Another work from prolific guitarist/Vocalsit Phil Vincent, a more concept in the loose sense of term album, with treason being the main idea. Phil has read by heart and knows how to imply the songwriting book of Marg Magnold and DRIVE SHE SAID/TOUCH.
'The melodic, monster riffs he comes with and have Vince O’Regan bringing them to life are edgy, raw and still silk, a combination of high addictiveness, melody and guitar driven power.In addition to his own songs we have two covers of" Do it Good" (by TYGERS OF PAN TANG) from their much acclaimed 'Wild nights" album, in a more Radio oriented, still guitar driven rendition and "Theme from a Summer Place", written by Max Steiner, an unusual choice,that shows another more emotional side of Phil.
Song after song we follow the treason stories, traitorous, betrayals all dressed up in some well crafted melodic Hard rock, that cries out to be played at FM radio and arenas. Stand outs are "Betrayer","Nobody's Fault" and"Now, You Know", to name but a few. With a slick production and a tight band supporting this new project,
Phil is once more hitting bullseye, waiting for the wider recognition to bang his door, rather than left betrayed ,but still the excellent songs and music will remain.
A great, yet underrated guitar player, versatile, melodic, jazzy and heavy when he feels the composition needs it. Andy Timmons was the guitar player for DANGER DANGER but has a strong body of solo works in the last decades. In this his latest effort he continues to mix guitar shredding, jazz complexity, melodic rock and a love for the 90s maestros, especially Macalpine and Satriani and a sweet tooth for Michale Schenker and his taste for melody.. His personal sound has strong influences from melodic guitarists like Schenker, Roth and Macalpine but has a more US approach to the whole sound.
'Recovery ' covers a lot of territories from laid back jazz, soundtrack music to shredding but is most of all a healing album, letting the listener go with the flow.As Timmons himself states , “Healing is a constant we all navigate. And of course, music is the key to all this: It has been my safe place to express and heal throughout my life.”. This phrase, represents the spirit of the album
Timmons reconvened with the players who contributed to Electric Truth in 2021 for the Recovery sessions: Lemar Carter (Joe Bonamassa) on drums, Travis Carlton (Robben Ford, Steve Gadd, Larry Carlton) on bass, Deron Johnson (Miles Davis, Stanley Clarke, Alanis Morrissette) on keyboards and Jeff Babko (Steve Lukather, Larry Carlton, Jimmy Kimmel Show) on keyboards.
He moves swiftly from opening jazzy "Elegy For Jeff" to "Recovery" with its Middle East influences and the Macalpine tone . His sound is versatile depending on the feeling and his purpose, never letting the listener distract. He even has a song with vocals to spice things up a bit in".Something Good’s Gonna Come" a slow melodic rock tune with CHEAP TRICK and pop rock, written all over it.
"Love > Hate" is a tune with cinematic climax and a strong main melody, "Where Did You Go" has an Italian aroma, "Between Brothers' is an up tempo, high speed fusion rock tune, then some fingerpicking on "Lost In This World" a mid tempo ballad, groove and swing at "It Doesn’t Mean Anything", slow jazz moves at "Why Must It Be So", a tribute to Schneker at the epic "Almost Home" and for the closing,a slow pace cinematic instrumental, "Arizona Sunset" with a killer vibrato.
If you are aware of his work, just listen to the new album, you know his high standards. If you don't know this guitar player extraordinaire and you are into melodic rock and jazz /fusion guitar playing get a grip on him, you won't be disappointed.
These guys live and breathe for the DEEP PURPLE, RAINBOW of the golden days and they know how to write more than decent songs.Up tempo hard rockers that could be easily at "Burn", "Stormbringer" or 'Down to earth" albums by a band that love the 70s and prove it in evernote they play.Graham Bonnet and his sound has been a driver for the band, who doesn't imitate but create new, exceptional tunes.
Following three acclaimed studio albums and recording sessions in iconic locations like Abbey Road, NIGHTHAWK return in 2025 with their latest album, “Six Three O” It was captured at the legendary Rockfield Studios in Wales - where classics by Queen and Oasis were once born - and once again brings together a stellar lineup of Swedish rock powerhouses.
Led by Robert Majd (Captain Black Beard, Metalite) on guitars, NIGHTHAWK features Björn Strid (Soilwork, The Night Flight Orchestra) on vocals, John Lönnmyr (The Night Flight Orchestra) on keyboards, Rasmus Ehrnborn (Soilwork, The Night Flight Orchestra) on bass, and Magnus Ulfstedt (Black Paisley) on drums. The album was produced by Sverker Widgren (Portal, October Tide), continuing the trusted collaboration that shaped their previous Mighty Music release “Prowler” (2023).
