Friday, June 19, 2020





It's interesting that I'mcovering this, as I'm not exatly a Styx fan of old. Sure, I'm partial to a bit of "Paradise Theatre" and can almost hit the notes to "Babe"on karaoke, but I've never followed them, only getting interested when Larry Gowan joined, something that resulted in 2017s superb "The Mission". DeYoung himself hasn't released a solo album for over a dcade, and I was appregensive, more worried about being bored than entertained.

As you can tell by the plethora of Rs above, boredom was not a thing with "26 East Volume 1". Straight away DeYoung goes for the throat with "East Of Midnight" and "With All Due Respect", both of which are bouncy tracks with crunching riffs. "A Kingdom Ablaze" tones things down a little but still shoves in an aggressive refrain, with "You My Love" going into full on ballad territory and doing it just right, as it's a beautiful song that still has enough bite to grab listeners. "Run For The Roses" really sounds like something from a stage musical, and is a good, catchy track, with "Damn that Dream" having more of a pompy bounce that will delight Styx fans. Elsewhere there's a piano led duet with Julian Lennon, "To The Good Old Days" that could be the closing song of a musical and will certainly be the set closer if he ever tours. It's nice enough with emotional lyrics, a bit wet for my tastes but even so I don't skip it. The emotion stays in "The Promise Of This Land", which is a love letter to 'Murca, and how AWESOME it used to be (Wooooo!). It's a full on Styx type track and once it gets going it rattles along brilliantly, full of pomp and energy. Woo indeed.

Although only nine full tracks long (plus a one minute closer), "26 East Volume 1" still provides over 40 minutes of music, with every track hovering between four and six minutes and none outstaying their welcome. Very well crafted ballads, catchy balls out rockers and a healthy amount of pomp for the fans, it's wormed it's way into my brain over the last month and it's an album I keep coming back to for the sheer enjoyment of listening to it. So for me, as a casual Styx fan at best, it's a greart album, because I was never going to be disappointed that it's not "Paradise Theatre" part two. Personally, I'm looking forward to Volume 2, hopefully with a cover that doesn't look like it was made with 1972 TV technology...

Thursday, June 4, 2020

Christian SHIELDS: "This Is Rock'N'Roll"

Rating: RRR
Label: Shields Records
Review by Kimmo Toivonen

Mr. Shields kicks the door open with "Not This Time", a track modelled after Aldo Nova classic "Fantasy". This is indeed Rock'n Roll, not EDM, rap or anything else you're likely to hear on the radio these days. And for that I applaud this artist.

Apart from the Aldo Nova influence, We're talking about vintage 80ies sounds with a touch of the quirkiness of The Darkness thrown in. "Rock And Roll" and the bluesy "Here Comes The Man" have a Cinderella vibe, the semi-ballad "By The Strings" borrows a bit from Danger Danger, "Can't Get Enough" is straightforward rock, Accadacca meets KIX, the ballad "Without You" is a hybrid of Bon Jovi and Guns'n Roses...

The album's biggest downfall might just be what I wrote above: apart from Shields' rather unique vocals there isn't much here that I haven't heard before. I know, it's hard to re-invent the wheel and come up with something totally new, and I don't expect that. Shields could very well be on his way to finding his own style, but with this debut solo album, he's not there yet. Still, the is a decent good-time hard rock album, and I might add a couple of these songs to my summertime rock playlist.

Friday, May 29, 2020

FM: “Synchronized”

Label: Frontiers
Review by Alan Holloway

British rock legends FM have now released more albums since their reformation ten or so years ago than they did in their original form, and it's testament to their individual and collective talents that the quality shows no signs of dipping. “Synchronized” sees them carrying on from where “Heroes & Villains” left off, so nothing groundbreaking, but that's what fans want anyway.

The two advance tracks, the title track and “Superstar” kick things off, with the first continuing a recent trend of starting with a stomping track, and the latter smooth as silk with a horrendously catchy chorus. Let's be honest, it wouldn't be FM without a ton of catchy choruses, and “Synchronized” doesn't disappoint. I think my favourite is actually the closing track “Ready For Me”, which really lets the album finish with a melodic explosion. They do slow things down, of course, but there's no out and out soppy ballads – no frozen tarts on this album! “Ghosts Of You And I” is the slowest here, but it's no surprise that Steve Overland's soaring vocals mean it never gets dull, and is quite a beautiful song. “Change For The Better” is another first class straightforward AOR track, whilst “Pray” turns everything up to eleven and let's Overland really let rip vocally.

Overall, this is a very solid, tight album. As with recent releases FM have found that sweet spot between AOR and the blues influence that Jim Kirkpatrick brought in when he joined a decade ago. It's all tied together by one of the best melodic rock vocalists of the last forty years, and once more the band have knocked it out of the park. Not perfect, not quite up there with the new Vega album, but there is nothing that should stop fans buying and enjoying this gem.

Wednesday, May 20, 2020

Mike TRAMP: "Second Time Around"

Rating: RRRr
Label: Target Records
Review by Kimmo Toivonen

White Lion were one of my absolute favourite bands back in the day. When the band broke up, I kept following vocalist Mike Tramp's career with Freak Of Nature and later as a solo artist, all the way to the questionable White Lion rebirth. Somehow I've lost track of his solo stuff after that. I've been vaguely aware that he's released several solo albums during the last ten years, but I haven't really tracked any of them down. So, although all songs on this album have been previously recorded on the "Rock'n Roll Circuz" album, they're all new to me.

Mike Tramp the solo artist doesn't sound like White Lion or Freak Of Nature, both products of their time. Tramp's solo material could be described as timeless guitar-driven melodic rock. These songs could have been recorded anytime during the last 40 years, there aren't any real telltale signs of when they were written or recorded. What's more, the years have been kind to Tramp's voice and he sings with passion. The heavy metal wails may be history but instead we get a Springsteen'ish storyteller.

There are some highlights I want to mention. The opener "All Of My Life" is an excellent uptempo pop-rock track which reminds me of vintage Bryan Adams, while "Back To You" goes back to the 70'ies or early 80'ies. The same goes for "Between Good And Bad" which mixes The Who with Thin Lizzy. There's even a touch of White Lion in the chorus, I think. The duo of road songs, "Highway" and "The Road", both have a bit of a Springsteen vibe, the latter especially. Someone cynical might say that Tramp has tried to re-write White Lion's biggest hit "When The Children Cry" when it comes to the album's ballad "When She Cries", but despite the title and the song's acoustic nature, it is a more personal story, and a very touching one at that.

