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.
Swedish melodic rock outfit Wildness are back with their second album, now featuring the very versatile lead vocals of Erik Forsberg. The band go back and forth between styles - Erik going higher on several songs but a more powerful lower pitch on others. All with equal effect thanks to some strong songwriting and a traditional 80s, keyboard friendly style, that has a good strong current production (and a big drum sound too) thanks to the band’s drummer/producer Erik Modin and Erik Wigelius' magnificent mix and master.
This is a nice mix of old meets new, with a classic Scandi-AOR feel. Sometimes you don’t need a lot of words to describe the package and that’s the case here. There’s an abundance of sharp guitar solos and keyboard swirls and the tempo is fairly fast moving.
A couple of the moodier tracks veer off closer to symphonic territory, such is their epicness. It adds a fresh dimension to the album.
Ultimate Demise might sound a bit dramatic for a record titles of this kind, but it certainly delivers for fans of this genre and the more traditional elements of it. Great stuff.
I absolutely love this album. It has everything I love about the two principles behind it and a added freshness that has been missing in some recent AOR releases.
Art is Work Of Art – that is, vocalist Lars Safsund, who is his usual blindingly good self, delivering a classic vocal that gives me the best of WOA, but more so, I hear him stretching out with some of the more adventurous material on offer and he knocks it out of the park.
Illusion is one of my favourite pomp songwriters, Grand Illusion’s songwriter/producer Anders Rydholm. Fans of Grand Illusion can hear Anders’ trademark pomp AOR all over this record and there are a few tracks which could easily be Grand Illusion tracks.
But there’s so much more on offer here. There are a few tracks that are completely bananas. It’s part classic rock opera and part falsetto overture and it sounds so good. Lars is extraordinary in his varied vocal delivery. There’s Queen, ELO and Styx influences throughout.
But it isn’t every track – its mixed in and around some traditional WOA style keyboard-AOR mixed in with some typical Grand Illusion pomp. There is a good dose of piano and some sentimental ballads, but also a few driving guitar tracks.
All in all it is quite the mix, but the superb quality of the songs and the performances make it work cohesively.
I won’t make a point of highlighting any particular songs as id like the listener to hear it fresh start to finish. Just be assured that this is a quality piece of work.
This could be the most pointless review ever written.
Rabid Yngwie fans will no doubt agree. But for the rest of you, I will explain.
Yngwie is Yngwie. An no amount of words with stop Yngwie being Yngwie. So why bother?
Yngwie is a one man show – he does everything himself. He takes no advice, believes his own self-written press releases, has an ego the size of the empty Marshall stacks he ridiculously piles up on stage and is basically a self-declared shred icon.
So, any review of an Yngwie album that doesn’t tug on the girth of his titanic ego will be met with derision. I’ve read a couple of good reviews for this album, which makes me wonder if the audio for those was heard via a shortwave radio transmission to the mountains of Uzbekistan, as there is no sane rationale for anyone to hear this and not think that it sounds like a big sonic turd.
The drum sound alone is worthy of instant rejection by normally functioning ears. It sounds like they lowered a kit into a medieval mud-filled well and recorded whatever was able to be played with a RadioShack microphone from the top.
Yngwie’s vocals are as warm as a used tray of kitty litter and the shredding is so intent on the one purpose of million-degree shredding, that the album cover itself began to melt.
In his desire to be seen as a faultless guitar-bass-drum-vocal-production-mixer-engineer-cello-everything-god, he makes the same mistake for the forth album in a row. There is no self-awareness in play here. Yngwie can play – I have every album from his first decade – but he can’t and shouldn’t do it all.
Hire a producer, hire a drummer, hire a bassist, hire a vocalist, hire ANYONE that will actually work with you. And work together on something that doesn’t sound like it was recorded by a self-obsessed raving lunatic.
Like I said. It’s all pointless. Almost like the score for this album.
