MANRAZE: Punkfunkrootsrock"

Rating: 8/10

Label: Ear Music/Edel 2011

Review by: Urban "Wally" Wallstrom

Manraze - Def Leppard's Phil Collen on vocals/guitars, his old GIRL friend: Simon Laffy on bass and Sex Pistols' Paul Cook behind the drums. Gee, what could possible go wrong with such a line-up? No, seriously, it works out pretty well in the end. There are some albums out there whose titles actually mean what they're all about. I wouldn't go as far with "Punkfunkrootsrock" even though they're trying to be all that and more. For instance, the track, "Closer To Me", radio-friendly dub/ska made popular by the likes of U.K's 'The Police' in the late seventies/early eighties.

To be perfectly honest, most of the time, the band sound an awful lot like rough and shabby old rock with glammy, Def Leppard like choruses. I'm sure they're a completely different animal live on stage, however, in the studio they're simply too 'clean' for punk (especially Collens' guitar sound and amp), too rock for funk, and what about the rest of their roots, spunk? but that's nitpicking, no? But seriously, the production by Ger McDonnell is way too sterile/melodic hardrock and the band sound way too 'posh' for their so called "roots".

Some of the twelve tracks: I actually enjoy the close to spooky singing voice of Collen and the opening number, "Over My Dead Body", starts out like the Gene Simmons' fronted KISS before the chorus kicks in with a typical and pretty darn catchy Def Leppard hook of later era. "I C U In Everything", Collen's voice is even spookier this time and darn close to Pete of Type O' Negative (R.I.P.). "All I Wanna Do" takes the blues approach, albeit lite and with a Def Leppard-ish refrain. "Lies" another glammy Def Lep rocker and the same goes with "Get Action". They change around things completely with "Edge Of The World" though. Experimental, spacey rock, the answer to 'what if "Gods Of War" from the Hysteria album was originally a hippie tune? Ehem, weird and the lack of chorus is quite annoying to say the least. And yeah, "Bittersweet", could just as easily have been a Foo Fighter track and there's yet another pointless cover of Jimi Hendrix's "Fire". You'll have to take the good with the bad as it's far from a perfect album. Nontheless, "Punkfunkrootsrock" is quite fun, but don't expect to find much 'punk' nor 'funk' on this platter. Good schtuff!

www.manraze.com/

GEORGE LYNCH: "Kill All Control"

Rating: 6/10

Label: Ear Music/Edel 2011

Review by: Urban "Wally" Wallstrom

Hey, look everybody, it's Mister 'I-hate-the-80s' and will bite the hands that's been feeding me ever since the.... well, the eighties. Yep, George Lynch of Dokken fame, a bunch of ugly/dirty metal heroes that were constantly fighting among themselves and managed to record a couple of smashing albums inbetween all the bickering. I believe he proudly did a bonfire of all his eighties stuff and thought of his old fans as retards for ever liking the music? Yeah, please do correct me if I'm wrong? but I believe there's still photos of the event on the web? Here's a question for ya', would anyone care about George Lynch today if he didn't have a successful career in the eighties?? No... of course not.

Biased? grudge? bitter? Heh, well, at least I didn't hand out a "zero" rating of, "Kill All Control", since we're all about the music at RockUnited.com. But, if there's one thing I hate, people who complain about their past success just because they don't have the spine to stand up against the-so-called popular movement at a particular moment in time. Lynch decided to bring in several different lead vocalists on this record (BulletBoys' Marq Torien, Keith St. John and London Le Grand, etc). and the result is at times quite pleasing, but hardly full filling.

One thing's for sure, Lynch and co. aren't poncing around on his new record. Once and possible always in the past/last 15 years criticized for making second rate Alice in Chains melodies. "Kill All Control" manages to combine some better melodies and longer guitar solos than ever before in his solo career (well, since the first Lynch Mob). However, don't go thinking it's back to the eighties as several tracks (such as "Voices in My Head", "Man On Fire", "My Own Enemy") are still Alice In Chains lite, but I quite enjoy them. Sadly, overall, it's too much about 'groove' and not enough 'hooks'. The soaring guitars solos alone are not enough to convince me... even though it's a relief after all the albums without them. Decent and George Lynch fans pretty much know what to expect by now anyhow. Highlight, the instrumental, "Son Of Scary"... very "80's", very scary.

www.georgelynch.com/

FURY: "Fury EP""

Rating: N/A

Label: No Label

Review by Alan Holloway

Let me start by saying, I would have loved Fury when I was a teenager. The 80’s was a time of riffs, more riffs and a few more riffs on top of that, rounded off by widdly guitar solos and over use of the word “metal”. Now, some things that I liked back then have certainly lost their special place in my heart, such as most NWOBHM bands, Iron Maiden (so dull lately) and Dangermouse, to name a few. By rights, the chest beating retro power metal of Fury shouldn’t really excite me, and certainly shouldn’t have me making metal signs at the cat… but it does.

Not to be confused with Fury UK, another British old school metal band, this EP is the first recorded effort from Fury, and it’s scarily impressive for such a new band. The five tracks clock in at just over 25 minutes, with each song never outstaying it’s welcome, despite seemingly being stuffed with riffage and widdling that would please most Dragonforce fans. Vocalist Julian Jenkins manages to keep a good tune whilst also playing guitar, with Joel Peters picking up the slack, although it’s not clear whether the solos are shared or the work of one man. Either way, they’re fast and furious, without sacrificing melody, which is how ut should be.

In the end, this is a very promising debut EP from some obviously talented musicians. It’s nothing groundbreaking, but for what it is, it is very enjoyable. Old school maybe, but Fury could certainly teach a few people some new tricks.

Buy The CD

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BRONZ: "Carried By The Storm"

Rating: 8/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Sorry, they're out of Bacon, but there's plenty of bangers, egg, chips and beans. Yep, it's the full monty, a proper English breakfast served on a sturdy platter of Bronz. Punchline? nope, there's no punchline, merely cracking leftover found at the very back of the refrigerator and it's been sitting there ever since 1985!!! Yes indeed, we're talkin' about the melodic U.K. cult band Bronz (back then with Max Bacon of Nightwish/GTR on vocals), they released their debut "Taken By Storm" in 1984 and the single "Send Down An Angel" featured sort of heavily on MTV in America and across Europe, with a video featuring the actress Emma Thompson.