A few somewhat average songs bring down the rating a notch, but still, it's nice to get reacquainted with one of my heroes from the past.

Thursday, May 14, 2020


Rating: RRR
Label: ROAR! Rock Of Angels Records
Review by Kimmo Toivonen

Fallen Arise are from Greece, and they're labelled as symphonic metal. "Enigma" is their third album, and apparently they wanted to refresh their musical style with it. I haven't heard the previous albums so I can't comment on that.

I've played the album a few times, and while it's quite enjoyable as it is, it clearly misses the standout tracks and perhaps something that could be described as "their own thing". Now the band sounds like rough-edged Within Temptation from a few years ago, with some growled male vocals thrown in. The symphonic, bombastic elements aren't particulary dominant, and while the press release states that "pop music is a huge influence on the band's compositions", the hooks aren't pop-catchy.

The stronger tracks and sharpest hooks are on the first half of the album. My favourite tracks are the title track and "Forsaken". The acoustic "Horizon" is a nice breather among the heavier tracks, it has a certain kind of a relaxing vibe and Fiona Creaby's vocals are really good.

If you think that Within Temptation has moved too far from their roots, you might want to check out this album.

Frank VESTRY: "My Collection"

Rating: - (compilation)
Label: Lions Pride Music
Review by Kimmo Toivonen

Frank Vestry may not be a household name, but he does have a long history. This album is collection (no surprise!) of songs from his career, starting with Jack Starr's Burning Starr album "Rock The American Way". It also features songs from the bands Laneslide, Last Temptation, The Pack and Devias. One third of the album's songs originate from the highly-rated Marcello-Vestry album (2008), on which he collaborated with Danger Danger members Rob Marcello and Bruno Ravel.

Despite being from various songs, the album sounds rather cohesive. The production quality  varies, but the musical style stays pretty much the same. Depending of the era they were originally recorded, the songs come with typical stylings of the time, but in the end, it's AOR, melodic hard rock all the way.

Mr. Vestry has a great voice for this kind of material, sounding to my ears like a relaxed Mike Reno (Loverboy). Yeah, I like this... so much that I need to get my hands on the original releases these songs came from.

Monday, May 11, 2020

VEGA: "Grit Your Teeth"




It's that time again, as British would be rock legends Vega release their sixth album, continuing a trend that has seen them get better and better with every one. For those not in the know (where have you been? North Korea?), Vega specialize in ultra melodic hard rock music with catchy choruses, short guitar solos and soaring vocals. 
'Grit Your Teeth' kicks off, as do all Vega albums, with a banging track. 'Blind' is a bass heavy stomper that allows vocalist Nick Workman to show off his range nicely. It's definitely the heavier side of Vega, as is the fantastic fourth track 'Man On A Mission', which has an even bigger sound and an even better chorus, more bluesy but still unmistakably melodic rock. The recent single (I Don't Need) Perfection' is a perfect Vega track, a pure piece of upbeat melody with a solid guitar sound and a chorus that just won't quit. Go have a listen on YouTube and if you like it then there's zero doubts you will love this album. The main problem is picking highlights, as there's so much awesomeness here. It's all about the choruses, really, and that's what Vega do best. 'Consequence Of Having A Heart' skates perilously close to Tears For Fears' 'Mad World', but I am assured that any legal challenge would fall flat! The slowest track is 'Battles Ain't A War', and it's a great tune that doesn't get in the way of the faster tracks in any way. The quality continues all the way to the end, as 'Done With Me' closes the album with a real dollop of pure melody and, naturally, a killer chorus backed with a little 'Hey! Hey! Hey!' for the live shows.

Eleven tracks stuffed in just over forty minutes after 'Blind' kicks in and it's over. I'll be honest, I've not yet been able to listen to this album just the once, as it's one of those that makes time really fly, and if you start listening to it you'll soon be wondering just where the afternoon went. Special mention must go to the production from the Graves Brothers, who have given Vega a more meaty sound that brings to live more how they are live and really works. Vega have really puled it off with 'Grit Your Teeth', and I have no doubt that this is their best album yet, in itself quite a feat. It sucks that everything gig wise has been put on hold, but hopefully there will plenty of locked down households getting Vegafied who will make the tour, when it happens, the best yet too.

Wednesday, May 6, 2020

Lars Eric MATTSSON: "Hot And Able 1983-85"

Rating: RRR
Label: Lion Music
Review by Kimmo Toivonen

Lars Eric Mattsson has been around for what seems like forever. My first encounter with his music was on a Bailey Brothers' collection album in 1987 I think. He's now the head of Lion Music record company, who have released plenty of progressive, instrumental and neo-classical metal over the years, including the classic Seventh Wonder albums "Mercy Falls" and "The Great Escape".

These songs pre-date the first Lars Eric Mattsson solo album "Eternity" (1988) and his appearance on the aforementioned compilation album. They are from the archives of his first band JOE COOL, but re-recorded now. These songs truly sound like they were recorded in 1983-1985, but then again, maybe that was the intention. There's a certain charm in the sound, it reminds me a little bit of White Lion's debut album "Fight To Survive", but at times it's rather dated.

Most of the songs are rather straight-forward hard rock tracks, with fierce guitars from Mattsson. At times the songs venture into the Progland and never find their way back, take the aimlessly wandering "Enola Gay" for example. For my money, the uptempo, catchy rockers "Hot And Able" and "Run Tonight" are the best ones of the bunch. There are a few others I enjoy too, like "Don't Think It's Love" with its' Zeno-vibe and "Don't Throw Away" which has a strong hook.

With 16 tracks, there's maybe a few too many here, but I get it, this is an "anthology"-type of an album, celebrating the legacy of Joe Cool.

Tuesday, May 5, 2020

NASTY HIGH: "Where The River Runs"

Rating: RRRR
Label: Absorbing Recordings
Review by Kimmo Toivonen

Nasty High? To be honest, with a name like that I was expecting this to be yet another mediocre sleaze rock band, a Steel Panther tribute or something like that. Maybe a new Swedish band put together by former members of Nasty Idols and Aces High... but no, Nasty High are from Nottingham, UK and having supported Crazy Lixx (another "great" band name!) is their only connection to Sweden, as far as I know.

The first track "Make 'Em Pay" didn't do much to improve the band's position in my books, it was a fairly standard sleaze rocker with high-pitched vocals and a dull hook. It was energetic though, and I kept listening... "Renegade" sounded better, with a somewhat better hook and good backing vocals. And I kept listening... "Waiting To Fall" kicked off with a Poisonesque riff but morphed into something highly melodic. The chorus showcased the band's rather excellent vocal power.