Opener track "Hard Rock Warrior" is exactly what the title describes, a stormy Graham Bonnet era, hard rocker, an in your face punch "Wrong Side Of Desire" is like RAINBOW get themselves Jon Lord to fill their sound with his organ playing, while at "Home Tonight" DEEP PURPLE meets the Scandinavian melodic rock school to give birth to an epic sound tune."Angel Of Mine" has the fire of 'Burn" an up tempo, hard rocker that takes no prisoners.while the pace slows at "Can’t Say Goodbye" a mid tempo, epic, emotional mid tempo ballad.After that small moment of rest comes another gatecrasher in the face of "I Am The Night" with some furious Hammond playing..
Overall the album is a living tribute to the DEEP PURPLE/RAINBOW days through new and powerful, memoprable compositions. Add to this a cover of " Man On The Silver Mountain" by RAINBOIW and you have one of the best retro/non retro,70s inspired/Scandinavian born and raised, Hard rock album of 2025 with Björn Strid proving how versatile , vocal powerhouse is in another unforgettable delivery.
US power metal reigns supreme as long as Geoff Thorpe manages to find the suitable singer. New album for VR, their 14th and they do what they know best. Deliver fast, furious yet melodic US power metal. At the end of the day VICIOUS RUMORS are among the pioneers of the genre along with SAVATAGE, LIEGE LORD, LIZZY BORDEN, ARMORED SAINT, METAL CHURCH.
They still keep going strong and with an insatiable appetite they write songs like"Dogs of war" ( a song about today's world in flames condition , with painful lyrics, at last musicians who talk about today's issues.), "High hell hammer"and "" Wrong Side of Love" that will stand the test of time. You will find a bit more complex, melodic elements like prime time QUEENSRYCHE a t" Dogs of War" or a bit more "commercial" or shall I say crowd pleasing moments at "Wrong Side of Love" but then the core of VR is power metal influenced by the 80s mega bands and delivered in true metalic fashion.How many bands can you mention that start their album with an iron fist like "Bloodbath" and keep the pace at the same uptempo with songs like "Crack the Sky in Half," "In Blood We Trust", "The Devil's Asylum", with foot on the pedal till the end of the album, like a bunch of 20 years old metal heads, at their first album recoring.Larry Howe ,thundering drumming help to support the aggressiveness of their new work.New singer Chalice shines as also the great guitar work of Thorpe and Cooper with their trademark harmonies and exchange of licks.
For those who like the aforementioned bands and also LETHAL, LEATHERWOLF and the great US power metal scene of the 90s , waste your time looking for copies of the old albus.VICIOUS RUMORS are still holding the torch and showing the way, playing US power metal with intensity, technical proficiency and most and above all ,down to earth, a wrecking ball that demolishes everything.
Greek folk-traditional/metal band P.I.P. returns with their latest effort. While musically they continue to play heavy metal in the vein of the 80s/90S Classic sound,they continue to surpise adding elements from the Greek folk scene and make their own great rendition of Greek folk (Rembetiko) song of "Kaixi".
Their tendency to add more and more melody, folk,traditional elements and guitars, create unique examples such as "How to breathe" where Gary Moore will smile from up in the skies. Their passion is all over the album and one of their strongest elements, the vocals of Yolanna Galani who have a distinctive color of their own, makes P.I.P. a unique experience. While songs like "How to breathe" show another face with 90s alternative influences reminiscent of another great Greek 90s alternative band MAKE BELIEVE. They have their own distinctive sound, in the same way SKYCLAD used to carry the folk metal torch in the 90s.'Erase me" is a song with strong Celtic influences, with pipes etc. "Amnesia"is an epic song with folk influences and still a great heavy metal tune, a combination of the two worlds that P.I.P.stands for.
They won't imitate, but on the contrary incorporate elements from the musicians they have been influenced by and are vital part of their sound, melting them with the characteristic voice of. Galani."Sirens call" has incorporated musical elements of Pontos , Pontian lyra etc creating a unique atmosphere. Stand out tracks like "Kaixi", "Erase me", "How to Breathe" are proof of P.I.P. musical vision, a unique, metal but not conventional result.
]
The album is closing with "Mothers lament" a song that stands out not only musical but also for its lyrics,a story of uncertainty, of life in our troubled times,having to raise children, in times of war and desperation, showing that P.I.P. are more than just another metal band. They are a bunch of musicians who have strong feelings, anguish, fear and doubts for today's world status and wont fear to talk about it.
Sometimes the band's name is self explanatory on what you are going to listen to.(Hope wont have to remind anyone,the classic JUDAS PRIEST album, that lend band its name) So if you're in to the 80s JUDAS PRIEST, ACCEPT, early HELLOWEEN, this is the album for you. A side project of THERION has the high level of musicianship and also the fan feeling all over the album.
