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.
Song of the week-- Robert Jon & The Wreck "I Wanna Give It" -
I Wanna Give It” is a bit of a throwback, finding its origin in the years when we were forced to take a break from touring. During this period we would often gather with friends and jam on a famous porch in San Juan Capistrano, California late into the evening, acoustic guitars in hand, finding whatever ways we could to keep our minds at ease amidst an uncertain time.
Longtime friends and co-writers Ian Cullen (“Oh Miss Carolina”) and Shane Krevoy had a big hand in the writing of this song, contributing lyric & melody ideas. It was full circle moment getting to realize the final, blissful, country-rock vision with a highly esteemed producer like Dave Cobb.
Lyrically it tells a story about running away carelessly with the one you love. Love can blind us sometimes, and though this story doesn’t necessarily have a happy ending, it’s told with a sense of there being no regrets. Ultimately it shares the message that love can inspire you to live fearlessly, and it’s something we all deserve to experience.
Taken from the album "Borderland" (September 26th, 2025) 🎧 Stream, get it here: https://amorphis.rpm.link/borderlandYT "As a starting point, I wanted to prove that even a keyboard player can make an Amorphis song which is based on a heavy riff, and to everyone's surprise, „Bones" turned out to be „Borderland's" heaviest song." - Santeri Kallio 🎧 Stream, get it here: https://amorphis.rpm.link/bonesYT ▶ FOLLOW @REIGNING PHOENIX MUSIC 🛒 EU: https://shopeu.reigningphoenixmusic.com 🛒 US: https://shopus.reigningphoenixmusic.com 🛒 UK: https://reigningphoenixmusic.omerch.com Web https://www.reigningphoenixmusic.com YouTube https://rpm.link/YTsub Instagram https://rpm.link/instagram Facebook https://rpm.link/facebook X https://rpm.link/twitter TikTok https://rpm.link/tiktok Spotify https://rpm.link/spotify ▶ FOLLOW @AMORPHIS https://www.amorphis.net / amorphis / amorphisband / amorphisband Music by Santeri Kallio Lyrics by Pekka Kainulainen Recorded, mixed & mastered by Jacob Hansen at Hansen Studios, Denmark Video Credit: Directed by Patric Ullaeus | www.rEvolver.se
AMORPHIS are: Tomi Joutsen - Vocals Esa Holopainen - Lead Guitar Tomi Koivusaari - Rhythm Guitar Santeri Kallio - Keyboards Olli-Pekka Laine - Bass Jan Rechberger - Drums Lyrics: (Bones) (Bones) (Bones) (Bones) Someone had scattered the skeletons The hip bones and the spines Piled the ribs and the shoulder blades Heaped the skulls into a mound (Bones) (Bones) I waited for many a day and night But found no one to ask These people, who had they once been And what had happened here? From darkness they arrived The spirits of the night The moon rose to its zenith Phosphorous, blue and white From darkness they arrived Lucid and mercurial The creeping figures in the fog I stayed yet for another night Despondent and spiritless To watch this nameless patch of land A field covered by bones (Bones) (Bones) From darkness they arrived The spirits of the night The moon rose to its zenith Phosphorous, blue and white From darkness they arrived Lucid and mercurial The creeping figures in the fog And came the dawn I knew Who these people had once been I had learned their story I had been taught their fate (Bones) (Bones) (Bones) From darkness they arrived The spirits of the night The moon rose to its zenith Phosphorous, blue and white From darkness they arrived Lucid and mercurial The creeping figures in the fog #amorphis #borderland #rpm #bones #darkmetal #finland #finnishmetal #reigningphoenixmusic
========= Lightning at the Gates LYRICS ==========
From the Rhône through the mountains they go
As the winter is drawing near, fast approaching change of season is threatening March over mountains an army ascends As their time is running out a desperate move, a brave surprise A threat to Rome comes from the north, through rocks they go
Through the ice, through the cold and the snow