"Carried By the Storm" is the never before released second album, originally recorded in 1985, it's been in the vault ever since Bronze Records went belly up that very year. Bacon's already gone for the GTR project and guitarist Shaun Kirkpatrick the only founder member had to put together a new-line up with a new singer: Ian Baker, guitarist Michael O'Donoghue (ex- Grand Prix), bassist Lee Reddings, and drummer Clive Edwards (ex- Wild Horses, UFO). Producer Max Norman (Ozzy, Y&T, 220 Volt, etc) was brought in and the album was recorded in 1985 at the Roundhouse and Powerplant studios in London, but as it was nearing completion, the record compnay went into receivership and the band split up.

What to expect from the music? Well, I like it, it's "poppy", keyboard driven, contemporary mid-eighties melodic/rock with a slightly softer touch in comparison to their debut. I'm not too keen on the opening pomp rocker, "Can't Live Without Your Love", it feels slightly boring and out of place/date from the rest of the tracks. The title track, Body Electric and Eddie Money right down to their shoe-laces and the saxophone solo (yeah, there's probably a tad of the old 'Foreigner too). "Man Girl Machine" walks down the same alley only poppier and "When The Lights Go Down" is the hallmark of Airrace and Foreigner. "You and Me" had me thinking about Roger Daltrey's solo albums of the same era. The extremely catchy numbers, "One More Time" and "Tell Her", marvelous AOR in the style of Shy and Monro. They've also covered Russ Ballard's "Two Silhouettes" and that's always been a fave anyhow. "Figure In The Dark", probably the real winner of the bunch with its hook and dut-dut keys. Technically speaking, if you love the mid-eighties sound, look no further, forget about silver and gold medals, grab yourself a Bronz platter... (darn close to a nine rating actually).

www.bronz-music.com

JERUSALEM: "She"

Rating: 7/10

Label: Pierced Records 2011

Review by: Urban "Wally" Wallstrom

Blimey, it reads Jerusalem, but surely that's a harlot on the frontcover??? Now, now, people, calm down and hold your horses, just because SHE's laying half-naked in bed with too much make-up and too many tattoos, doesn't mean that SHE can't actually be a sunday school teacher, right, right??? Never judge a woman by a dodgy rock band's cover even if we're talking about the pioneers in Swedish Christian rock, the evangelical ones of Jerusalem. And just for the record, in case anyone didn't get the harlot joke! It's indeed nothing more than a joke. But let's have a show of hands, raise them now if you believe that plenty of christians (and other folks for that matter) will spit out exactly those words about "SHE".

It's been a while since their latest studio album (1994's Prophet, I believe?) and it's always nice to watch yet another rock reunion, no? They've been on/off as a band ever since the mid-nineties, performing live every now at the occasional gig. Vocalist/guitarist and overall bandleader Ulf Christiansson's been living in the states and thus why you haven't witnessed a full-blown reunion in the past? "She" pretty much takes off where "Prophet" left us hanging in U2 land. Bono and the Edge are no doubt Ulf's biggest inspiration of the past 30 years, but you'll also find the odd 'The Who' riff on this platter. Have a listen at opening track, "Calling On", and tell me that's not The Who in disguise.

Jerusalem are at their best when they simplify things such as on "Save My Life" or the lovely semi-ballad and also titletrack of the album, "She". I have this weird connection with the band, they were my very first rock concert experience as a young kid in the late eighties. And believe me, they've always been far heavier live than on record. The choruses aren't deadly catchy (much like many of U2's early songs) and it's not always the most original album. I still can't help to enjoy most of the tracks as it's a overall a decent mixture of Jerusalem, U2, The Who. Final verdict: Solid but hardly groundbreaking but Ulf's gritty/warm voice is strangely calming somehow...

www.jerusalem.se

BAD COMPANY: Live At Wembley"

Rating: Live

Label: Eagle Rock 2011

Review by: Urban "Wally" Wallstrom

The mighty-mighty Bad Company live at Wembley Stadium in April 2010. I'm brought up with the Brad Howe (aka the Foreigner soudning) version of the band and had absolutely no idea about the original line-up and sound for many many years to come. Ehem and when playing some of the early seventies albums, I can't help to wonder what the fuzz was all about? Now, don't get me wrong, I love the classic songs just as much as anyone (and you'll get most of them on this 15-track live outing), but they recorded an awful lot of crap(py) ones. "Young Blood" and "Movin' On", being the prime examples of my theory that many old geezers/journos only tend to remember the good ones and quickly forget about the fillers.

Paul Rodgers is however the perfect example of a vocalist that's managed to grow old in style. His voice is just as strong and powerful as always and especially the, "Seagull", flies higher and better live in the year of 2010 than on their debut in 1974. They were in fact one of the first real 'super-groups' consisting of the two former 'Free' members Rodgers and drummer Simon Kirke, bassist Boz Burrell (Snape, King Crimson) and guitarist Mick Ralphs of Mott The Hoople fame.

Sadly, Burrell had passed away of a heart attack in 2006 and joining the three on stage is Lynn Sorenson and Howard Leese (Heart). Live and here, tracks like "Honey Child", "Electric Land" and "Rock and Roll Fantasy" grab you by the back of the neck and have your head back in forth in the headbanging tradition. The epic sounding "Ready For Love" is everything that Whitesnake ever wanted to be (the blues, the blues). You simply can't go wrong with a Bad Co. live album - not even in the year of twenty eleven.

FULL TURNOUT: "Adversity"

Rating: 6/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Rock vocals fronting melodic guitar driven songs, with a sound that crosses Linkin Park, Radiohead and Pink Floyd and will leave you singing everytime?? I don't know, me thinks these guys sound an awful lot like one of those lame acts from my homeland, namely: Takida. Pretty harmless but appearantly also pretty successful rock as every Takida album sits firmly at the number one album selling spot in Sweden. Okay, Full Turnout may lean a little bit towards the style of Linkin Park, but seriously, Pink Floyd???? I honestly can't find a single shred of evidence pointing at anything even remotely close to the old geezers of prog rock.

When I think about it, you can leave out any Radiohead connection too, perhaps add a hint of Green Day, this is strickly commercial radio rock of today, only not quite as professional executed as the major acts. Going through the lyrics, you'll find typical power-pop material, like this particular piece from "In My Car" and I quote, "Laughing, singing, crank it up my ears aren't ringing now, and life is better in my car. Life is better here with you", end quote. "Hold On" is a great, but oh-so Green Day-ish ballad and "If I Were You" will have any Linkin Park fan in tears of joy???

