 songs from the Quarantine Live broadcast earlier this year, the studio version of their cover of Driving One Of Your Cars and 2 recent acoustic bonus tracks.

That makes for a 2CD 24 song set plus a DVD and if that doesn’t convince you this is a mandatory purchase, then nothing will. Absolutely essential!

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.

In a year of financial hardship and lack of tours, support the artist with a digital download purchase: https://music.apple.com/us/album/revision/1544421246 or https://www.amazon.com/Revision-Soto/dp/B08QFW2XNL/ref=sr_1_1

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.

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.

Purchase on CD: https://store21429008.ecwid.com

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.

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!

Heartland’s latest incarnation is the first since 1995 to be without frontman Chris Ousey’s musical partner Steve Morris. While Steve continues a break, the album has been co-written and performed by Chris with Barish Kepic (ex Jaded Heart) and the most legendary Mike Slamer. The album also features Ged Rylands, Wayne Banks and David Anthony, who round out the recording lineup.

While Ousey is obviously the main man behind Heartland’s sound, he isn’t the only ingredient that made so many wonderful albums over the years. Thankfully everyone else involved have slipped into place nicely and the sound of Into The Future isn’t a great departure from previous records.

Mike Slamer can be heard adding his touches all over the record – his style fitting this record perfectly. At the same time, he hasn’t transformed the band into a Slamer project. This is not as typical as he has sounded on his records over the years. All in all, it is a nice amalgamation of personalities.

At the heart of the matter is we have a great new 12 track Heartland album here, that sounds like Heartland. As is always the case with any Heartland record, the melodies and hooks take several listens to evolve and develop into the ear worms they end up being.

At times the band stretch the tempo into a heavier realm, Slamer making his mark such as on Caught Up. The pure AOR of A Living Thing is about as instant as any Heartland hook gets and is an immediate stand out.

Plenty of highlights throughout – Not Guilty, A Foreign Land, Climbing Your Wall and When The Band Plays to name a few.

Another great Heartland record. This time featuring two of my favourite people in the melodic world – vocalist Chris Ousey and the versatile Mike Slamer. It’s a no brainer!

Sammy Hagar is always going to be one of my favourites. I just love his approach, his attitude and for the most part, his songs. His 80s output was untouchable and even his post Van Halen 90s material was pretty consistent for a period.

In recent years the output has continued, but with varied results. Different band names, different styled solo albums – its all been a little hold and cold. A little frustrating when coming from a place of love and respect for an artist.

Now its time for the most used lineup of recent years to come into the studio for an all-new album. Michael Anthony, Vic Johnson and Jason Bonham pound out 37 minutes of mostly hard driving rock n roll, with that bluesy classic rock edge. Its great to hear Sammy fully plugged in and rocking it pretty hard on this record, which also features a great, raw, live sound.

While it does rock and it’s a fun record to crank in the car, I still miss Sammy Hagar the singer/songwriter – the guy responsible for Standing Hampton, Three Lock Box, Danger Zone, Marching To Mars and I Never Said Goodbye. Not being heavy for the sake of it or anything for that matter – just delivering great songs.

Now Sammy and band sound great here – but it’s a mood album – and therefore for me won’t get nearly as much as some of the albums in his vast catalogue.

Disliking Elvis Costello with a passion doesn’t help – the cover of Pump It Up is pretty forgettable, plus there’s a 2-minute acoustic intro song to the album – that leaves just half an hour of songs, which leaves no room for the occasional filler, which this album still has.

Album highlight is a classic old-school Sammy track Father Time. Love that!

Great to hear Sammy still rocking and recording, but this is an album I’ll pick tracks from rather than repeat start to finish.