The winning streak continued with the superb "Travelling In Time", "Catastrophe" and  "Don't Leave The Light On". All of them featured the "Nasty High Choir" in a starring role, and I threw away my prejudice. Nasty High had won me over.

The remaining four tracks included one gem, "Believe It". The other three weren't quite as strong. The title track, the big ballad of the album had the makings of another hit, but somehow it sounded a bit over-the-top, a more subtle approach might have been better for it.

And hey, extra points for the cover art, it's kinda cool and unusual.

Thursday, April 30, 2020

CONFESS: "Burn 'Em All"

Rating: RRRR
Label: Street Symphonies / Burning Minds Music Group
Review by Kimmo Toivonen

Here's a band with a wide appeal... their songs range from no-frills sleazy hard rock to AOR'ish melodic rock. I think I'll take the one-by-one approach to this review, haven't done that for a while.

"So What" - no frills, and no thrills for me either. A straight-forward rocker, reminds me of Hardcore Superstar and Ratt.

"Malleus" - a single release, and rather catchy. John Elliot snarls with conviction and the guitar lick underneath the chorus sounds like tango. Bang Tango to be exact.

"Welcome Insanity" - is that a Scorpions riff? I like it! Cool backing vocals and a more melodic approach.

"A Beautiful Mind" - intro with sounds of thunder (not the band) and bells... dramatic... the chorus is good, but somehow the verses don't do it for me.

"Heresy" - L.A., 1988... again a more melodic approach and some keyboards. The lovers of the sleazy side of the band might not dig but I do.

"Burn 'em All" - It's a rush hour in L.A., 1983! "Live Wire" anyone? Frantic. The chorus isn't really there.

"Is It Love" - well, it might just be! This is something different, a mid-tempo melodic track. Think Crazy Lixx at their most AOR'ish, maybe H.E.A.T... yes, I love this one.

"My Vicious Way" - very good melodic sleaze, somewhere between the band's two extremes.

"509" - 2 minutes and 18 seconds of punky rock. No frills, but I kinda like it. Maybe it's the "whoah's".

"Prominence" - The opening riff has a Babylon A.D. vibe. Good hook. An extra point for the title, I confess (haha) that I had to look it up.

"One For The Road" - An anthemic song that sounds very familiar. It's not a cover according to the credits, but the chorus sounds like something that could be sung by the crowd in a football match. Hands in the air, all together now!

Monday, April 27, 2020

STARGAZERY: "Constellation"

Rating: RRRRr
Label: Pure Steel Records
Review by Kimmo Toivonen

How time flies... I thought surely it hasn't been more than 3 years when I proclaimed Stargazery's previous album "Stars Aligned" as one of the best melodic metal albums of the year. Well that year was actually 2015! Anyway, the band, fronted by ex-MSG vocalist Jari Tiura and axeman/songsmith Pete Ahonen, does it again. "Constellation" is timeless, classic melodic metal with very few "modern influences". I don't know about you, but at least I have no problem with that.

Pasi Hiltula's keyboards and Pete Ahonen's guitar are pleasantly co-existing here, supporting each other rather than trying to steal the spotlight. Jari Tiura's majestic vocals are sounding better than ever. This album really shows how versatile he is and his tremendous range. The new rhythm section featuring bass player Marko Pukkila and drummer Ilkka Leskelä provide a solid foundation. The band is in good form these days.

The three tasters you may have heard already from this album have been good, but my real favourite tracks are among the other tracks. For example, "War Torn", the balladic "I Found Angels", "Caught In The Crossfire", "Dark Side Of The Moon" and "In My Blood" are all quite different to each other, yet all of them have some things in common - strong melodies and sharp hooks.

The press release states that the these songs are "strongly influenced by RAINBOW and BLACK SABBATH (Tony Martin era)". I won't argue with that, but I guess the biggest Rainbow influence is in the name of the band. I also had some flashbacks to Yngwie Malmsteen's "Eclipse", Joshua's "Intense Defence", Helloween's "Keeper of The Seven Keys" albums and seminal Finnish 80's heavy rockers Iron Cross.

I gave "four very strong R's" to the previous Stargazery album, now I have to add an additional small "r" to the rating, "Constellation" is a step forward.

Wednesday, April 22, 2020

XTASY: "Eye Of The Storm"

Rating: RRRr
Label: Metalopolis Records
Review by Kimmo Toivonen

I remember reviewing the first Xtasy album a few years ago. I don't remember much about it, it left a good enough impression that I wanted to check out this new one, when a review link was sent to me. "Eye Of The Storm" is the band's third album, and just like the previous two it's been mixed and mastered by Erik Mårtensson of Eclipse/W.E.T./Nordic Union fame. However, on this album Mårtensson has taken a bigger role as a co-writer. I haven't heard the second album, but at least compared to the first one this is a tighter and a harder-edged album. I and have a feeling that it's because of Mårtensson's bigger input, at least to some degree. There are certainly some very "Eclips'ish" moments here and there!

The song material here is very solid from start to finish, and the production is very good. Silvia Idoate's vocals have improved, I thought her singing wasn't too convincing on the first album, she's much more passionate on this one. Her singing does get a little screechy sometimes, but at least she's not playing it safe. What's more, the vocal melodies are better than before.

My favourite songs include the catchy "Flesh & Blood", "Eye Of The Storm" and "Nowhere to Run", just to name a few. I will not let you know which songs I think are the Eclips'ish ones, you can play the "Spot the Erik" game yourself!

Saturday, April 4, 2020


Rating: - (EP)
Label:  Valve Studio Records
Review by Kimmo Toivonen

Silvernite is a Greek/Finnish band and as the name suggests, this is their first EP. 5 tracks, two of them instrumentals, all heavily influenced by the 80's. Every songs sounds like it could have been on a soundtrack of some glorious 80's B-movie, you can almost visualise the aliens, ray guns, convertible cars, mullets and sunsets in Miami.

Multi-instrumentalist Strutter and guitarist Thanks G. have put together the songs, and Finnish singer Tanja Härkönen has provided the vocals. The album starts with an intro type of a track "Colt Has Fallen. Run... Run...?" that sounds as if it was taken from the first Terminator movie. Plenty of blipping keyboards, synthetic drums and a steady bass line with cool guitars on top - tasty! "Sweet Mary" is the first "real" song and it's a gem - more conventional AOR with a big chorus and fine vocals from Tanja. "Cry For Love" follows, more in the vein of synthwave with 80's electronic drums sounds, although the chorus is more AOR with crunchy guitars.