I'm still not sure if I should enjoy this and not because it's not "cool" to like Takida or Linkin Park rock. Nope, it's more the voice of reason when it comes to "original" and thoughtworthy material. Ehem, another thing, looking at the band pic, these guys look more in their 40's than 20's? It sure as hell doesn't matter to me, but what about the average record buyer? And frankly, this good vocals, nice musicians, Canadian act still sound ten-times better than any similar act from Sweden (read: Takida). In the end, "Adversity" is okay, it's just not very original...

www.myspace.com/fullturnout

SLIDESHOW: "Heroes On Your Ceiling"

Rating: 7/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Slideshow from Luleå/Sweden likes to call their genre something as simple as "actionrock" and that's because the musical cocktail is a blend of both raw power and true love. Fair enough, it's not up to me or anyone else for that matter to decide what they should or should not call their music. I'd file this under rather typical Swedish sleaze in the tradition of Nasty Idols and much later Backyard Babies, Hardcore Superstars, and to be frank every other band from Sweden as of lately.

It's basically head's down in tinsel town and a mixture of sleaze riffs and punky screams and/or vice versa. After all, when punk died in the very early eighties, sleaze came along to pick up the torch and kept the fire burning for many years. I do enjoy their retro thinking when it comes to artist names as these Swedes are all named something corny along the lines of Nicky Dollars, Tommy LeGun or Foxy Black. The latter being the female bassist/backup vocalist and not some old geezer (Thank God!). I saved the best for the last tho' as their vocalist/guitarist goes under the name of Poe DePrey - excellent?

I'd be the first to admit that I'll be loudly and gladly shouting along to the likes of "In Your Veins" and "Brimstone". And it's probably even more fun live on stage (keep the beers coming). The utterly punky "When Your Goal Is Gone" kicks like a mule to the head and Poe's vocals are in all honesty no different from all the other acts. However, Foxy Black on backup does make a difference at times and it's not just the usual noize and grind. But then again, that's what Slideshow's all about really, bump and grind, noize and attitude, good and bad. Their only problem? there's literally 10.000's of these kind of acts in Sweden at the moment... but that doesn't mean s##t in the end. I'd say this, Slideshow are good at what they do, but may lack the extra spice and throughout killer material. Catch'em live as they're probably a blast and at their best on stage...

www.myspace.com/slideshowrocks

FORNOST ARNOR: "The Death Of A Rose"

Rating: 3/10

Label: Witchking Records 2011

Review by: Urban "Wally" Wallstrom

First of all, I sort of enjoyed their debut and thought it had some thoughtworthy lyric and messages. Progressive Black Metal with growls and with a rather fascinating structure of melodies. Entitled, "The Death Of A Rose", the new album is supposed to be a natural progression with a more matured approach to songwriting, yet retaining the familiar trademarks of the band's sound that got them noticed in 2009. Sure, crushing riffs with dark and sinister passages should perhaps work on paper, but sadly not in reality (at least not this time and according to this particular reviewer).

It's supposed to be your perfect showcase for the band's music after all, yeah? But for some reason, not a single track (past the opening "Rouge") conjures up images and sounds of excellence or the 'wow factor. There's eight tracks of titles and lyrics that even Gene $immons would think twice about using, ehem, stealing, and hey, I'm a major fan of his band. Bland with a capitol B and you can barely remember the track you've been listening to and nevermind the entire album. Yes, they can play their instruments rather well actually and yes, it does sound like they've been together for twenty years or more as a band. But so what? if they can't come up with any tracks worthy of wiping your own a##. But hey, don't let me stop you from checking out the band, if you're into a second rate: Obskura, Opeth, or possible even Ihsahn, etc.

www.myspace.com/fornostarnor

QUEENSRŸCHE: "Dedicated To Chaos"

Rating: 2/10

Roadrunner Music 2011

Review by Kimmo Toivonen

I wanted to like this album. I didn't approach it with knives sharpened, I didn't want to jump the bandwagon... but what can I do? Out of the 16 tracks, there's maybe only three or four that I even remotedly like. Is this the same band that recorded one of my all time favourite albums ("Operation: Mindcrime")? Maybe it's my fault, I haven't embraced the modern/alternative/art rock sounds of today, and still crave for the same things that have always appealed to me in music, the main thing being memorable melodies. You won't find much of those on this album.

Looking at my notes I made during the the playbacks of this album, there's not much to write about... but I'll try. Probably the best track of the album is the opener "Get Started", with its' AC/DC-like laidback crunch and a somewhat distinctive hook. The very U2-like "Around The World" is okay too, and somehow the interesting lyrics of "Retail Therapy" elevate the song to a higher level. Just about the only song that has some traces of "Empire" or "Mindcrime" is "At The Edge", even though the band stays true to their "no-chorus" policy...

As for the rest of the songs, they range from ambient/new age ballads ("Broken") to the Radiohead-meets-INXS sounds of "Drive" with plenty of plain weirdness in between. In an interview we recently conducted with him, Geoff Tate expressed enthusiasm about the fact this album cannot be gategorized, there's no genre to associate with it. If that was the band's goal, it has been reached. This certainly isn't a "progressive metal" album, or any kind of "metal" album at all. It's experimental rock music, but what's disappointing is that it's ultimately unpleasant to listen to. There are no melodies that would draw me back, the "choruses" are decidedly monotonous and univiting. Dedicated to chaos? I want order! Maybe I'll just go and listen to "Rage For Order" instead. That was an experimental album too, but compared to this, it's melodic bliss...

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MICHAEL ON FIRE: "Always Yes"

Rating: 9/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Why is Michael on fire??? He's been playing with matches!!! Now there's a lesson for all of you out there, if you're playing with fire - you gonna get burned. Actually, He grew up in Detroit, where, in the 1970s, his early band, Old Buck, was a frontrunner of Country Rock music. They quickly established themselves as a regional favorite and performed steadily on a circuit of clubs, colleges and festivals in Michigan, Wisconsin, Minnesota, Illinois, Indiana, Kentucky, Ohio, Pennsylvania, and Canada, with occasional coast-to-coast jaunts as well. On his 13th album, 'Michael On Fire' brings to light his distinctive brand of americana-rock music with 13 songs that span a broad range of rootsy styles, including blues, swamp, delta, cajun, new orleans, country, and what not really.

He's a proper blue collar musician, a hard working singer/songwriter as well as a very gifted poet according to these songs. Are we impressed? very much so!!! Acoustic and electric sounds work together in perfect harmony and you'll get the whole she-bang with everything from piano, harmonica, dobro, sax and organ to violin and banjo to electric guitars and laidback arrangements. 13 albums??? Amazing!!! and it worries me that I haven't heard a single one of them with the exception of "Always Yes" of course. Mark my words, this is top notch material and definitely must have if you're into the laidback style of Willy Deville, Springsteen, Mark Knopfler/Dire Straits, Van Morrison, (seventies) Dylan, and the old sound of classic americana rock.