Fee, where have you been?!! Fronting The Tubes reunion shows mostly… but it doesn’t matter – he’s back! And Richard Marx is with him once again. The singer/songwriter/producer is the foundation that this record is built upon, with a MVP performance delivered.
Popping up for a cameo is Michael Landau and Matt Scannell on a couple of tracks.
For physical collectors the package is a flimsy cardboard thing that you can barely pull the CD out of. My pet hate without doubt.
Musically though there are no disappointments here. From the opening hard rock of Faker to the anthemic masterpiece How Dare You (classic Fee), to the funk-riff-rock of Don’t Want To Pull The Trigger onwards through the album via a modern rock ballad in Say Goodbye, a lyrically biting Promise Land, the moody Man Of The World (more classic Fee) and three more classy rock songs.
Only 9 tracks here over 33 minutes, but there isn’t a filler in sight or a minute wasted. This is all Fee Waybill at his very best and Richard Marx does a superb job producing it and co-writing all tracks with Fee.
Sharp, snappy, loud – everything you could wish for from a Fee Waybill record. Another essential purchase here I dare say.
The second Joel Hoekstra’s 13 album does everything a sophomore album is supposed to do. It has improved upon every aspect of the debut, which itself was already a great record. But this is even better and the pleasing aspect is it delivers improvements in all departments.
Better production, better songs, better guitar work, all delivered in a more cohesive package.
The band featured on Running Games is sensational. The great Russell Allen is the only featured vocalist, which gives the record that band feel, more so than the guest vocalists scattered across the debut. Joining in the fun is Tony Franklin (bass), Vinny Appice (drums), and Derek Sherinian (keyboards). Jeff Scott Soto lends a helping hand with background vocals.
Running Games is a heavier record, yet more melodic and more accessible thanks to some very commercial songs and Russell Allen’s perfectly attuned vocals.
To say Joel is an accomplished guitarist is an understatement, but it is still nice to hear him doing exactly what he wants in his own project, writing music and lyrics and controlling every aspect of the sound. It is clearly a labor of love, as we all know the label wouldn’t be covering all costs involved.
So Joel should be very proud of the results. There’s a nice balance between the heavy and the melody and between the pace of various tracks. 13 tracks and over an hour of music flies by in no time at all as the flow is never allowed to drag at any point.
A top class hard rock record that will further entrench Joel as one of the scene’s most respectable and reliable musicians.
What a way to make your solo debut. Overshadowed by the recent death of his legendary father, Wolfgang Van Halen has to balance shifting focus on to his own long planned career, while still in deep mourning for his dad – his biggest fan. Helping the two worlds connect is a very personal single, clearly written with Eddie in mind.
What pressure it must be to have literally millions of Van Halen fans standing by to critique every second of your first solo offering to the world.
I think some of that angst is wrapped up in this song, which I honestly think is remarkable for all of the above reasons, and for the most important reason – it’s a fucking great song.
‘Distance’ features a warm vocal with Wolf’s own unique tone immediately evident. There’s some space for it to soar towards the close, a very melodic yet powerful sound on offer, mixing acoustic and electric guitars with a modern beat, yet a very classic rock feel. Its modern rock with a huge commercial edge. Great production too.
There’s a lot to absorb here – all of it good. Can’t wait for the full album, I love songs like this.
No need for any introduction to Neal Schon. The guitar legend delivered his long awaited new solo album late last year and has been almost universally praised and appreciated.
So I will simply add to the chorus of platitudes that this wonderful piece of work has already been laiden with.
One of Neal's most expressive solo instrumental albums to date, the 15 track/70 minute record touches a myriad of emotions and musical styles, all under the direction of producer/multi-instrumentalist and songwriter (plus new Journey drummer) Narada Michael Walden.
The album sounds a million bucks and is one of those types of records that you can just hear all the time and effort that's gone into it. Smooth, sultry, rocking and complex. Love it!
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.