"Lost In Your Eyes" is an instrumental that has touches of Italo-pop, synthwave, AOR'ish guitar work and (synth-)saxophone-driven pop hook, with a pulsating synth bass underneath it all.

The final track "We Will Be Back" is an ethereal synth-based track with vocals in a supporting role, rather than stealing the limelight. The song promises that SILVERNITE will return to save the Earth. Armed with more eighties' sounds, Simmons drums and Flying V's I'm sure.  

I'm looking forward to hearing more, both of the more conventional songs were very good and the more instrumental mood pieces very enjoyable as well. The EP has served its' purpose, it has left at least this particular listener hungry for more.

Thursday, March 26, 2020

HAREM SCAREM: "Change The World"

Rating: RRRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

"We all want to find peace and harmony" - You and I are gonna Change The World? And Lesperance breaks out into the 80's UK rock-riff? (think: The Alarm, U2,). They haven't changed much since their previous record though and that's probably a good thing? Recall when they did Rubber and band-wagon material? It has worked against the Canadians because people seem to still want to talk about it. It's not something that I feel is all too relevant to what the boyos' are doing now and in the 2000's. As far as I'm concerned it's all in the past and... hang on a minute, 'The Death Of Me' might just be Rubber meets Moodswings? The slightly downtuned vibe? Ehem. Anyhow. It's catchy and fun stuff and the following track "Mother of Invention" goes through the Queen and My Chemical Romance transformation before setteling in at the Harem Scarem. The refrain is pure magic with it's smothering message, "Just let love shine into your heart, mind, body, and soul".

They might have been accused of being very 'solid' and it is no coincidence that their 15th album sounds similar to some of their previous ones. It's however not a case of three chords and keeping it boogie-woogie. For instance. Take something like "Riot In My Head" with its punky attitude and punch to the teeth. If Green Day decided to go melodic rock? Then again. Green Day are doing a lot of Power-Pop melodies. "No Me Without You" is like a trusty old ballad with a formula and arrangement that goes hand in hand with the world according to Harry Hess.

"Fire & Gasoline" smells like something Hess and Pete Lesperance just write and play spontaneously, and it simply just end up scary deadly and darn catchy. You'd expect the heavy artillery with a title such as "Swollowed By The Machine" and to my surprise, it's not the latest Marilyn Manson single, but a super melodic HS composition. The track listing is kind of weird and I would personally change a lot of the numbers. Final verdict: I don't truly believe they can "Change The World" with this record. They can however change your moodswings (ouch! lame-o) and brighten up your day. It's professional and well executed rock from one of the best and most trusted melodic rock acts in the business. Recommended .

ALLEN/OLZON: "Worlds Apart"

Rating: RRr
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

The latest project aka ambitious work of songwriter, multi-instrumentalist and producer: Magnus "Klister" Karlsson (Primal Fear, etc.) and we're still talking about melodic/symphonic metal with the rather poppy agenda. This time, Worlds Apart, and the male voice: Russell Allen (Symphony X, Adrenaline Mob) vs. the female dito in Anette Olzon. Reading the press-release, it's funny how they're completely trying to erase the musical past of Anette. She's obviously the vocalist from ALYSON AVENUE which yours truly raved about in their demo days (I still have unreleased stuff in my collection) and gave a helping hand. This eventually led to Nightwish and fame with lots of... Hey! Where's my transfer cut? Nevermind ;-)

This album is certainly well produced with plenty of symphony and keyboard moments, Klister riffs and flashy guitar solos. Fistfuls of classy arrangements from a Swedish point of view, but with an undertow of elegant musicanship courtesy of the solid songwriter and project maker at the Frontiers. Does it work? Well... Anette echoes the ABBA-history on tracks such as "I'll Never Leave You" and "One More Chance" and that's including the Swedish accent and the Poppy/Symphonic vibe. In fact. Check out and our massive archive and you may notice that my thoughts of Anette were always on a positive note, but she may at times sound like the 'dansband' vocalist. AKA The place where all the rock/metal musicians go when all of their dreams have died. Believe it or not. Anette's vocals were actually recorded at the Alyson Avenue studio by Niclas Olsson. Kudos!

Russell Allen sound also great on most tracks, but I struggle to enjoy duets such as "My Enemy" where the two vocalists are worlds apart (pun intended) and never really close on the pitch nor scale. The refrain is painful to say the least and I tend to skip this tune asap. Borderline off-key most of the time to be honest. Final verdict: Flashy guitar-work, smashing keys, but a tad too predictable. You are simply not left with anything on here that will knock your socks off. It's all drama and no thriller in my books or movies for that matter. FYI. Klister is the Swedish word for glue and Karlsson was the brand of the past. Which sort of make sense as this is a rather sticky affair. You might enjoy this more than I did if you're into Swedish Drama Metal though.

Tuesday, March 24, 2020

NOVENA: "Eleventh Hour"

Rating: Rr
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Prog-Rock from UK and Novena which include the line-up: Vocals by Ross Jennings' (Haken) and Gareth Mason's (Slice The Cake), guitars by Dan Thornton's (Ex-HAARP Machine, Ex-No Sin Evades His Gaze), drums: Cameron Spence's (Ravenface) and wicked bass-line from Moat Lowe's (Slugdge, Ex-NSEHG) and keyboard by Harrison White. Well. It's hardly Progressive Rock if you're stuck with a growler? That's a very posh attitude especially considering that I enjoy the Semblant release (see review elsewhere). It's not really the growls rather than the arrangements that gets on my nerves. I do find them to be eclectic and out of the box, but at the same time I struggle to find any purpose or direction since the melodies goes around and around in circles like a darn merry-go-round. You'd like to scream at them to sit down, stop smoking all that pot, focus, find your path, as they clearly got lost somewhere along the way.

And don't give me that crap that I clearly don't appreciate Prog, I friggin' love the genre with everything from ancient 70's stuff to modern era. These particular compositions? I find them to be too introspective and without any lasting memories or choruses. "Lucidity" is however the exception from the rule and something that's clearly worthy of your attention. It's sadly back to the annoying stuff with the following track "Corazón" though. It's like if they're throwing stuff at you just to see what sticks. Nothing, nothing sticks! According to the press-release, "every song has a solid and personal identity, with choruses that dare the listener to try and forget them". Blimey. They sure got it dead wrong this time. Forget them? I bloody well couldn't find them in the first place. I haven't been this put off by an Prog album for years and years. The absolutely best thing I can say about the Eleventh Hour? Check it for yourself. Great musicians. It's... different, odd, but oh-so incrediable b-o-r-i-n-g. It's like if they've invented a completely new genre, Snooze-Prog... Zzzz!