Not a duff moment and it's difficult to come up with anything negative to say really. Michael and the band have created a Americana anthology that reads like a collection of classics bands and songs, Okay, it's all very laidback and perhaps a rocker or two wouldn't hurt (just to spice up things and get a change of pace), but it's otherwise sheer class from the opening "Righteous Man" to the closing track of "Watch The Show". Highly recommended.

www.michaelonfire.com

JAMIE ALLEN: "The Storyteller"

Rating: 8/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Jamie Allen is "The Storyteller" (at least according to the album name) and what kind of stories are there to expect from songtitles such as: "Smoke and Mirrors", "That's Rock N Roll", "The Way I Roll", "Superman", "She Gets Around" and "The Same Old Feeling"??? Well, keeping in mind that Jamie's a Poison Tribute frontman and that Johnny Lima's onboard as producer/guitarist/backgroundvocals and you'll pretty much get what you deserve. Rather typical, but very professional and at times, really catchy U.S. Rock in the style of Bret Michaels, Poison, and the Lima-dude.

To be perfectly honest, I'm surprised this hasn't been picked up and released by any Euro-label or even Perris Records in the states? Cocky Jaime had this to say about the album and I quote: "I wanted to do it right the first time and with Johnny's killer production mixed with all the big hooks I had written for the album, I knew that it would be the perfect recipe for hard rock bliss", end quote. Big words from a singer in a Poison Tribute band!!! I'm not saying he's bang on the money, but neither far off the truth. "The Storyteller" beats the living crap outta anything released by Bret 'Bozo' Michaels in the past 10, 15, 20? years. Lite sleaze rock vs. 'modern cowboy' tunes works out nicely on this debut. Perhaps just a little bit too much 'twang and 'Cowboy at times though ("Time Alone", etc), nontheless, pretty impressive.

That's not to say that this record has any other connotations (hello Bon Jovi!), merely that unlike many other melodic acts, Jamie know the secret of keeping it pretty straightforward, "simple" and catchy, keep the beat going and make sure the riffs are flying across the room. Nice!

www.jamieallenrocks.com

RED QUEEN THEORY: "Red Queen Theory"

Rating: 8/10

Label: Indie 2011

Review by: Urban "Wally" Wallstrom

Quirky, progressive, alternative, different, outside the box material with the cutest female vocalist you've ever seen. I know, I know, sexist pig and all that... but I'm sure I got your attention and now you can wait to check out the band (filthy bastards). Well, if so, you're doing it for all the wrong reasons since we're talking about a smashing new U.S. band with excellent material and dito vocals. The haunting, out-of-ordinary lead vocals by Elisabeth Tseng and the strong backup harmonies by keyboardist Jennifer Chung are a h-u-g-e part of the Red Queen Theory sound.

Make no mistake, the two ladies of the band are what makes RQT stand out from the rest of the wannabees. They are NOT just another 'Goth' act as these guys blend Prog and alternative sounds with Kate Bush madness and classical, close to operatic styles with a hint of foreign asia (they're from Seattle, WA. though?). Tseng is a star in the making and her pitch and range is way above average. However, she's not even remotely close to the utterly annoying hi-pitch vocals of Tarja (Nightwish).

On the one hand you have these heavy, hard hitting riffs and on the other, lushy keyboard melodies and angelic vocals. It's big drama and lovely melodies and thank God, not just another Nighwish, Within Temptation clone goth act. Hello America - wake up and get these guys a fat recording contract a.s.a.p.

www.rqtheory.com

ENSPIER: "The Hall Of Mirrors"

Rating: 5/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Enspier is a rock band that image-wise may attract the right sort of people to attend their concerts. It's the lean and clean rock business style which the incrowd will so dearly adore (read: family friendly suits and nice haircuts). However, the music is a completely different story altogether and not quite as pleasant in the long run. "The Hall Of Mirrors" is the debut album by the Ozzie band (they're from Australia) and it's been nicely produced by Anton Hagop (Silverchair, Powderfinger) and the mastering was done at New York's famous Sterling Sound Studio (AC/DC, Guns N Roses, Pearl Jam, etc).

Top notch stuff production-wise, sadly, their compositions are just too vivid and out of place/order. It's complicated rock/prog and they're sort of stuck with one feet in each camp. Seriously, if you have a (great) singer that's been heavily inspired and influenced by Bon Jovi and Bono and a band that rather likes to pretend they're 'Dream Theater', things will obviously clash and the result is hardly not pleasing to these ears. It's like half of the band is Bon Jovi/U2 and the other struggle to keep things proggy and complicated.

It's not a pretty picture and their arrangements are the ones to suffer the most from schizophrenia. Sure, it works out nicely every now and then, such as on the excellent power ballads, "Message From A Fool" and "Little Piece", but, most of the time, it's just a constant struggle between posh melodic rock and complex prog. Now, I'm a fan of both genres, but I sure as hell don't need a Bon Jovi/Dream Theater and certainly not when the melodies are so utterly bleak/weak as the first six (6) tracks on "The Hall Of Mirrors". The second half of the CD is definitely much better but it's still not enough to change things around. To be perfectly honest, I'd remove the first six tracks, and re-release it as a seven track EP since these tracks are good. A&R to the rescue!!!

www.enspiermusic.com

The DOOBIE BROTHERS: "Live At The Greek Theatre 1982"

Rating: Live

Label: Eagle Rock 2011

Review by: Urban "Wally" Wallstrom

If there's ever been a band with two completely different styles and eras. The Doobie Brothers started out in the late sixties, early seventies, as a rather ruugh and tough rock band (darn close to the southern style of The Allman Brothers at times) with Mr. Tommy Johnston (vocals/guitar) as their leading character and songwriter. Their 1973 album, "The Captain and Me", which also featured one of THE hits of the seventies, 'Long Train Runnin', and rockers such as "China Grove", both obviously included this live album, comes highly recomended by this particular reviewer.

Then came era:2, where 'Mr. Westcoast' aka Michael MacDonald replaced Johnston and The Doobies' changed things around completely and became THE notorious 'Yacht Rock' band of the late seventies (1976-1982). Smooth rock of highest quality and I would here recommend their 1978 Grammy Award Winning album of the year, "Minute By Minute". The titletrack, "What A Fool Believes" and "Depending On You", are all on this very record, "Live At The Greek Theatre".