From the opening, in your face, all gun blazing heavy metal thunder "Heavy Metal Shakedown", to the more "I'm in love with my car-QUEEN' I in its metal version "I'm in Love with My Tank" with clever lyrics and twin guitars ,they play Heavy metal. More complex, or epic as in " The Time Machine" or just plain, simple and heavy, ready for stadium sing along as in " Darkside Brigade" and "Intruder", DEFENDERS OF THE FAITH enjoy this album as a tribute to the artists taht made them ,what they are. It is touching to see well known musicians ,paying tribute to their musical heroes and genres by not covering but rewriting musical history, with new tunes ,that step on the marks of the metal Giants of the 80s. As the album title says, Odes to the Gods written and sung by their most loyal, faithful Defenders of their faith.
For those of you who have seen THERION and Thomas Vikstrom ending their shows with covers, you know the man's incredible voice and versatility. Here he shines once more in songs tailormade for one of the most charismatic metal singers in Scandinavia. As for Christofer Johnsson, his love for the golden days of 80S metal, JUDAS PRIEST AND IRON MAIDEN is undeniable, so add a bit of ACCEPT to the recipe and you have an album for the those of you who still cant get off the 80s and want it new, heavy and fast.
When the brand is Swedish and the genre is melodic hard rock, you know it's guaranteed success, most of the time. In 'Chasing Danger' CBB chased the success and hit bullseye. With hooks and choruses that are more addictive than sweat in the summer heat in Europe, the band delivers first class melodic rock.
You have the BON JOVI influences of the first three albums, the West Coast influences, bands like TOUCH,DRIVE SHE SAID, but also HARDLINE, SIGNAL, TYKETTO, the classic melodies of STYX,LOVERBOY , some real 80s pop/Italo Disco injections to mellow the whole thing with groove and most and above all the songwriting of CBB.
In modern AOR you have hit single machines like ECLIPSE and also bands like CBB who know how to develop a melodic riff to a more than decent tune. With standout tracks "When It's Over", "Piece Of Paradise" , and "Can't You See", "Chasing Danger" is an exercise in melodic rock and good taste. It might be their seventh album,and first with new singer Fredrik Vahlgren but they deliver with passion and fire. Check them out if you don't have them until now.
Album number two for the collaboration of one of the most underrated voices in Hard rock music, Jeff Scott Soto and ex MEGADETH bass player Ellefson. The combination may look awkward in the paper, but in reality it serves a lot the heaviest side of Soto. Don't forget his work with"Biker Mice from Mars", "SOUL SirkUS", his solo SOTO works and Malmsteen.
The album is a killer of ,heavy riff, modern metal music (owes a lot to PANTERA,FIVE FINGER DEATH PUNCH) ,monster where the aggressiveness in the songwriting meets a more modern, low tuned, heavy riffing letting Sotto deliver his inner metal fan. There are stand out songs like "SOAB" and "Shout", up tempo but also with the Sotto pomp element combined with the more metalic edge of Ellefson and also some support from other artists at the vocal department in "Poison Tears" (featuring Laura Guldemond ofBURNING WITCHES) and "Vengeance" (featuring Tim “Ripper” Owens of KK’s Priest) ,the last as a double bass drum waterfall that crashes everything along its way."Snakes And Bastards" are among the stand out tracks, heavy,aggressive and grandiose, thanks to Sotto's melodic delivery, while "It’s Over When I Say It’s Over", has a catchy and dominating chorus.
The duo Ellefson-Soto is joined by Italian guitarist Andy Martongelli and Paolo Caridi on drums , a modern, stripped down production to create a modern heavy metal album with an in your face feeling.
For those of you who follow Soto alla around his career and have in mind the "Vacation in the underworld", this album comes as a colorful and meaningful addition to Soto's vast discography, showing his musical diversity and metal origin.
Daron Malakiαn and the SCARS ON BROADWAY-"Addicted to violence'
Nothing more, nothing less, than the always diversifying and experimenting Malakian, from the aggressive opener "Killing Spree", to the SOAD alike "Done me wrong" , with its eastern scales,with the more mid pace "Satan Husein" always chick in tongue, he proves old habits die hard.
But as usual Daron challenges himself with a mid tempo, almost darkwave epic and one of the stand out tracks "The shame game" shows the man and his band has no limits when it comes to create music as they envisaged it, beyond borders and genre limitations. A mesmerizing track that ooze fear and revenge."Destroy the Power" has an intense political message, sharp riffs and middle Eastern feeling, another winner, that grows slowly as does the main,middle East melody, covered in spikes. Malakian has an opinion and the courage to express it in a world that tries to shut up ,free spirits, talking about the power and the abuse of the mass regimes."Your lives burn" has a punk rock feeling and equally "disturbing" lyrics. "Imposter" has that metal feeling that had the work of Biafra with D.O.A, heavy ,staccato riffs, that are blended with the funky, rhythmic parts that SOAD incorporate to make metal a bit more "different" for the average fan, a unique blend that captivates the ear and make the listener , gaze with surprise,on what diversity, really means, in the days of plastic music.leaving the lyrics as the final blow.