Over mountains, an army far from home Leading beast and man through the cold and snow Marching, they’re moving on Rome Guided by the stars, light the valley below Break the illusion of their foe As they cross the range where no armies go Marching, descending on Rome From the peaks to the heart of their foe
Lead by Gauls to find the way, unite the tribes to show them through the mountains Higher and higher, across the divide Face the odds, the mountains’ wrath, they took the unexpected path To the battles that await them down below
Through the ice, through the cold and the snow
From the Rhône through the mountains they go
Over mountains, an army far from home Leading beast and man through the cold and snow Marching, they’re moving on Rome Guided by the stars, light the valley below Break the illusion of their foe As they cross the range where no armies go Marching, descending on Rome From the peaks to the heart of their Range where no armies go From the peaks to the heart of their foe
========= Historic Fact ==========
Hannibal Barca, a Carthaginian general from North Africa, became one of Rome’s most formidable foes after the First Punic War. Determined to restore Carthage’s glory, he took command of its army at age 26 and led a daring invasion of Italy from Iberia, famously crossing the Alps with his army and 37 war elephants. Hannibal secured major victories at Trebia and Lake Trasimene, with his most famous success at the Battle of Cannae in 216 B.C., where he employed a masterful double envelopment to crush a much larger Roman force – a tactic that’s still studied in military strategy today.
================================== Recorded, mixed and mastered at Black Lounge studios by Jonas Kjellgren.
Lyric video created by: Bonez Studios ================================== Sabaton is a registered and protected trademark.
Taken from the album "Giants & Monsters" (August 29th, 2025) 🎧 Get it here: https://helloween.rpm.link/giantsmons... "Everything in the universe is connected, and what looks like infinite stars could in reality be moments, hearts, and choices." - Sascha Gerstner, guitar
🎧 Stream, get it: https://helloween.rpm.link/universeYT
▶ FOLLOW @REIGNING PHOENIX MUSIC 🛒 EU: https://shopeu.reigningphoenixmusic.com 🛒 US: https://shopus.reigningphoenixmusic.com 🛒 UK: https://reigningphoenixmusic.omerch.com Web https://www.reigningphoenixmusic.com YouTube https://rpm.link/YTsub Instagram https://rpm.link/instagram Facebook https://rpm.link/facebook X https://rpm.link/twitter TikTok https://rpm.link/tiktok Spotify https://rpm.link/spotify
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.
Here Comes The Night” is our take of the Swedish 60’s rock classic “Här Kommer Natten” by Pugh Rogefeldt. The original version is one of our favorite songs, beautiful in a very raw way. We wanted to do our take of this song, so we gathered in the studio and recorded it all analogue on tape. To capture it in english and channel it into our vibe was a true honor, and we hope you will enjoy it as much as we did making it. Here comes the darkness, dape - dape -dape - da - da -da…
Stream "Here Comes the Night" by Blues Pills here: https://BluesPills.lnk.to/HereComesTh...
CREDITS
Song recorded at Red Telephone Studio by Blues Pills.
Performed by Blues Pills
Song produced by Zack Anderson
Video by - SMACK! Film directed and edited by Carl Stenlöv & Benjamin “Banjo” Löfquist
HERE COMES THE NIGHT (original title HÄR KOMMER NATTEN)
Lyrics & composition by Pugh Rogefeldt (c) Warner Chappell Music Scandinavia AB
#bluespills#HärKommerNatten#HereComesTheNight
A sturdy 70s lovin ,retro hard rock band with female vocals looking more to Led Zeppelin and UFO than Janis Joplin. Groovy, hard rock songs with tight musicianship and great twin guitars, on dwelling. For those of you who are in the more hard/heavy rock side of the 70s female lead bands like and less the BLUES PILLS soulful direction, not to mention the underrated Lynne Jackaman and SAINT JUDE. THE RIVEN are a fine example of the retro rock movement. The sum has been boosted by the songs, THE RIVEN knows how to pen a tune that is not another 70s mimicking but has style and character.