Indeed, the band said a final goodbye to their fans with a concert at the Greek Theatre in 1982. You'll get to experience the huge difference in styles as all former and at the time present members of th eband are performing all the hits. There's a total of 19 tracks and sadly quite a lot of fillers inbetween the nuggets. Top notch musicians and a pretty decent and 'real' sounding live album, but it's probably mostly intended for the die-hard fans. Have a go at the two above mentioned albums first and see if you're into the band or not - I love them both and not quite as sure about the rest.

www.doobiebros.com

WE DIE TONIGHT: "Stem The Tide"

Rating: EP

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Bloody'ell, We Die Tonight? Lodon based progressive hardcore act that has been working the UK underground scene since late 2008. The last two years have seen the band's profile rise with shows across the UK with Attack Attack, Hopes Die Last, Bury Tomorrow, Tek-One, etc, etc. So, what you want this band to be is an energetic force and basically a hungry new act, especially since the music industry today is all about '15 minutes of fame' and then you're outta' here. However, what you actually get is a bunch of tiresome hardcore tunes, the band doesn't seem to have the hunger, and the songs are frankly not appealing enough to make we want to press repeat and play'em again. Stuck in a timewarp originally hailing from the late nineties hardcore acts, We Die Tonight have produced four tracks or dire metal that is frankly hard to listen to.

www.seveninchrecords.com/wdt

ROB MORATTI: "Victory"

Rating: 6/10

Label: Escape Music 2011

Review by: Urban "Wally" Wallstrom

Rob Moratti is the powerful vocalist (Mickey Mouse like according to some) and previous front-figure of Canadian acts such as Moratti, Final Frontier, and most recently, Saga (the one-off 2009 album 'Human Condition'). I always thought that Final Frontier were sort of hits and misses from day one. I didn't enjoy the first wave at all really, too safe and bland, but thought the follow-up rocked and still do (see archive for reviews).

"Victory" is his first solo attempt at Escape Music (UK) and guest musicians include names such as guitarist Reb Beach (Fiona, Winger, Whitesnake), bass-master Tony Franklin (The Firm, Blue Murder), drummer Brian Doerner (Helix, Saga) and the Swedish keyboardist Fredrik Bergh (Street Talk, etc). The lead vocals are as strong as ever and definitely true to his eighties background and love for the era. Honestly, this could just as easily have been a 1986 release and you wouldn't have noticed any difference whatsoever. It's the happy, poppy AOR which once was featured in every (dodgy) Stallone movie of the eighties (Over The Top, Cobra, etc, etc).

The musicianship as perfect as one could expect considering the people involved on the project. The songs on the other hand lack the extra 'oomph' and where have all the hooks gone? Surely the Captain must have sailed off into the distance and left them all ashore? It's a darn safe AOR album and the melodies are strangely 'middle-in-the-road' and not nearly as catchy as expected really. Merely a couple of tracks stand out (such as the catchy numbers of 'Standing on Top Of The World' and 'Jeannie') and AOR albums need their sing-a-long anthems just as badly as Romeo needed Juliet... or whatever... seriously.

www.robmoratti.net

TROUBLE TRIBE JAPAN: "Supersonic Stare"

Rating: 3/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Trouble Tribe Japan boasts a lineup of two great Japanese guitar players that play 7-string guitar and a 6-string bass. Add the American drummer and one stereotypical (would that be drunk/en?) Irish singer into the mix and you'll end up with melodic hardrock from Osaka, Japan. Their new CD, "Supersonic Stare", may impress the newbie metal fan in places and the sheer dedication and quality of riffing is amiramble at times, but the melodies are basically jam-packed with the old cliches, it wouldn't even be funny in a Benny Hill sketch.

The sound is rather weak compared to most products, making the riffing appear muffled and distant. What is oozing out your loud speakers, could easiest be described as yesterdays news. And not the good ones either like, 'The War is over' or 'Bjorn Borg - Wimbledon Champion once again'. Nah, it's more in the vein of 'Lennon Shot' (not to be confused with Lenin) or 'Germany Invades Poland'. Ehem, a tad harsh, but 'TTJ' is just another fine example of great musicians - pretty lousy material.

www.troubletribejapan.com

SKILLER: "Follow The Siren"

Rating: EP

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

The monicker may not be the best ever, nor the most memorable one (actually, anything that ryhmes with 'killer'). However, there's more to Skiller than meet the eyes (Thank God!) and you will find several easy accessible melodies on thier latest EP. It's far too crisp and electronica to please the hardcore death metal fan, but, powerful growls (verses) and clean vocals (refrain), definitely a pleasing combination in my books. Finely and catchy contoured tracks such as "My Secret" and "The Crowning", add to this a great production by Henrik Edenhed (Dead By April, Robyn, etc), and the monicker should be memorized by the fan of structured and updated metal. Yep, there's more than a whiff of contemporary U.S.Metal of today on this patter, but with songs catchy as cold, who gives a damn? Skiller are on the right track to/of success, "Follow The Siren" - follow the leader.

www.skiller.se

DDRIVE: "3D"

Rating: 5/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Geeez, the title of the album reads indeed, "3D", and you'll get a pair of red/green-blue tainted glasses to watch/read the (crap) booklet. What's so great about 3D anyhow? It's the year twenty eleven (2011) and we still haven't been able to come up with anything better and more improved, upgraded, than the ancient old 1950's 3D glasses??? Ehem, anyhow, DDRIVE began their journey in 2004 when guitarist Don Mancuso (Lou Gramm, Black Sheep, Cheater) put together his second solo recordings after finishing tracks for Phil Naro's (Talas, Peter Criss, 24K) "Glass Mountain" project. The two of them decided to continue working together and this being their second release, originally released in 2010.

The albums reeks of seventies denim rock and acts such as Bad Company, Free, and indeed, Black Sheep. It's all very much steeped in the same basic formula and structure as Mr. Big and thus why special guest Billy Sheehan pops up every now and then with his roaring bass-guitar. The melodies are going nowhere though and the plodding of "Dig Down" and "Down Deep" made me think of the fiasco project of the mid-eighties, The Firm, which included Bad Co's Paul Rodgers as well as Led Zep's Jimmy Page (unbelievable). Lousy songwriting and choruses like this one from "1 to 7", where the boys are coming up with killer lines such as "1,2,3,4,5,6,7 - we're gonna make it to rock n roll heaven", makes me rather wanna listen to Lady Gaga and her "unique" pop melodies. Bog average and it's a shame really as Mancuso/Naro are great musicians. Sing-a-long now, "1,2,3,4,5,6,7"... duh.

www.ddrive.com

VON HERTZEN BROTHERS: "Stars Aligned"

Rating: 5/10

Label: Spinefarm 2011

Review by: Urban "Wally" Wallstrom

"Gloria, Gloria" - the word(s) echoes around in my head for a couple of minute only to vanish just as quickly. You can not do anything but agree with folks saying it's "modern psychedelic pop rock" inspired by the late sixties groove and quirky acid acts of the very early seventies. Sadly I'm known as the "hippie hating reviewer" (as well as tosser by many I'm sure) and I can't stand listening to any band's album where you need hallucinogenics to even begin to appreciate the content of their music.