Synth-wave AOR outfit Magic Dance quickly established themselves as a leader in the retro-genre, but for their newest album, the band has updated their sound to a more contemporary modern rock production and song style.
There are still waves of synth and more keyboards than a Yamaha outlet store, and while the change is subtle, it definitely heralds a different approach.
The vocal style remains in place as do the lush keyboards, but the direction chosen has changed the way the songs are structured, and the band has lost some of their unique 80s sound in an attempt to reach a wider audience.
The song writing is not nearly as catchy or unique and I’m hearing strong hints of modern melodic rockers Anberlin in amongst this album.
That all said, this is still a very enjoyable romp, with a distinct sound driving the largely uptempo album. I’m just struggling to identify individual songs and if given the choice, would rather the sound of the past.
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’sI’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.
One of my main objectives of running MR over the years is to give a voice to independent artists who otherwise might fly under the radar of potential fans.
Seven Ravens is a self-funded, self-recorded, self-released album featuring guitarist/producer James LePack and songwriter/producer Scott Bazzett – the very definition of an indie release, but one that demands your attention.
No expense has been spared on this record, with powerhouse vocalist Michael Bormann hired to sing, Matt Starr is on drums, the album was mixed by Pete Newdeck and mastered by Harry Hess. Also on board is the always brilliant Tony Franklin on bass and Bobby Jarzombek on drums.
Over the years I have seen names brought into a project to cover up inadequacies within, but the sum of all the names involved here only enhances what is already a monster base.
This is a big sounding hard rock record, in the traditional American sense, Bormann singing like the legend he is, but the album is founded on a huge guitar sound and a really tough production, putting it into the quality of material a major artist might be proud of.
The songs aren’t necessarily instant, but they are there, and repeated listens uncover those layers and melodies and also unlock so much more riffing!
This is a record for fans of classic Dokken and heavier Jaded Heart, with all bases covered as far as production, mix and even packaging. It’s a class release from top to bottom.
For not much more than the price of a single CD, singer/songwriter John Waite is selling his brand-new release Wooden Heart – Acoustic Anthology Volume 3 as a triple CD set, featuring the new collection alongside both Volume 1 and 2 in the one package.
And what a joy it is to hear the great man’s voice in such uncluttered surroundings. John Waite’s music has always centred around his unique vocals and his personal, introspective lyrics. Whether delivered by a full band or with John and just an acoustic guitar, it’s always a pleasure to hear.
But on the Wooden Heart trilogy, which mixes up some classic covers as well as stripped back versions of past classics from The Baby’s and his solo years, John’s voice really takes centre stage.
Beautifully sung and emotive throughout, the at times haunting and at others uplifting recordings are perfectly captured and mixed and the voice just soars above the stripped back arrangements. Special mention to John’s musical partner Shane Fontayne, who again excels on guitar and bass on all tracks.
Each volume stands alone as a must have for Waite fans, but if you’ve only gone digital up until now, then grab this independent release as fast as you can at www.johnwaiteworldwide.com now!
The Find Me project has always been popular with fans. Coupling powerhouse AOR vocal superstar Robbie LaBlanc with Swedish producer and multi-instrumentalist Daniel Flores and songs written by various member of the Frontiers recording family.
This time around Flores thankfully turns down the keyboards a touch, but it is still a flurry of layers and layers of instrumentation behind the vocals. The production is over the top, but that’s the nature of his style and all Find Me records to date.
I’m not sure why, but for the first time in the 4 Find Me albums, Frontiers’ song-generating machine Alessandro Del Vecchio is given the sole task of crafting all the songs for this album, which further risks stretching his resources to breaking point. But while there is nothing here we haven’t heard before, I do credit where credit is due – there are some very likable songs here.
Stand out is the appearance of Vince DiCola who plays keyboards on a cover of 'Far From Over', a song by Frank Stallone from the "Staying Alive" soundtrack. A roaring version here.