THE RIVEN is a band that has grown up (at least the guitar players and songwriters) on a steady diet with NWOBHM,UFO, WISHBONE ASH and THE WHO, just listen at "We Love You" and "Follow You" to listen to "Whos next " echoes or inspiration and "Set My Heart On Fire: and "Travelling Great Distance" for the WA/NWOBHM hints. At the end of the day a band capable of writing powerhouse tracks such as "Killing Machine " deserves wide recognition among retro rock and 70s influenced rock aficionados, but also for all those who like the early NWOBHM bands (CHEVY,SATAN, WITCHFYNDE,DEMON) as they have the freshness and the zealot of the young age combined with a deep knowledge and love of the Hard rock legacy.
Eminem ft. Adele – Where Legends Rest – Ozzy Osbourne Farewell [Official Tribute Video]
Where Legends Rest” is a soul-stirring AI-generated tribute by Eminem & Adele to the one and only Ozzy Osbourne, honoring his legendary farewell show at Villa Park and his eternal impact on the world of music. Adele’s haunting vocals and Eminem’s heartfelt verses blend to capture the essence of goodbye, legacy, and the fire Ozzy carried to the very end. ⚠️ Disclaimer: “This track is an original AI-generated composition created by Infinite Records. It is not associated with, endorsed by, or affiliated with Universal Music Group or any artist. Any resemblance to existing works is coincidental.
Swedish rockers H.E.A.T prove for another time they have all is needed to be a mega star band in the arena rock genre. Try and combine the best of early BON JOVI, EUROPE with the first SKID ROW class and HALESTORM modern approach all served in a power AOR bubble that comes straight from the 80s full of catchy chorus and immense bridges and you get the point.
Melody, guitars, hooks, melodic lies that stay for days in the listener's mind, a band that has their feet solid in the 21st century but their music has strong roots to the golden days of the 80s. A real hard rock act with some heavier moments ,just to prove that they know grunge put its mark on the modern scene and that they're not in it for the melody only. Opener ‘Disaster’ is a melodic punch to the chin, with no trace, an out of nowhere hit that blows you off. ‘Bad Time For Love’ screams LA and sunset boulevard all over it while' Call My Name’ is an instant hit. The album has no fillers, only stadium rockers, with melody and edge and keyboards where as much needed as in ‘The End’ is pure class, a keyboard led mid tempo rocker that sounds like you imagine first album Bon Jovi would sound if they were transported into the future! Man I love those keys, they drive it forward and the guitars sound so huge!Children of the Storm’ stands out for Leckremo w vocal delivery and a haunting chorus.while ‘Paradise Lost’ shows how iEUOPE have influenced the band's sound in a heavier, darker way. But in our Kobra Kai age the back to the 80s ‘Tear it Down (R.N.R.R.)’ screams to be on the soundtrack, or even at the Mindfield movie,with its groovy, anthermic style.
Closing Final track ‘We Will Not Forget’ is a winner, reminiscent of H.E.A.T considered among the hottest bands of the genre with melodic hard rock written all over it. A trademark song that asks for attention.Simply one of the best and probably among the top 3 melodic rock albums for 2025, melodic,groovy,straight to the heart and catchy as an STD.The future is here and it is fabulus.
Ricky Warwick
has to work on music,with music and another solo work is nothing less
than what we expect from him. He is the sum up of the influences he has,
punk, metal, hard rock and the bands he has been in ALMIGHTY, THIN
LIZZY, BSR and the opening track in his new album is a bold statement of
his love and respect to his past, 'Angels of desolation' is a song that combines ALMIGHTY and THIN LIZZY in a perfect hard rocking , up tempo
song with poignant lyrics that would make Lynott proud for his in spirit
son.