Reading the glowing 'Classic Rock Magazine' review of this very album (yeah, this should have been 'up' weeks ago), you'd think it's an album in the style of Led Zeppelin vs. Yes, Pink Floyd, and lovely music ocure. Now, I'm actually a major fan of Pink Floyd (seriously!!!) and Led Zep did a couple of cool tunes too. This on the other hand is more in the style of Plysh/Kraut/India/Psychedelia and according to this reviewer - the root of all evil (music-wise). Narrow-minded? Well, not really, since I enjoy everything from basic 'Pop, rock, blues, complex prog/math, thrash/speed, grunge, R&B, sleaze, glam, heavy metal, funk, goth, 80s new wave, alternative, romantic, brit-pop, synth, classic, etc, etc, etc. it's easier to name the styles I don't like. This being one of few and I guess we simply do not have any "acid" lover onboard the ship aka RockUnited.

"Stars Aligned" debuted at #1 in the Finnish National Charts??? Holy crap!!! I'm stunned and amazed. It's also been mentioned that they sound like "Foo Fighters playing Pink Floyd’s greatest hits after spending years in India singing Beach Boys". Or that it's a mish-mash of "Queen, Beatles, and Beach Boys melodies". Geez, what are they smoking?? I can't hear much of the greatness of any of these acts as they had great songs in the package. And that's basically what the Von Hertzen Brothers guys are missing - great everlasting songs.

www.vonhertzenbrothers.com

ELECTRIC WOODLAND: "EP"

Rating: EP

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Electric Woodland are aiming to reflect upon history and long gone days on their EP release, drawing inspiration from a wide range of old geezer acts of the seventies and sixties. Influences ranging from Sabbath, Deep Purple, ZZ Top and The Doors, the Norwegians are obviously trying to re-capture the mood in their complex songwriting and groove. Unfortunately, they hardly 'sound' like any of their influences though. It's basically stoner rock gone sour and three out of four songs on display are not even worthy of the space on this particular site. The closing track, "Manimal", a nice attempt at Stooges/Iggy Pop rock and unfortunately the only indication of a light at the end of the tunnel. Final verdict: Good musicians, not so good songwriters (so far).

www.myspace.com/electricwoodland

JOHN WETTON: "Raised In Captivity"

Rating: 6/10

Label: Frontiers 2011

Review by Alan Holloway

My only real experience of John Wetton has been through the group Asia, who delight and bore e in equal measure depending on what album I listen to. It’s no surprise, then, that his latest solo album (co written with Billy Sherwood), has moments of joy and at other times threatens to put me into a coma.

It all starts off rather well, with the upbeat and catchy “Lost For Words”, a track which would certainly fit in well with Asia’s set list, as indeed would the title track, which veers off into a more creative direction but retains it’s fire quite well. “the Last Night of My Life” is more akin to Yes than anything else, as is “The Human Condition“, “The biggest drawback here are some of the slower tracks, although “Goodbye Elsinore” has a simple chorus that is simply a delight to sing along to. “Steffi’s Ring” is a bit of a snore fest, whilst duet “Mighty Rivers” finishes off the album and my patience at the same time. In fact, the second half of the album is pretty tame, saved only by the injection of pace that is “New Star Rising”, which mainly serves to make the tracks around it look like pensioners at a race meeting.

When “Raised In Captivity” works, it works rather well, with some rocky tracks and others that weave an interesting and entertaining web of prog, pop and rock that is fun to try and unravel. When it’s dull, it’s dull to the point of a man telling you about trains, and not even interesting trains at that. With that said, it’spar for the course for this sort of album, and there will no doubt be many Wetton fans who will thoroughly enjoy what he has served up. Bear in mind my mark is from someone who like his prog to have a bit of bite to it, and even then there’s still enough bite here to enjoy.


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DEF LEPPARD: "Mirrorball"

Rating: N/A

Label: Frontiers 2011

Review by Alan Holloway

So Def Leppard are back, sort of. “Mirrorball” is essentially a live album, in fairness their first, with a DVD and a few new songs tacked on to give added incentive for buyers, hence the tag “Live & More”. Anyone expecting something groundbreaking will be disappointed, but as far as doing what it says on the tin, “Mirrorball” is a real treat.

Recorded all over the place during the last tour, the album gives us 24 live tracks, unsurprisingly taking the Greatest Hits route for the most part, although fans will enjoy hearing “Switch 625”. The sound is unsurprisingly superb, and when you crank it up it really is like the band are playing in your living room. It’s good to hear “C’mon C’mon” and “Bad Actress” from their most recent and very good “Songs From the Sparkle Lounge” album along with the old classics, and it’s hard to fault the tracklisting, which understandably appeals to the average fan rather than the rabid one. The three new tracks are interesting, and kick off with a neat guitar driven stomper “Undefeated”, a track that could fit nicely on any number of their albums and remain a favourite. This is followed by “Kings Of The World”, an unashamed attempt at Queen that mostly fails because it’s too much like Queen to be taken seriously as anything but plagiarism. Pretty much a waste of 6 minutes, it’s sure to have Freddie spinning in his grave at the audacity. Final Track “It’s All About Believing” treads the middle ground between the two and does it well, a catchy, mid paced track very much in the Leppard style.

Another live album? Yes, but at least Def Leppard aren’t one of those bands who release one at the drop of a hat, which makes “Mirrorball” a bit special and worth adding to any fans collection.

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BRIDGER: "Bridger"

Rating: 6/10

Label: Escape Music 2011

Review by Alan Holloway

Glen Bridger of Head East has chosen to head off and do some of his own stuff, accompanied by the band’s bassist, Greg Manahan. He’s got pretty lucky in his choice of vocalist, as Terry Ilous showed he can be as melodic as the next chap in XYZ and Great white.