I like the tempo of the album, being mostly up and free flowing, even if it is all very familiar for fans of this genre.
The absolute star of this album is undoubtedly Robbie LaBlanc. His roaring vocals lift these songs to another dimension and his always passionate and energetic vocals are a joy to listen to.
So if there is one ‘standard melodic rock’ album you must hear this month, it is this one.
Frontiers patented Random Band Generator has conjured up its latest offering – a more inspired and somewhat natural ensemble this time around. Nathan James – Vocals (Inglorious) Michael Sweet - Guitars, Vocals (Stryper and a dozen other projects); Joel Hoekstra – Guitars (Whitesnake); Marco Mendoza – Bass (everyone) and the great Snake himself Tommy Aldridge – Drums; plus of course, the illustrious writer, producer, mixer and keyboardist Alessandro Del Vecchio.
Quite a lineup there and given the brief to make a Whitesnake hard rock record, the guys have largely nailed that mission. Thankfully Nathan James gets to control the mike for most of the record and is given the best set of songs to sing here since the debut Inglorious record. Michael Sweet pops up on a couple of songs, but largely sticks to backing vocals and guitar.
While this is no Whitesnake clone, the influences and style are unmistakable. And the bigger than normal sounding production helps bring that big Snake sound to bare.
Credit for the production goes to Sweet & Alessandro, who also delivers some tasty Jon Lord inspired organ sounds to accompany his keyboards and Joel Hoekstra delivers some flashy riffing and soloing as you would expect from the current Whitesnake guitarist.
I often criticise the Frontiers productions drum sounds but having Tommy Aldridge on hand all but ensures a killer performance and the quality production gives him the impact needed.
11 tracks and nearly 50 minutes is about as packed as you could want an album like this to be. Any longer and it might have started to drag.
Good songs, big sound with a Euro-American commercial hard rock style that others have tried to emulate, but not half as well as these guys have. As egotistic as the name might be, it’s a very strong debut. I imagine there are already plans for a sequel.
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.
Music is all about moods. If there has ever been a ‘mood’ album this is it. Yesterday I had no interest in listening to it at all. Today, with the car windows down, the temperature and the volume up, I couldn’t have been happier cranking this bad boy up.
For those that haven’t heard, Jack Chrome And The Darkness Waltz is the recording project moniker for Australian rock royalty Russell Morris and Rick Springfield – both a product of the Australian pop/rock scene of the late 60s.
Its rough, its gruff, its blues drenched dirty rock n roll, with a dark heart and even darker lyrics. Celebrating the festival ‘Day Of The Dead’, the album glorifies the ying and yang of life and death, with both artists represented equally over the 14 tracks.
Basically this is two EPs of the same style put together. Rick Springfield takes 7 tracks – all written and recorded by Rick on his own in LA – and by ‘on his own’ I mean ‘on his own’ – all vocals and instruments performed by Rick himself.
Russell and his band perform the other 7 tracks, with the sequencing moving back and forth between the two.
Style wise you get two very similar takes, which was obviously the point, but to break it down, Russell delivers his usual gruff, raspy bluesy vocals in the semi-acoustic driven blues rock style that his last 3 acclaimed solo albums have delivered.
For Rick, his half of the album takes the style of The Snake King another step (or two) further into the darkness. His vocals are rougher and raspier than ever for the occasion and the heaviest blues of his last solo album are even more pronounced here.
There is no doubting who either half of Jack Chrome is, but I can imagine many RS fans having a harder time appreciating this than Russell’s fan base.
Rick breaks into a more familiar melody on Death Drives A Cadillac and 50mg Of Hope, but for the most part, this is a solid, dark blues drenched rock record.
If one point is to be taken from this record – its that Springfield is one hell of a guitar player and can deliver a swaggering blues riff alongside the best of them.
The album may not be the style everyone on the commercial rock side of life might want, but its mixed and produced impeccably, it sounds a million bucks.