A more punkish, groovy "Rise and grind" follows, reminiscent of
ALMIGHTY latest ,dark, groove days and BSR works, a groovy, loud rocker
with Charlie Starr of BLACKBERRY SMOKE showing his punkier side. "Don't
Leave Me in the Dark" (feat. Lita Ford) has written 80s metal written
all over its addictive chorus."The Crickets Stayed in Clovis" is just
THIN LIZZY in the best twinguitr atack ,ala "The boys are back in town"
while a more melodic Lizzy esque track comes in the form of "Don't sell
your soul to fall in love". Warwick carries a lot of anger and vigor and
"Dead and Gone" is a fine example of the ways he finds to show it, a
song about addiction and isolation, an uptempo melodic song, with his
melodic lines shouting Ricky is here alive and well and a smell of
Springsteen underlying. 'To hell of me and you" is an up tempo hard
rocking dynamite that has the additional force of Billy Duffy (THE CULT)
on the guitars, as expected is an in your face melodic hard rocker that
takes no prisoners.
"Crocodile Tears" is another Warwick trademark
tune, bit twelve bar blues, bit pun rock riff driven rocker, always
melodic, always on the Irish side of things. "Wishing Your Life Away"
reminds us of Warwick's age and influences, melodic punk rock coming
from the early 80s, decades before GREEN DAY touched their instruments, a
sensible rocker puts his heart on his sleeve. Closing track "The Town
That Didn't Stare" shows no sign of gas shortage, melody, big guitars
and another up tempo rocker that has a bit of GODFATHERS in its
melody,at the guitars and that is a reason to like it a bit more and a
touch of THE WHO in its overall approach."
Blood ties" is far rockier
than expected and show Ricky Warwick in fine form ,ready to take the
stage and give us some good, old,distorted rock n roll.
A collaboration that came out of nowhere ,now releases its second album. This time the grounds are stabler, the players are far more confident to create, incorporate, try and experiment. I would describe in one sentence the album as if the IRON MAIDEN had the funky groove of if the WINERY DOGS had a heavier direction as target.
Smith continues his ASAP days in a more creative way, collaborating with Kotzen who let his heavier inner self out. Both are well known as guitar players who dwells as successfully as Murray/Smith at MAIDEN but with less heaviness and far more groove, like Hendrix meets Schenker in a guitar jam. But the voice, Kotzen gives these songs a far more 70s smooth, funky taste, reminiscent of Glenn Hughes at some points and make em "Black" enough." White Noise" is a groovy 70s rocker, while opening track "Muddy water" is a heavier , funkier version of MAIDEN with groovy vocals.The album is full of guitar dwelling,shredding form two players raised on 70s maestros, that don't care on speed but focus on vibrato, groove and feeling."Black light" is a modern groove rocker that Lenny Kravitz would have killed to have written and suits perfectly to Kotzen's heavier moments form his solo works. "Darkside" has a western feeling and the traditional speed fingering guitar picking of Kotzen in the intro, guess Bon Jovi aiming for something similar to "Blaze of glory" but never made it."Life unchained" is the essence of the collaboration, vocals exchange between verses , strong guitar work heavy and groovy but never reminiscent of their previous works/bands and a song modern, groovy, heavy and unique, the mature product of their continuing collaboration that shows a different aspect for both musicians regarding what they can offer to their fans, outside their comfort zone.
"Blindsided” is a track with Hard rock written all over it, up tempo and groovy and. solo reminiscent of early GNR and Slash with Hendrix of course. “Wraith” has a JUDAS PRIEST feeling, "Screaming a Vengeance" era with a heavier/stripped down groove. Their blues/Southern music tributes come alive at the slow burner, mojo shaking of “Heavy Weather”, a song swampy and humid as Florida.“Outlaw” is the track, where melodic rock takes over the place, groovy, foot stomping,and chorus addictive. The closing track "Beyond pale' comes as a reminder of their past, their abilities and what this collaboration means, to expand limits, ideas and still be yourself,for yourself and not the fans. A bit over seven min. an epic track, mid tempo with echoes from THIN LIZZY, Gary Moore, Glenn Hughes with wah wah and 70s Hammond and Kotzen makes the song a tearful ballad and an epic love song before both unleash the guitar beast and create havoc, with single notes and emotional soloing.
An album full of guitars, groove and a fruitful collaboration that evolves through years to a unique,distinctive sound and prolific songwriting.