Suddenly "You destroy you", a MOR song, that has nothing to do with the rest of the musical context of the previous songs, but has the violence (introvert this time) as a common denominator, giving a reason to let your hair down before the next act of violence. "Watch That Girl" moves in the same direction, more up tempo but with a 90s alternative feeling in it, a warning to lethal relationships and girlfriends. The tenth song of the album is "Addicted To The Violence", a self explanatory hand grenade that blows the rest of the listener to pieces, in an epic grandiose way, that reminds SOAD and FNM, in a mid pace, escalating paean.
An album that has its heart upon its sleeve, speaking Daron's truth with no fear or prejudice and becomes even more vital after the assassination of Charlie Kirk
80s hair metal alive and well. Musicians like Brazilian (world traveler) Danny Veras are not reviving a bygone era, they breath fresh air to the genre, writing from the start, new songs, feeling the ulse and rocking the good old,fashion LA way.he new album ‘Can’t stop the Rock” is his 3rd solo effort, that also was co- written and produced by Paul Sabu. Sabus collaboration explains easily, the style and the album direction, into melodic, guitar driven, 80s hard rock The title track was co-written with the late Frankie Banali. On board are Linkan Andersson on guitar (Secret Society, Methods of Mayhem, Tony Mills), Barry Sparks on bass (Dokken, Michael Schenker, UFO…Yngwie).
"Playin with fire" is a track straight out of the 80s songbook with a nice guitar solo , and additional heaviness on the chorus, so you can't call it plain aor. Can't Stop the Rock is an in your face , anthemic rocker, that could use some extra vocal power in the chorus , POISON is written as main influence all over the "I want you forever" ballad, a song that has all the elements, acoustic guitars, piercing solo and honey dripped melody. 'Keep the faith" goes the same direction, with some decent influence from Bon Jovi solo works, western,country and classic rock, up tempo and rocking.
"Devil's garden" has a VOODOO X aroma , a mid tempo , dark rocker that stands out ."its crazy" has the JOURNEY school of melodic rock stamp all over it ,while "Darlin" is another 80s ,honey soaked tyle mid tempo ballad."Misery" is another melodi rock mid tempo, while "Rich woman" gets a bit more uptempo, a twelve bar inspired rocker,that chorus reminds of 80s and for some reason Ian Gillan Band "Woman from Tokyo".
At the end of the day, Veras.is true to his musical beliefs and although the production could be a bit crunchier, he gives us an album full of 80s inspired US melodic rock/AOR, that you listen to with no regret.
Joe Stump’s Tower of Babel – Days of Thunder (Silver Lining Music)
US neoclassical maestro Joe Stump followed the steps of Malmsteen, Impellitteri and now is a vital member of ALCATRAZZ. At the same time he presents his new solo work, where he continues what he does best. Speed up versions of RAINBOW inspired songs, with excellent guitar parts and much aggressiveness.
"Days of thunder' is an excellent piece of neoclassical metal with Graham Bonnet overtones at the voice of the gifted Jo Amore, a typical,yet substantial neo classical thunder.He gathered a band of seasoned and capable musicians who know how to perform speed, melodic,neoclassical metal without losing the feeling, Jo Amore on vocals , Mark Cross (drums, backing
vocals), Mistheria (keyboards), Nic Angileri (bass). “Blind Are Your Eyes” has a WHITESNAKE /VIRGIN STEELE feeling at their more passionate, slow burning times and its a nice deviation from the fast speed, fretwork of Stump, giving his band a chance to loosen up and be more atmospheric. "Alone in the desert" has the famous middle east sentiment that was introduced to us by Mr Blackmore and Stump knows how to strip it down to its basic, more dark and metallic form, a slow,mid tempo, scorpion who waits for the right moment to sting you. Next song "In the heat of the night" is a fine example of how melodic rock tries to be bit catchy, reminding Impellitteri ,especially at the vocal harmonies, of the chorus, a nice attempt to be "commercial" with a catchy riff.
Sacrifice" is an in your face, neoclassical metal song, nothing to remember, nothing to forget, a decent in your face attack."Trust me" is a slow, monstrous, in the vein of "Mistreated", with a crawling, blood thirsty riff and a groovy rhythm section, delivering a heavy rock cornerstone for the album.Closing track, is another 70s (RAINBOW infused) hard rocker with some great Hammond addition and a nice up tempo ace that gives Stump another chance to deploy his guitar shredding talents.
Overall , a recommended album for fans of RAINBOW, IMPELLITTERI, ALCATRAZZ, Malmsteen and neoclassical metal in general, with nice, memorable compositions and solid performances.