In general, “Bridger” is a pretty lightweight album. Sure, “Don’t Push Me” manages to break free and stomp about a bit to pleasing effect, but elsewhere there are plenty of nice tunes but not a great deal of, as the English say, Oomph. Stuff like “Free” is frisky enough, sounding pretty much like modern day Bon Jovi stuff, as does “Without A Sound”, which could easily have slotted into that band‘s “These Days” album. Unfortunately, after these two tracks the album gets so slow that listening top it is like wading through treacle, with four ballads stuck one after another, not helped by the fact that none of them are anything special. The album finishes off with a small rallying cry, namely a neat version of “Heaven & Hell” which sees Bridger try to inject their own style into the song and, for the most part, succeed.

So what we have here is an album that contains some neat stuff, but on the whole needs to try harder. Great vocals from Ilous help, but some of the songs just drag the rest down, and that’s a shame. Certainly not a failure by any means, “Bridger” still have a way to go before they can swing dicks with the big boys.

JAMES BYRD'S ATLANTIS RISING: "Beyond The Pillars"

Rating: 6/10

Lion Music 2011

Review by Kimmo Toivonen

Here's yet another "treasures from the archives"-kind of an album. James Byrd was one of the founding members of Fifth Angel, a fine melodic metal band that released two albums in the late eighties. Byrd left the band before the second album, and resurfaced a couple of years later with Atlantis Rising, who released their first album in 1990. This album includes recordings that were done before the first album. Apparently they were recently discovered from a box of tapes in the singer's garage, and thought to be so good that they needed to be released for all the world to hear.

So, what do we have here? Seven not very polished demos of songs that later appeared on the band's first real album, and seven other songs from the era if I'm not mistaken. Musically Byrd's music is somewhere between the neo-classical style of Yngwie Malmsteen and Dokken, with a lot of similarities to Fifth Angel of course. Byrd's definitely a capable songwriter and a bit of a guitar hero, but it's not him who steals the show. That "honour" is reserved for vocalist Freddy Krumins. He has a considerable range, but his voice is really an aqcuired taste. He sounds like the bastard son of Lizzy Borden and King Diamond, and at times his voice is like fingers on the chalkboard for my ears. It's all a question of taste, but I just don't like the guys' voice.

Musically there are some rather fine songs among the 14 tracks, like the highly melodic "Remember Love" and "After The Fire", both later re-recorded for the first JBAR album. Then again, "Waiting In The Shadows" with its' Alice Cooper/King Diamond styled horror theme is pretty horrible, but thankfully it's an one-off. Still, the vocals pretty much ruin all these songs for me, and the muddy production doesn't do any favours for the band either. Maybe a re-issue of the first album with these demos as a bonus would have been better. I just don't enjoy listening to inferior demo versions, no matter how spirited or electrifying the individual performances on the tracks are. Again, review mathematics: 8 for the songs, 4 for the sonic quality... it's 6 then.

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ENDLESS MAIN: "Sea Of Lies"

Rating: 5/10

Endless Main 2011

Review by Kimmo Toivonen

Oh well. I could sum this album in a few words: "Average power metal, average vocalist", but I guess I should be more elaborate. Ok. This is a 6-track album. Plus an intro, no power metal album would not be complete without a pompous intro. Out of the six tracks, five of them are driven by a typical frantic power metal beat, meaning that the drummer's gotta work hard for his money (?)... The remaining one is a more of a midtempo track. Fear not, parts of it do allow the drummer to do his thing, which is to tap his feet furiously, godknowshowmany beats per minute.

The keyboards add a little colour to the otherwise samey material, and some of the melodies are actually quite decent. Unfortunately the band's singer doesn't really have the voice to carry them. His lower register is rough and raspy, while his higher register is thin as paper. Not good. The "accapella" intro of "Only Once" shows his limitations rather painfully. Quite painful is also the following song "Revenge", which sees the band flirting with more extreme sounds. The Cookie Monster Growl in the chorus is pretty ridiculous.

I'd recommend this album to the fans of early Helloween and Stratovarius, the music isn't too bad but don't expect soaring vocals á la Kotipelto or Kiske. Not even Kai Hansen.

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INFINITY: "Infinity"

Rating: 7/10

Melodic Rock Records 2011

Review by Kimmo Toivonen

Andrew McNeice's MelodicRock Records brings us an archival release from 1986, featuring the AOR semi-god Mitch Malloy on vocals and David Rosenthal of Red Dawn on keys. The rest of the musicians on the album are session players, including guitarist Reb Beach (Winger, Whitesnake).

In 1986, young Malloy wasn't quite the super vocalist he turned into by the time of his debut album a few years later. Don't get me wrong, he had the pipes already, but I think his performances on this album do not have as much versatility or character as on his later recordings.

Some of these songs you might have already heard, although covered by other artists. There's "Secrets", covered by Message in 1998 on their "Fine Line" album, but the bulk of the material has been re-recorded by Red Dawn, no less than 4 of the songs appeared on Red Dawn's "Never Say Surrender" album. I prefer the latter-day recordings, but these are quite interesting too.

The "unheard" tracks are all good, but not great keyboard-driven melodic hard rock, slightly less heavy than Red Dawn. The level of "greatness" isn't reached thanks to some rather uneventful choruses. The closest one to something really speacial is the ballad "Promise" (not the Red Dawn track "Promises"), but no, it doesn't quite measure up.

This album is probably essential to all the Mitch Malloy fans and naturally all the Red Dawn enthusiasts. For me, it's a nice, slightly "novelty" type of an album. Decent songs, decent production but let's face it, it's unlikely that I'll listen to this often now that the review's done. The Red Dawn versions are still better, and there's always Malloy's own stuff to listen.

AIRRACE: "Back To The Start"

Rating: 7/10

Frontiers 2011

Review by Kimmo Toivonen

Airrace might hold the record for "The Longest Time Between First And Second Album" - just 27 years. Their debut "Shaft Of Light" is considered a classic by many, I don't know about that but it's certainly a good album. The band's second album follows the debut pretty seamlessly, despite the almost three decades that have passed. Keyboards parp like it's 1985 all over again and the melodies are straight from the Big AOR Songbook. That translates as "outdated" or "vintage-sounding", depending on your point of view. I have no problem with the sound, especially when the band doesn't sound like a bunch of old geezers trying to cash in on their past glories. Vocalist Keith Murrell is especially convincing, still a first class AOR vocalist.