Sunday, March 22, 2020

KHYMERA: "Master Of Illusions"

Rating: RRRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

What once started out by Italian producer/musician Daniele Liverani and then Kansas singer Steve Walsh, has developed into a regular on/off melodic hardrock project by bassist and producer Dennis Ward (Pink Cream 69, Magnum). I never quite understood why they decided to keep the moniker? All the previous musicians are gone and it's a completely different sound and project? Anyhow. It's still Ward-Khymera and you can except the great production and pretty darn solid songwriting by Mister Pink Magnum. Indeed. 'Master of Illusions' may have the appearance of some kind of electrifed Goddess with a wacky taste for success. Even the album title may suggest the progressive outfit, and it's kind of alarming to find several riffs that are just a bit too clichéd to be worthy of full praise and the 21 guns salute.

On first play it's a little bit on the safe side. However, it's definitely a grower and as a rock band the line-up of Ward (vox/bass), Michael Klein (guitars), Eric Ragno (keyboards), Pete Newdeck (drums) are bloody excellent, but it would have been nice if they hadn't completely drenched their melodies in all the eighties goo and muck. The quick track by track. The opener "Walk Away" is actually one of the more headbanging tracks on the album. It's uptempo and catchy stuff with the memorizing keyboard attack by Ragno and it's all very pleasing to these pair of ears. "The First Time" gets the blood pumping and your poor ticker may skip a beat or two as you're up dancing on the tables and screaming along to the refrain. The title track goes through Fair Warning and Bon Jovi vibes while keeing it Ward-y. "The Sun Goes Down" is a dark (pun intended) moment on the record and not really something to write home about. "Paradise" may not be the place to spend your after life since it's a rather sappy ballad. "The Rhythm Of My Life" is the sunny and fun moment and the same goes for "Follow The Sun".

"Spending my time drinking Whiskey and Wine" is the rather dodgy line from "Father And Son". It's however a really great sentimental ballad that goes straight to the heart with a heartfelt refrain that goes "Heaven help me, stand beside me, said the father to the son". All songs are written by Ward with the exception of "After All This Time" which is the work of Michael Palace. Not his best work up to date and it may just lack a proper hook. "Victim Of Your Love", great verse(s) and the so-so refrain. The closer "Just Let It Happen" is one of the highlights with its sophisticated sound and arrangement. Sadly hidden away as the last track on the album? Final verdict: It's a nice listening experience and you simply can't go wrong here, if you enjoyed the previous work by Ward and Khymera.

SEMBLANT: "Obscura"

Rating: RRRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

I've got all the things that I'm "allowed" to mention written down when it comes to Frontiers and their releases. It's usally words such as pink, fluffy, melodic, catchy, hairmetal, AOR, shoulder pads, and several cans of extremely sticky hairspray. Imagine my surprise when Sergio 'Cookie Monster' Mazul came through my loud speakers with growls and howls in the tradition of Black and Death Metal. Now, please don't go thinking early 90's stuff and church burning psycho freaks from Norway. It's v-e-r-y melodic stuff, music-wise, and they have the clean female vocalist Mizhuo Lin at the very centre of attention.

In fact. Their only brutal take at the scene would be the 'every-now-and-then' growls by Mazul. I wouldn't even categorize this as melodic death metal (as mentioned in the press-release), it's more or less traditional melodic (symphonic) metal with a sidekick growler. Strange genre disasters apart, Frontiers provides the backing and Semblant are merely doing what any other band debuting their music would do (Obscura is their third album though), and taking full advantage of whatever kind of cash and marketing that a melodic Italo label can afford to splash on the so-called Melodic Death Metal band from Brazil. Ehem. It's not looking great when typed down and it might just be a strange combo?

Nonetheless. It's all about the music and it's actually quite darn good. Obscura takes catchy riffage of Neo-classical and symphonic acts and sets it aside a stylistic range that combines a meaningful grasp of female fronted 'Goth' and atmospheric horror and excellent growls. Sure. Something like "Wallachia" might just include too many growls for the average melodic fan. However. It's all very nicely done and I'd like to think of it as watching the great horror flick. It fits the concept as well as the story of the lord of the shadows. It's a real grower (and growler) of an album and and tracks such as Murder of Crows, Control The Masters, Daydream Tragedy, etc. show a band outgrowing any of the genres that people care to throw in their faces. Mizuho Lin is a proper belter of an vocalist and it's overall a very pleasant surprise of metal. Goody!!

BLUE ÖYSTER CULT: "Heaven Forbid"

Rating: Re-issue
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Sci-fi/horror lyrics and traditional guitar rock in the year of 1998? Heaven Forbid! Originally released during the alternative years and thus dark ages of Classic Dino Rock, it was the 'comeback' album of Blue Öyster Cult after ten years of absence. The United States of America science fiction and horror writer John Shirley wrote lyrics to most of the songs on the album and the Bouchard brothers are nowhere to be seen/heard along with the cowbell.

The rather muscular and blunt opener of "See You In Black" is soon replaced by the catchy number that is "Harvest Moon". The latter may suggest the Pink Floyd or Neil Young agenda and sound, and it's a very decent composition by Donald Roeser. Eric Bloom (guitars, keyboards, lead vocals) and Buck Dharma (guitars, keyboards, lead vocals) are the two leading stars though and they continued to perform the guitar rock of BÖC's past on this very record. "Still Burnin" was supposed to be a sequel to the song "Burnin' For You" that appeared on Fire of Unknown Origin. It's not quite as great though.

BÖC in the nineties managed to retain some of the virtues of their formative years, without the need to completely change their sound to grunge or alternative. Then again, 1998 was the last big year of depression and the magical world of internet opened up for the comeback of classic rock. Perhaps not always as entertaining, but it's certainly the more than decent album with a neat production by the two. It's one of those late 90's studio efforts that went many by the first time around and here's your chance to pick up the reissue.

Thursday, March 19, 2020


Rating: RRRR
Label: GMR
Review by Kimmo Toivonen

Album number five from this band, would you believe it? They started out as the biggest Def Leppard wannabes of all time, but somehow over the years they've matured into something else. It's still very Leppard-flavoured, but I can also see/hear the outlines of their own grand design.

"V" is a good album. I pretty much like all of the songs. Having said that, afte a dozen spins I still have trouble remembering some of them. Fun to listen to, but necessarily the kind of songs I find myself humming during the day.