Magic Power: All Star Tribute to Triumph (Round Hill records)
Tributes most of the time is a clever way for the remaining record companies to milk the love of the fans ,for bands not active any more,adding some of the most curious names in the metal genre usually who sing from Sinatra to SLAYER with the same ease and apathy for the final result. In our youtube days where this kind of collaboration especially after the Covid lockdown made it familiar to a wider audience, tribute album seem to fade as a tactic. But here we have a tribute album for one of the best Canadian hard rock bands and definitely along with Pat Travers and Frank Marino among the most underrated. So is this tribute worth listening and investing in? I'm saying yes from the start. Despite who sings what, the songs stand the time and the different kind,style, range of vocalists who all , i must admit try the best to present a decent result It is the quality of TRIUMPHs songwriting that helps the singers and musicians to just give a more contemporary, metal sometimes feeling in these classic tunes.
The opener brief intro of “24 Hours A Day” which appropriately segues into “Rock And Roll Machine”. Both sung by Sebastian Bach, who gives a more metalic edge to the song accompanied by another underrated guitar player, Bumblefoot who knows how to fill in for Rik Emmett's enormous shoes.“In Magic Power” who find another familiar face in AOR,melodic rock covers, although in his day job he is more thrashy, Mr is l. Joey Belladonna from ANTHRAX who makes a captivating high note performance. Other participants include Starship‘s Mickey Thomas singing the rocking “Spellbound”. with Phil X on guitars and backing vocals . Dee Snider is convincing handling the lead vocals for “Lay It On The Line” while Paul Gilbert gets his own interpretation of the guitar parts. Next in line is Lawrence Govan ( STYX), with “Somebody’s Out There”,with REO SPEEDWAGON’s Dave Amato covers the lead guitar parts in a more pop oriented song that fits them both as a glove.
“Never Surrender” one of my personal favorites ,has Deen Castronovo’s (JOURNEY) vocal delivery, Tony Franklin’s funky bass, Brooks Wackerman on drums, and Justin Derrico’s on guitar getting the pop rock feeling of the 80s in the best sense.A climaxing groove song that culminates on the chorus. Jeff Keith (TESLA) another unusual choice is singing “Hold On” with a more down to earth approach.CHICAGO 's Jason Scheff takes his turn on “Just One Night”, a mid tempo 80s ballad, delivered straight for the MTV audience. I “I Live For The Weekend” with Slash is t Nita Strauss, and Phil X on rhythm guitars. has Dorothy and Tyler Connolly on the vocals in a ZZ TOP ed version of one of my favorite TRIUMPH songs, less anthemic, more guitar driven, it's all a matter of choice and perception.
Then we hit one of the most unexpected arrangements of the beloved “Fight The Good Fight” featuring Nancy Wilson (HEART) on lead vocals. It has a moody feeling, a laid back 70s comfortness, that suits their rendition of the song."Follow your heart" with Jack Blades on vocals and Reb Beach on guitars., is a perfect tribute in the glory AOR 80s days, anthemic and heavier than the original, still missing the original's crushing vocal harmonies. Allied Forces” with Phil X, is ok, we could live without it, and didn't regret listening to it.
ENVY OF NONE's take on “Blinding Light Show” is among the real attempts to cover an 80s band by some modern musicians and the result is an interesting, modern, seductive,hazy, different and interesting point of view to a classic melodic hard rock tune. The end of the album includes a bonus
track , “Fight The Good Fight” , featuring Dino Jelusick on lead vocals in a more rockier, heavier and in my opinion, more attractive to ears, version of the song that Wislon covered earlier.
Overall, this tribute is a collective proof of the immensity, the musicality and the everlasting power of TRIUMPH songs, through different performers and arrangements,even heavier, showing the artistic value and the nature of the songs and the bands caliber. a tribute fit to the legendary status of the band ,that finally gets the recognition it deserves among its peers
The hair might turn grey, the beer belly starts to smile at the mirror but you still like to listen to something more rockier than the MOR/80s nostalgia songs of your local radio station.BA has the answer to your problems. Another album that is more rocking than his previous works, with a couple of catchy, mellow but addictive ballads and Adams has the winning combination. It might not be as rebellious or edgy as he used to be ,but he knows how to pen a good tune .
So as rock fans get older and musicians too, Adams adapts and creates rockin tunes for the elderly and far more reaching than bands with half his age. Enjoy a proper album from a great songwriter and question yourself how many times in the recent years you have listened to songs like 'Roll with the punches" The album has everything in your face rockers "Roll with the punches' and "be the reason", or more melodic ones like "Make up your mind" ,mid tempo/countrified rockers like the catchy "How's That Workin' for Ya", enjoyable mellow mid tempo, uplifting songs like "Life Is Beautiful" with pop aesthetics.