Are you ready to get high on music, trip over, fly away? No, then stop reading this review. These guys love PINK FLOYD, ELOY,TANGERINE DREAM and Portokaloglou all of them in their own way.
They incorporate classic 60s/70s progressive, psychedelic rock, elements form middle east and Greek traditional music and create a spacey,trippy album where sometimes vocals are a disruption. "IV' is one of those albums that you need a massive stereo system, or good headphones, a quiet place and the music will compensate you as you'll be floating on etherial guitars, groovy rhythm sections and isolated from the surroundings. All in all, the album is a winner from the first listen and with every additional listening you find more small pieces that add value to the final picture.
Classic progressive/Psychedelic rock with a middle East twist, I guess German progressive masters and Mr.Plant and Page would highly approve and be proud of this album.All aboard the NAXATRAS spaceship.
Dutch rockers heavily influenced by the magic of the Muscle Shoals studios return with an album full of Soul, Rock n roll and groove.The Blues brothers re incarnate in their Western European form, in to an album that is ready to make you rolling down Highway 66. Soul Harmonies, STAX,Motown, and the SUN records along with some 70s Hammond drives the music to a no brakes rock n roll, soulful party. You'll play the album on repeat, letting your whiskers grow, getting the hair tied back with breel cream and let your girlfriend tie up her fluffy skirt and put on her ballerina shoes.
A magical trip to the great essence of the 60s,70s where music was pouring from the heart aiming to the heart. No retro rock rejuvenation, only a bunch of rockers paying a vivid tribute to the studios, the artists and their influences creating contemporary musical madness stuffed with love, melody and sentiment. From groovy "In love" to sonic de stabilizers like 'Snowbird" a long, Hammond driven elegy, DeWolff, put the rock n roll and soul ingredients and using the best of the area studios, FAME and Muscle shoals gives us an album full of loving memories and fun.
A hymn to the old, living in today, a retro rocker landed happily in the 21st century proving the blues and Soul are alright, if you know how to handle them.
Phil Vincent is back with TRAGIK this time and the inspiration is still burning
bright.
Countrified AOR at the BTO cover at "Givin it all away", Big 80s
hook AOR at "Ungrateful" with blazing guitars, Phil Vincent brings the
best of bands like DOKKEN, RAINBOW, TOTO in one compact package. He has
this excellent taste for melody and i wish there was still rock radio
that plays new music cause songs like "Ungrateful",'Living', Beyond the
moonlight" deserves airplay and recognition. He also possess the lost art
of mid tempo ballad, check "Beyond the moonlight' and think of the
BOSTON in their 'heavier' moments.If he was a Scandinavian musician like
Tommy Denander he would be asked for songwriting and participation
but he goes his own prolific way,without mainstream acknowledgment.
Listen
to the emotionally charged "It all comes down to this" and I could name
more than a dozen of modern rock bands that don't have the catchy chorus
and bridge this band has. TRAGIK is tragic they don't get the
recognition they should."Scoop"has a mesmerizing multi layer chorus and a
single beat body, modern AOR with a twist , a truly memorable song
echoing DRIVE SHE SAID ,TOUCH riff based magic. With an astonishing
guitar solo Phil Vincent is more than a prolific musician he has the
gift to create memorable, simple but not simplistic music and Crescendo"
their album number 13 is the living proof of his and his band's talent
and abilities.
Along with him we find Dirk Phillips - Drums,
Percussion, Damian D’Ercole - bass and Vince O’Regan- Lead Guitars. His
BEATLES love is easily detected at "Living', while "Killbox" has a
sharper more guitar driven hard rock style, echoing his 80s metal
influences, especially JUDAS PRIEST, in the same vein of Heavy metal
riffing is "Burn it down'. You also find "Human" a piano led ballad ,
because as we said Vincent knows how to pen a tune, rocking or not .
"All i have is you" is another in your face heavy rock song as it is
"Judas' and at the end of listening you have a modern heavy rock album
with AOR touches that has personality and songs.
Check it out and see
for yourself what this crescendo is all about