The DL influence is very obvious in the guitar work, the harmonies and some of the melodies. Pelle Saether's distinctive voice doesn't really sound like that of Joe Elliott, his higher register is very unique and an acqured taste I'm sure. I'm still getting used to it, after all these years of listening to the band.

One track that's among my favourites is "The Warrior", originally recorded by Patty Smyth and Scandal. This early 80's hit gets re-designed and it works really well. Other standouts include the opener "Right Away", "I Dunno Wut To Say" (chek yer spelling! My spell checker is going crazy with these titles!) and "Guilty Of Luv In The 1st Degree". Then there are those mid-paced "hysterical animal" songs "Wut Are U Waiting For" (shouldn't that be "Wut R U Waiting 4"?) and "Take Me To Yer Heaven", good stuff too. As are the others, some of them might make you want to burn down something though.

Wednesday, March 18, 2020


Rating: RRRR
Label: TDMH
Review by Kimmo Toivonen

This is the third album from the hard working lads of The Darker My Horizon. Over the last five years they've gone from strength to strength, supported many name artists such as Nazareth and Geoff Tate’s Operation: Mindcrime and headlined some smaller-scaled festivals. They've achieved their status independently, which is very impressive.

"Seize The Day" follows their successful formula of mixing 80's styled melodic rock with modern rock. They've got their Nickelback'ish rockers like "Sleaze" and "Still Alive" which I frankly don't find  that interesting, but they also have a more melodic side which appeals to me more. Many of the album's songs are ballads or at least balladic, ranging from the more power-ballad styled songs like "Carpe Diem" and "On My Way" to understated, delicate ones such as "No Turning Back" with its' sparse instrumentation.

I was slightly disappointed in the first half of the album (all the "nickelrockers"), but thankfully the second half was much better. The "B-side" of this album has most of the better tracks, including the aforementioned "On My Way" and "No Turning Back". The album's highlight for me is track number 8, "Lies, Lies, Lies". It's a clever uptempo track with an absolutely majestic guitar hook. I'm talking about Bostonesque proportions here! "I Will Rise Again" is another fine track with great axemanship. The acoustic version of the ballad "Dear Olivia" closes the album, or maybe it's supposed to be a bonustrack, I don't know. The electric version of it was released on the band's previous album. I like it, and apparently the band likes it too, since they've released both versions of it as singles!

Friday, February 21, 2020


Rating: Rr
Label: Mascot 2020
Review by: Urban "Wally" Wallstrom

Here's Albert!!! Not to be confused with Whitney Cummings or any other comedian for that matter (Whitney'd be glad all over if people thought she was Albert tho'). To start up your brand new album with the rather tiresome old blues of "Hold On" (Sam and Dave) may not please this particular reviewer. Especially since we've heard this blues story way too many times in the past. "Do What Mama Says" strolls down the same old lane as previous track and it's so been there, done that. Don't get me wrong. Albert's no schmuck and guitar work and vocals are spot on. The song material on the other hand will have you constantly day dreaming about smokey bar rooms and 7 drunken geezers around the tables throwing various strange items at the poor entertainer.

"Red Rooster", oh dear, it's not getting any better and by the time "Queen Mean" blast through the speakers, I'm afraid that you've already lost this listener and overall music fanatic. No. Wait, wait. The Van Morrison cover of "Crazy Love" saves the moment as the ballad goes straight to the heart, before it's right back to where we started from with "Get Out Of Here".

It's just too safe, middle of the road, predictable, and not at all exciting blues material that's been done to death. Sure. It's easy accesible and geezer friendly and "Me and My Guitar" shows Albert's best side (guitar-wise), but ultimately it's all a little disappointing. Sort of if 'Best Buy' would release a blues record. Nicely recorded in Muscle Shoals, with the legendary Jim Gaines in the producer's chair, I do however not "Believe" in the songmaterial...

DEWOLFF: "Tascam Tapes"

Rating: RRRr
Label: Mascot 2020
Review by: Urban "Wally" Wallstrom

"Trouble, trouble, trouble". It's the Tascam Tapes. This is DeWolff's new album, it was recorded on the road for less than $50, but it sounds like a million bucks. A Million? Why not billion or trillion? Some of you may remember the band when they only recorded $30 albums, but they have clearly moved on to the fancy and posh enstablishment. The average rock fan isn't too bothered about your albums' cost to be honest since they're still paying the same price in the record store... ehh, except there's no store anymore? And people don't actually pay for records rather than individual songs? What the fudge? There goes the old Tascam 4 Track Cassette tape recorder (which always broke anyhow according to the band) down the river.

It's definitely old school recording but not always old school blues since DeWolff's are mixing things up with a little bit of electronica and dist to the max. No drum kit, no Hammond and no guitar amps though. The two part story of 'Blood Meridian' goes through several stages of genres and styles and I kind of like it. It will most certainly appeal to the devotees of open minded blues and R&B. "Love Is Such A Waste", featuring a 'Crazy' sampling and quirky arrangement which could almost have you thinking about a certain 'Crazy' hit from the 2000's.

The soulful display of tracks such as "It Ain't Easy", "Rain" and "Let It Fly" goes straight back to the future with its timeless sound. DeWolff are at their best when the playing is kept a bit quirky (see, 'Am I Losing My Mind'). When they enter some of the more basic blues sections the production and the very limitied budget (what budget?) do shine the most though. Final verdict: Quirky and darn interesting, it's probably worthy of $55 and then some.

Tuesday, February 18, 2020

HEAVY PETTIN: the reissues "Lettin' Loose", "Rock Ain't Dead", "The Big Bang"

Rating: -
Label: Cherry Red Records
Review by Kimmo Toivonen

Heavy Pettin released these three albums originally back in the eighties, 1983, 1985 and 1989 respectively. The band took their first steps when the New Wave Of British Heavy Metal (NWOBHM) movement was shaking the foundations of rock music. From the other side of the Atlantic, bands like Mötley Crüe and Quiet Riot were rising up the charts. Being soundwise somewhere in between, they soon found themselves signed to a major label (Polydor) and in the studio with Brian May and Mack, recording their first album.

"Lettin' Loose" is an energetic hard rock album that reminds me of strongly of early Def Leppard with touches of Saxon, mixed with some glam metal influences. My favourite track is "In And Out Of Love", which was the biggest hit of the album I believe. "Devil In Her Eyes" is another highlight, as is "Shadows Of The Night", one of the two bonus tracks. The production by May and long-time Queen producer Mack isn't quite as polished as one could assume considering their resume.