He knows to be sentimental and surprises us in the Dylanesque "Love is stronger than hate" with the harmonica at the opening bars giving the tone, an old school ballad about war, loss and camaraderie. You have the expectable ballad in "Two Arms to Hold You", corny as it can be and that's what we like in Adams; he always delivers what we love him for. You have to admire his ability to pen catch pop rock tunes like "A little more understanding", or the uptempo/uplifting "Never let you go" harder than most of the so called rock artists of the Spotify generation without speeding up a notch, or use distortion, cause in his core he is an adult rocker, he is Canadian after all.
So all you middle age rockers (myself included)who are tired of the young brats who can't use a riff to put out a decent FM rock tune, Bryan is back,so let's celebrate life of Brian/Brayn, the Canadian prophet has raised the bar high for the rest of his contemporaries.It might not be the summer of 69, but it is still a pretty good summer for another successful MOR rock release
The
Bostonians are in the streets again with another album full of
rebellious anthems. As usual, being rebellious in the secure US lets you
scream against all the inequalities in the world and the DM adding some Irish flavor creates an explosive amalgam. Highly enjoyable for college
boys, leftists, AntiFa and others living on the dole and with their
family support , middle class revolutionaries, is an agitating album for
a dying Western society that hates itself more than its own enemies.
But besides politics and aesthetics, DMs are what we all know a band to
start a party and forget to end it. Fueled with whiskey and beer, Celtic
passion and punk street attitude they offer moments of rock n roll
swagger and if you're into their previous work, they won't let you
down, so prepare for your next protest in your suburban house and listen
to DM.
From the revolutionary opener, where banks and
bankers, the state and the rich people (we didn't expect anything else)
are all responsible for all humanities problems and the poor man's fate,
call to arms "Who will stand with us", to the more in your face punk
rocker "The big man" the riot in the street feeling is here, like been
in London in 76, but with a cocktail Molotov in your hand although it is
actually a song dedicated to PENNYWISE guitarist Fletcher Dragge.
"Chesterfields and aftershaves" gets more melodic and Celtic, to cool
down the bets.In the same vein the collaboration with Mary and the
Wallopers at "Bury the bones" in a true anthemic, Irish way, a marching
song. The punk rock feeling returns in "Kids games" at a fast pace, in
your face protest song CLASH would have approved. The marching pipes
keep up at the following "Sooner kill' em first". A more stripped down,
SexPistolesque "Fledgling for the lies" ignites the atmosphere with some
great anti establishment/Media control rhetoric. "Streetlights" is
their idea of Springsteen being of Irish origin, another mid tempo,
marching ode, "that's never enough".
13th album and lucky charm for the
US/Irish punk rockers , 'School days" is as always didactic, it has
Billy Brag in it a cover of the Ewan MacColl song, a mid tempo,punk folk
anthem followed by the Irish fueled "Vultures circle high" with the
participation of Al Barr. Closing track "One last goodbye" (Tribute to
Shane) a touching Irish farewell song to the great singer of Pogues,
Shane MacGowan the album closes as an Irish funeral, bittersweet and
drunk, full of memories, feelings and tears.
GH says this is going to be his last-solo- album and if this is true he closes a prolific career with a real winner. You could easily expect him to rest on his laurels but a man who has played with almost anyone and has come back from chocolate and coke addiction can still pen tunes like "Heal" a magnificent mid tempo grandiose rocker. He pays his respect to his 70s roots with the Zeppelinesque "In the golden". What is the most astonishing reality, especially if you haven't caught him live on stage lately is how bright and strong his voice,soulful and with a great alteration between high and low octaves, is a true delight to listen to. Opener "Voice in my head" is a true tour de force, groovy,heavy and with a solid,bit funky performance from Hughes who makes his terms non negotiable from the start, funk, hard rock and soulful vocals is the name of his game and you have to respect it and accept it."My alibi" keeps the structure of the punchy hard rock song with the groove but has a dark bass groove that Hughes delivers with the passion of a 20years old man although he is already 74."Chosen" is another mesmerizing hard rocker, epic and up tempo with some nice 90s alternative feeling.
Been a close friend to Tony Iommi makes the "THe lost parade" an excellent example of how BLACK SABBATH would sound if Hughes has decided to be their singer, with some great organ and the dominating bass lines, a muscular song that winks at the early 70s and the Birmingham bkcaleys. "Hot damn thing" is another 70s inspired ,funky rock tune, groovy and addictive and although you know he has the same title under his belt many times, its among the specialties of the house. "Black cat moan" gets deeper to the funk rock territory making guys like Lenny Kravitz to want to drop their instruments and leave us in question what would happen if Richie Kotxzen and Glen Hughes decided to collaborate, a song that scream to be played onstage, groovy, funky and heavy as only Hughes know to make them. "Come and go" is the ballad you were expecting with Hughes ,expressing his inner soul man, in a golden honeydripper ballad. The 10 tracks on "Chosen" are mostly heavy due much to drummer Ash Sheehan (of The Twang, Laurence Jones, Ginger Wildheart) as to Hughes’s aggressive bass playing but also due to the influence of his musical partner in the last years, Swedish guitarist, Soren Andersen.