The first two tracks are very both very good songs, they've could've been easily included on the first album. After these songs things get a little weird, as Airrace start to play the "Soundalike Game". They start it lightly with "When Baby", which is their "Boston song" I guess, nice vocal harmonies and Tom Scholz-approved chugging riffs. To be honest, even the previous song "Two Of A Kind" had some Bostonesque guitar melodies... "Call Me Anytime" gets almost the full points - this is Toto's "Hold The Line", right? Mixed with a bit of Foreigner? "So Long" starts with a military beat, dramatic... hey, I got it! This is Survivor's "Burning Heart Of The Tiger"? Good songs all three, but...

The album's title track sounds suspiciously familiar, but I can't name the song... Foreigner maybe? The poppy "Just One Kiss" reminds me of a song too, but the genre's completely different and this can hardly be called a "soundalike". Still, can't help but think of Jackson Five's "ABC" when I listen to this track.

For the next three songs the band turns into a standard pub rock band, only to return to AOR for the last song "What More Do You Want From Me". Well, this song's got a cool, driving beat and keys reminding me of early Michael Bolton material, but to answer the question in the song - how about a better chorus?

Let's sum this up, apart from the dull pub rock tracks, all the songs are OK or better. The most "soundalike" tracks are a bit funny but enjoyable all the same, and the band seems to be in vital shape. As an eighties-styled 9- or 10-track album with the least noteworthy tracks saved for the Japanese market or something, I wouldn't have hesitated in giving this a better rating, but now it's only a "7". But welcome back anyway.

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MIRIAM: "Karu Maa"

Rating: 8/10

Bullroser Records 2011

Review by Kimmo Toivonen

"Karu Maa" is dark, melodic, metallic rock music from Finland and in Finnish. The band doesn't shy about their Christian beliefs, yet their message isn't really quite as overbearing as Christian music at its' worst is. After the first quick listen I wasn't really impressed, but the album has greatly benefited of a few additional spins. The band's knack for writing memorable melodies and choruses is worth applauding and with solid performances all around, this excellently produced album should elevate the band to the frontline of Finnish Christian Hard Rock. The fans who are mourning over the hibernation of THE RAIN should check out Miriam - they have their own identity but both bands share certain key elements.

The most instant "hits" of the album for my money are "Aarre Saviastioissa" with its' gloriously melodic intro and superb chorus, the anthemic "Vaientakaa" and the potential rock radio hit "Kauna". The latter could indeed make an impact on the radio thanks to its' universal lyrical theme. It doesn't sound like a typical "Christian Rock Song"... Ironically, should this song become a radio hit, the hardcore Christians would probably be shouting "sellout", forgetting that it would allow the band to bring their message to a wider audience. There's no use in preaching to the converted, is there?

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PAUL SABU: "Call Of The WIld"

Rating: N/A

Label: Z Records 2011

Review by Alan Holloway

Right. Everyone knows about Paul Sabu, don’t they? Everyone but me, anyway. I know the name but couldn’t hum you any songs, and I’m sure I bought the Alexa album back in the 80s which he had something to do with. That’s sort of all I know, or at least until this week, when this retrospective slotted into my CD player and blew my mind.


Sabu is now signed to Z Records, and in anticipation of his next album, they have cobbled together this 16 track best of compilation, remixed and generally tarted around with, and I now feel like a total tool for not having heard, well, any of these tracks before. Actually, at Z Rock this year I did ask label boss Mark Alger what the great music playing between bands was, and he looked at me like I was mental for not knowing it was Paul Sabu. A month later, I’m grateful to hear the full CD, as it’s an absolute belter. Sabu has a natural rock voice, with hints of Stan Bush and Coverdale, and the tracks are as melodic and bombastic as you will ever have heard. After just two tracks (“Angeline” and “Just Ask”) I was well and truly hooked. This is Classic Rock, ladies and gents, at it’s best.


If, like me, you’ve never dabbled in Sabu, you need this album. Seriously, just get it at any cost, because it will instantly become a favourite. If you are an existing fan it’s still a great compilation with plenty of tracks. With this and If Only’s release I’ really being spoiled this week in the retro stakes, and I love it. No mark for compilations, but trust me when I say this is a slice of pure AOR heaven.


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IF ONLY: "No Bed Of Roses"

Rating: 9/10

Label: Avenue Of Allies 2011


Review by Alan Holloway

“No UK band can play AOR that good, they must be from America!” said Geoff Downes of If Only, and to be honest he was pretty much on the ball. A lost gem in every sense, “No Bed Of Roses” should have been massive, but due to a much delayed release in Europe (2 years after Japan) and the death of talented lead singer Tina Egan, it disappeared.


Tina Egan is definitely the star here, and lovers of the likes of Fiona and Vixen will have a ball with this. The songs are uniformly strong and catchy, and when she belts it out she just sounds out of this world, with perfect pitch and a bit of a rasp that is the icing on the vocal cake. Also included are a few songs with vocals by Girlschool’s Jackie Bodmead, who Egan replaced, and although she has a good voice, she’s not in Egan’s league at all.


As an AOR album, this really is near perfect, and should not be hidden away. You really owe it to yourself to get it and enjoy one of the best female vocalists there was. Excellent in every way.

OUTLOUD: "Love Catastrophe"

Rating: 8/10

Label: AOR Heaven 2011

Review by Alan Holloway

A couple of years ago, I said many nice things about Outloud, a band formed by Talon vocalist Chandler Mogel and Bob Katsionis, keyboard tinkler with Firewind. Melodic yet with a solid, powerful base, their debut is an album that can be enjoyed over and over again, so naturally I was happy to see a second effort, and rightfully so.

Despite a cringeworthy (and thankfully very short) spoken intro, the cliché ridden opener “We Came To Rock” sets the tone pretty well, although it’s not the best example of what the band has to offer. Outloud are an amalgamation of some of the better European melodic rock acts, such as W.E.T, Eclipse and , H.E.A.T and even (thanks to Mogel’s voice and the ever present guitar riffage) classic Stryper. “Love Catastrophe” is a pretty constant barrage of very melodic music, from the tacky opening to the title track, which sensibly rounds off the album with an absolute killer chorus. There’s nothing wrong with the band playing it, with Ex Firewind drummer Mark Cross keeping everything tight at the back (as he will soon do for Tainted Nation) and Tony Kash throwing the appropriate guitar shapes and pulling off some neat solos throughout. There’s no standout musical performance, instead everyone just flows together and makes cool music, which is as it should be.

Aside from a rather tame ballad (“Someday”), this is a very nice album, one of those I can just listen to several times without getting bored. Nothing new, maybe, but full of melody and as power laden as AOR is allowed to be before someone calls it metal. Naturally, fans of the first CD will love it, but I can certainly recommend it if you like modern European AOR with a bit of an edge.

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