"Rock Ain't Dead" was a more polished effort indeed. The million-selling acts like Crüe, Dokken and Ratt had an influence to the bands' sound, as did producers John Jansen and Mark Dearnley. And Def Leppard's mega-successful Pyromania.

The title track is an anthem, a hit single that never was, and one of my favourites from the band. A glossy MTV video was made for it and "Sole Survivor", but neither of them became the hits Polydor hoped for.

Most of the other songs are rather good too, except for the ballad "Dreamtime" which might put you to sleep (pun intended).

In 1987 the band were working on their third album, but took a break from the recordings to provide UK a "Song For Europe". "Romeo" was their attempt at winning the Eurovision Song Contest. Well, they ended up sixth in the UK competition and managed to alienate a lot of their fans with the keyboard-driven semi-ballad "Romeo". Eventually they broke up in 1988, and their last album "The Big Bang" was released posthumously the next year.

The band's final eighties' album sees the band abandoning their Heavy Metal roots and embracing the sound of REO Speedwagon, Journey and their UK competitors FM and Shy. Only they didn't have the songs to match. Don't get me wrong, there are a few perfectly enjoyable AOR tracks on "The Big Bang" like "Born To Burn" and "Looking For Love", but then again, most of the album is very bland. "Don't Call It Love" is probably the most "Heavy Pettin"-like song, but it sounds like a leftover from the previous albums. "The Big Bang"? Hardly.

The band has reformed lately, and they've released some new material recently. I haven't heard it but I guess it's safe to assume the it sounds more like the first two albums.

Tuesday, February 11, 2020

DECARLO: "Lightning Strikes Twice"

Rating: RRRr
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Tommy DeCarlo has been the singer of Boston since 2007, and featuring son Tommy DeCarlo, Jr. on guitars, their debut album effort is deeply rooted in family friendly music and keeping it safe for all the little kiddies. Do not expect any swearing and there's certainly no need for any parental advisory sticker with explicit content. OK. That's enough of banter. It's however the truth though as this is a very old fashioned AOR platter where the message is and I quote, "Do we have to hurt each other? To all my sister and brothers - We need to Give Love A Try". Good on ya'. There's enough of hate, haters, and Trumps in this world.

It actually soft-rock music steeped in the laidback, feel-good, tradition of REO Speedwagon, Dakota, Petra (Greg X Volz era), 38 Special, and a little bit of Boston (of course?). Opening the album with the Country influnced "A Better Day" is something to get used to before the band strip the sound down to the bare bones of AOR on "You Are The Fire" which devolps into the honest approach and statement from the DeCarlo family. The band originated in Charlotte, North Carolina and sees the two Tommy DeCarlo's collaborate with drummer Dan Hitz and bassist Brett Nelson. The band has toured in many US states and has recently played at the Frontiers Rock Festival in Milan, Italy at the kick off acoustic night.

There's a distinct old fashioned edge to the melodies and the album may lack some of the bite and hooks of the mid/late 80's/early 90's era. This is rather the late 70's/very early 80's sound and it may not always please the critics of this particular site. It's however still pretty catchy and something like, "Give Love A Try" that features a wicked drum pattern by Hitz, should please any fan of early 80's melodic rock with a touch of Asia (the band). The instrumental "Into The Storm" works as a nice intro to the uplifting title track which basically reeks of Dakota and 38 Special. The piano ballad of "Still In Love" goes through several sections of soft-rock and it's very much the 10cc concept of keeping it real and in harmony with nature and voices.

A title such as "Rock N Soul" should put ya' in the mood, get ya' feelin' right. There's even a saxophone on this track and again, think late 70's rock. "There She Goes" isn't a cover of The LA's excellent anthem from the late 80's. But a rather catchy original that goes straight to the heart. "Stand Up", a typical early Petrafied track that goes sadly nowhere. "The One", the piano ballad in the style and tradition of REO Speedwagon. Final verdict: It's a a rather innocent, feel-good platter in the style and era of approx 1979 to 1982. Great vocals and musicianship and it's one of those albums that got better with each spin (up to a certain point of course).

DIRTY SHIRLEY: "Dirty Shirley"

Rating: RRRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Dodgy moniker, check. Dodgy album artwork inspired by American Gothic, check. Dodgy music... no, check this out!!! I don't know who this Dirty Shirley is but she's obviously a rocker. It's actually yet another project put together by six-string bender George Lynch (Dokken, Lynch Mob, etc) and described as blues infused hard rock featuring the cold wicked touch of Mr Scary. The warm touch and excellent pipes by Croatian singer Dino Jelusick (Animal Drive) is however the real starting point of the album. He's clearly the best Dio vs. Coverdale vs. Gillan voice since... well... Jorn of course (see review elsewhere).

The overall sound is based around the 70's blues hard rock records. However. There's also r&b, ballads, a couple of heavy tunes, and some grungy vibes. Something like, "Last Man Standing", could just as easily have been leftover from the Coverdale/Page project. According to Lynch, "80% of the guitar work on this record is rhythms, so I wanted to create a three-dimensional sonic tapestry that complimented the more basic riffs and chords. I tried to add a little twist to everything". His style and wicked tone is something out of the ordinary as always and you really can't complain on the guitar work. "Siren Song" is probably the best song on the record and it simply reeks of Coverdale/Purple. "The Voice Of A Soul" goes through all the different stages of Coverdale and Hughes.

I'm sure Dirty Shirely will cause quite a stir in the groovy hard rock circles over the next months or years, depending on if this is the one-off project?Unfortunately, not all the glitter is gold. A couple of fake nuggets inbetween the goodies and this is where the typical Lynch sound kicks in with the mid/late 90s styled rock. Remove them and you'll end up with a winning combination and concept though.

BLUE ÖYSTER CULT: "Cult Classic"

Rating: N/A
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

"All our times have come. Here, but not there, gone. Seasons Don't Fear The Reaper. Nor do the wind, the sun or the rain". Indeed. There's one helluva lotta' la,la,la,la,la's next and it's all very cozy and the timeless classic rock moment. They obviously wrote the tune while smoking a fatty and listening to America (the band, not the continent) and their massive hits of 'A Horse With No Name' and 'Ventura Highway'. Yes? No? Whatever. Simpy add more electric guitars and it's Blue Öyster Cult. Keep it under your hats though. It's explosive stuff. The great album Agents Of Fortune from 1976 doesn't exactly pre-date the America debut. On the downside, the cowbell is buried low in the mix on this re-recorded, remastered version and we always need more cowbells on this track... :-)

"All praise to Balthazar. He's found the awful truth. He's found the saucer news". You have songs about extraterrestrial intelligence. Bombers in the sky, the summer of love (not!), burning, O.D.'d on life, the secret of telepaths, megasize monsters from Japan, skywatching, cities on fire, the eyeman of TV, and even the odd boogie. What's not to like? It's all very much the seventies sound though and Cult Classic may not surprise any fan of the genre.