At 74 he still manages to drive songs like "Into the fade" a ballsy hard rocker with some alternative edges, a mid 90s aroma that makes the song stand out,as the closing track of an inspired album. It might be his 15ht solo album and possibly his last one but its definitely an album with no fillers, full of ambition, passion and Hugh in excellent form. For those who are still wondering how the 70s sounds, here is your answer ,updated and delivered in full force.
Seasoned but still vivid and prolific , British cornerstone Robin Trower, releases his new work at the tender age of 80. While other men of his age , prefer strols to the park, Robin likes to meander on his fretboard, other times pulling out his best Jimi Hendrix imitations, other times paying tribute to other masters like Peter Green and most of the times enjoying his day under the sun, playing the blues in the best Chicago school inspired way. After so many years as an accomplished musician, Trower has his own distinctive sound with an excellent vibrato that goes deep in the blues and the British 60s rock scene (FLEETWOOD MAC, CREAM,FREE,YARDBIRDS) at the opening tracks to become more soft , trippy and contemporary as the album moves forward. Along with him for the ride are longtime singer Richard Watts, who has been with the Trower band on and off for the past few decades, drummer Chris Taggart and female vocalist Jess Hayes makes an appearance on two selections.
Hendrix inspired wah-wah pedal fuels the opening mid-tempo “A Little Bit of Freedom", followed by the blues up tempo rockers "One Go Round", "I Would Lose My Mind", and a self depictive, slow burner "Come And Find Me" , But as the album moves so does his diversity "Take This Hurt Away" has a modern,contemporary,FM rock sense, moving forward to one of the album powerhouse in "Tangled love" with Jess Hays on vocals, a struggling piece of CREAM influenced Soulful, blues rock . Songs such as “Capture the Life Begun” a loose, almost psychedelic trippy tune (a typically elusive and vague title), the slow psychedelic blues of “Take This Hurt Away”, and the song that gave the album its tile, “Come and Find Me” are all blues or rock tunes with their own moments of intimacy and are full of soul. But Trower has a few more surprises as he presents us with "I Fly Straight To You" , a song that Cris Rea would kill to have in his own repertoire.
Melodic, yet edgy. Trower proves he is one of the last of the greats blues guitarists of his generation. Moving swiftly at the fretboard, using melody and waw waw pedal in alignment with a distinctive , clear sound he brings the "white" side of Chicago blues for one more time to life, been traditional and contemporary at the same time and remind us what the British blues movement of the 60s meant for the modern music world.
As the title implies, Come and find him...you won't regret it.
Steve Morse's departure was a heavy blow for fans of Morse sound in DEEP PURPLE, like me.Although DEEP PURPLE have come to rejuvenate with the take over by Bob Ezerin as a producer, Morse was responsible for the resurrection of DEEP PURPLE and the man who drove them through the 21st century. But with him stricken by fate and with his "resignation" the most appropriate thing as his wife's health was and should have been his main priority, the DP organization decided to move on as bills and alimonies , mortgages etc don't wait amlong with father time.
I had my second thoughts on Ian Gillan's voice as I have for Bob Catley but in the studio he still has the stamina and the fire. New guy Simon Mc Bride, a DP acquaintance through Don Aireys solo band seems to be filling the gap more than adequate. With his own sound , abit more bluesy and clean than his predecessor he leaves his mark on some great songs in the new album. DP are coming through Coronavirus and a cover album as a new, eager to prove band and in songs like "Sharp Shooter :, Lazy Sod" the imaginative "Portable door" or the slow mid tempo emotional "If I Were You". Gillans tongue in cheek spirit lives on in "No Money To Burn' and the band is in high spirits in every song of the album. Hard rock for the old fans who feel nostalgia for the 70s, or music from a vivid organization. As "Show me" and "I'll catch you" show is more of the latter than the former, because DP are in fine shape and know how to evolve in time, despite the critics who still praise every miserable OASIS reunion and dismiss the glory days of British hard rock.
Gillan says they still have another album inside them and their current set list has enough new songs to prove that DP are not a greatest hits travelling circus but a band that believe in themselves and their fans. A great album and i have to say unexpectedly good after such a vital change in personnel.
Chris Goss the Godfather of grunge returns with another album that is purely a personal confession. Desert rock, grunge, psychedelic rock, classic rock all blended in an album that makes a powerful addition to MOR selective discography. Goss won’t reinvent the wheel. Faithful to the old recipe if it ain’t broke don’t fix it, he is again behind the power trio idea, in the way the late 60s, early 70s defined it. Add some 90s aroma and the result is here.
Mesmerizing, powerful and guitar driven, mid-tempo mostly intro verted songs that paint the desert skies with all the colors from bright yellow to pale grey. An album to listen, think and travel with. From Iggy Pop to David Bowie with some QOTSA, the voice is here, adding a 60s twist to some 90s tunes with desert aesthetic. From the mid-tempo, addictive opener ‘The archer’ to the more powerful 60s tinted, “I had a dream” to the slow dragging, low tuned, Tom Waits distorted blues of ‘Chicken little”, the man and his vision are here. The perfect song for any David Lynch movie soundtrack. DOORS, Jimi Hendrix and the 60s live in his guitar sound along with the great blues masters, note to note, metallic sound soloing, the perfect passage from the 60s psychedelia to Seattle in a simple soloing bridge.
'Mr Tap n Go’ is a song that would fit to any Tarantino movie, sharp and dark, a fitting tribute to BLACK SABBATH if they were born in Phoenix instead of Birmingham and one of the outstanding tracks of the album. MOR never stop surprises us as they do at mid-tempo “Barstow’ with its DOORS overtones, a kaleidoscopic, melodic piece of modern desert rock. ‘Powder man” is a tribute to Neil Young of the 70s, while ‘Sugar’ is another mid-tempo sugar coated, alternative rock anthem. ”It all comes to you” has the QOTSA anthemic feeling, with a massive (for MOA standards) chorus and some nice guitar finger picking moments, with Goss sound like a hazy Iggy Pop. The closing “Bible of there had” has a funky feeling, a playful approach and is the perfect song to end a desert ride with some gre4at Neil Young -ish whaling guitar solo.
MOA are back with their latest effort and ask you to be prepared for another dusty joyride. Jump tot heir music machine and travel.
A singer is usually defined by its most successful moments. McAuley, although he has been a member in various successful bands and projects (GRAND PRIX, SURVIVOR), will surpass with difficulty the golden days of the MSG. Schenker stepped back and gave the charismatic singer a place in the band's name. Now going solo for years gave him the opportunity to show a number of different musical faces.
From modern hard rock and heavy rock to glossy AOR, his characteristic voice with the grasp at the end of the melodic lines is here. He manages to sing in perfect tone ,with power and flame ,despite the years he is in the melodic rock market. What I really liked in "Soulbound" is that McAuley won't rest on his laurels from the past. He is into singing well written songs, challenging himself as he does in the opening "Till i die" and "Wonder of the world", followed by the gloriously pomp AOR "Soulbound", the heavy 'Best of me", "Let it go" with its addictive chorus, AOR stuff at 'Crazy". Moving swiftly from melodic Hard rock/Aor to heavy rock with some dark, alternative colors, he never let down the listener even at the cliche tracks like "Bloody bruised and beautiful", showing his ability to adapt and evolve and how the time hasn't really touched his vocal performance.
For all of you who are into melodic rock with an edge and a touch of heaviness. The album is full of up-tempo melodic heavy rock tracks with McAuley at the top of his form, charging. "Soulbound" is an album you wont regret investing your time and money in.
With the tag of ex Alice Cooper guitar slinger and an affair with Richie Sambora that led to a musical collaboration, Greek Australian guitarist Orianthi has some big shoes to fill. Add to this a very attractive appearance and immediately you have the comments focusing on her looks and relations, then her skills. But she has the answers although not always convincing Orianthi at her new album has decided to go on a MOR blues rock album with a lot of pop sensibilities.
A cover of 'Sharp dressed man" (ZZ TOP) is a nice but not necessary touch. On the other hand, she seems more at ease with middle of the road blues tracks like "Ghost", "Some kind of Feeling", songs that could be easily on any Joe Cocker or Cher album. She insists on playing dirty blues rock but her attempts at "First time blues" with Joe Bonamassa are not as strong as they should. She has the chops, the ideas but she cannot decide on the album’s direction and is quite polished. On the contrary with other contemporary blues women like Erja Lyytinen, Joanne Shaw Taylor or Laura Cox, Orianthi can deliver a stunning solo but her voice and the way she composes flirt too much with the mainstream rock radio sound and reduces her blues woman credibility in favor of her success on the pop music genre. At the end the album is a bit plastic and the great guitar work cannot balance the MOR feeling that her mellow vocal levels.
A nice album for a ride with the car but nothing more. "Dark days are gone" is a fine example of another poor rock song who lacks depth and strength but has a nice FM flavor, "Bad of each other" is another blues tune for white folks in the suburbs. Maybe Orianthi should forget the Sambora, Bon Jovi MOR , white boys’ blues tactics as in "Call you mine' and let herself in to the real low-down blues, following the great Australian tradition of bands like ROSE TTTOO, ACCDC, COMSIC PSYCHO or even the INXS formula She CAN’T have both worlds, and this album proves it. A nice album to listen to once or twice and move on.