To be perfectly honest. The album was originally released in 1994 and containing remakes of many of the band's songs. The same recording was re-issued by other labels under the titles Champions of Rock and E.T.I. Revisited in 1998 and 2004, every time with different artwork. Now it's Frontiers turn and some of these tracks are just too bland for my personal taste. It may have been the s**t for U.S. people in the 70's, but remember, they also thought of Ted Nugent as the Rock n Roll God? Christ on a bike. They both have one thing in common though. One superb classic rock tune. Nah. I definitely prefer BOC and they have Burning For You!!! The nice beginners' compilation album.

MICHAEL THOMPSON BAND: "High Times Live In Italy"

Rating: Live
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Hands up if you ever gave up hope of the Michael Thompson Band double live CD and DVD release ever seeing the light of day, or dark of night for that matter. Ehem. Okay. Keep waving those hands in the air if you've never heard about Michael Thompson? Yeah. That's what I thought. Under the radar but never forgotten at since we're extremely nerdy at digging up all the rockers of the past. Simply check our massive archive for all the Michael Thompson information. U.S. LA session guitarist gone haywire and here's the rather ambitious live project recorded in Italy with the following musicians: Larry King (vocals), M.T. (guitars), Larry Antonino (bass) and the keyboard Guy named Allison are both Unruly Child(ren), etc.

This is a showcase of experienced musicians with plenty of know-how and not quite as much pace or energy on stage. They hardly move or do basically anything beside standing still on the spot and singing/playing their hearts out. It's like watching your gramps' on dope and that's at least some kind of entertainment, I guess? Kidding aside. Do not expect any dance moves or movement whatsoever. The concert given to an less than enthusiastic audience in Italy and Frontiers inhouse place (the Live Music Club in Milan) was indeed recorded both on CD and DVD. They have the same running order and there's no real bonus material or hidden stuff. I couldn't find any? Perhaps it's still bloody hidden?

'Good evening' (no real response) 'You guys suck' - maybe not the best way to start up the audience but Larry's trying and he's obviously kidding. The response gets better and there's even praise from the crowd. The sound is of decent high quality and there's a nice mix of distance shots and close-ups of all the geezers plus some extra shots at the awakening audience. They're warming up to the music and what's not to enjoy about the likes of "Can't Miss", "Secret Information" and "Save Yourself". Everybody's talking about "Give Love a Change", but I'm not a big fan of that particular tune. The guitar work and solo is however top class. Merely 9 tracks and the last one is a friggin' cover? Why? We want Michael Thompson material, not another snooze version of More Than A Zzzzz... Feeling (Boston). Final verdict: Great musicians. But still perhaps not the best of live outings by the Frontiers.

JORN: "Heavy Rock Radio II Executing the Classics"

Rating: N/A
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Jorn Again? Hallelujah. Sisters and brothers. It's the return of the Heavy Rock Radio and covers' on repeat. Oh the horror, the horror. Hang on... there's a mansize crow or magpie on the cover and Jorn's stuck in the electric chair? Things are getting better by the minute. Every song Jørn covers is treated with the utmost respect thoughand "Jørn-ized" accordingly, just like the first album where fans showed a lot of enthusiasm and interest for those versions, so a follow-up covers album seemed like a no-brainer. They did? Show enthusiasm? Executing The Classics? Does the world really need another dodgy version of 'Quinn The Eskimo' (The Mighty Quinn) as in originally performed by Bobby 'Ewing' Dylan. Needles And Pins? Definitely. It's all needles and pins.

'New York Minute' as in Don Henley (Eagles) is however a g-r-e-a-t choice and a very underrated song in my opinion. One of those late 80's tunes that deserve a lot more attention and praise in this time and era. Jorn's version is slightly heavier and darn excellent I may add. It's just such a great song from the start. 'Winning' (Russ Ballard) is another interesting choice and you simply can't go wrong with the starightforward rock of Bryan Adams and 'Lonely Nights'. They've actually added bagpipes to the 1976 tune of Winning, but it's not as weird as it may sound? It's very John Farnham somehow even if there's no real bagpipes on his super hit, You're The Voice.

Final verdict: One of his better covers records and I'm still digging the version of Naked City (KISS) from Heavy Rock Radio I, one of the bonus tracks on this release.


Rating: RRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

"Rise", the third studio album by the Revolution Saints. Production overseen by in-house Frontiers man, Alessandro Del Vecchio, the recording process took place in Milan and in Doug and Jack's own studios in California and Seattle. Songwriting was also mostly handled by Del Vecchio, with contributions from Aldrich and Blades. The classy ballad "Eyes Of A Child" was penned by Jack Blades and Tommy Shaw and it's clearly done by the Damn Yankees. It could just as easily have been Cat Stevens or Harry Chapin though. Think Cats In The Cradle rather than Cat Scratch Fever.

Revolution Saints? Featuring the convicted felony and overall wife/woman beater Deen Castronovo (The Dead Daisies, ex-Journey, Bad English) on lead vocals and drums, they should rename themselves as Sinners. Not the best of start? Well. Stop being a Goddamn hypocrite or worse and kindly recall how you reacted when you first heard about the BLACK rapper, the beating of Rhianna or any other woman for that matter. Castronovo is the White, Pink N Fluffy, AOR rocker. Surely he can't be as bad as the Gangsta? Look. He's been convicted on several cases of domestic violence. Case closed. Or maybe they had it coming? I believe they throw him out of Journey because of this? Jack Blades (Night Ranger) and Doug Aldrich (Whitesnake, Burning Rain) have no problem working with the proper skin-basher though.

The overall songwriting end up in the 'not too shabby' category where it's difficult to be neither upset or pleased. The idea behind "Rise" was clearly that the band would record something the goes down easily in a fight pretty much like the female victims of Deen. It's funny how these sort of people never end up in fights with any males?? Yeah, right. It's sort of like watered down Journey, kind of like RTZ and dut-dut AOR and it's up to you to decide if you fancy another platter with the same basic pattern and AOR ideas. "Million Miles" and "Win Or Lose", the real highlights of the album and the songs that any Journey-esque songwriter should be darn proud of.