HUMAN ZOO: "Eyes Of The Stranger"

Rating: 8/10

Label: Fastball 2011

Review by Kimmo Toivonen

"Third Time's The Charm" they say, and sure enough, the third album has been the cornerstone for several bands, the door to bigger stages. Bon Jovi, Def Leppard... Whether "Eyes Of The Stranger" will be a turning point in Human Zoo's career I don't know, but it certainly is a good album. The band hasn't changed their style, and fans of Gotthard, Bonfire and Pink Cream 69 are very likely going to enjoy these songs. Just like the previous two albums, this isn't an unforgettable classic. Then again, every song has its' place on the album and they've pretty much managed to avoid the pitfall of fillers. Okay, maybe there's one track that could've been saved as the japanese bonustrack or something, that being the slightly tiresome "To The Top" with its' dodgy lyrics about "rocking you tonight" and "making it to the top tonight", but there rest of it is good.

As with their previous albums, the production is exceptionally good, although the production team has changed. The "golden touch" of Dennis Ward has been replaced with that of Chris Lausmann and Zarko Mestrovic, who prove themselves to be just as capable of creating a great sounding album. Thomas Seeburger's vocals remind me a lot of Andi Deris (Helloween, ex-Pink Cream 69), the keyboard work of Zarko Mestrovic is very impressive and the same goes for the rest of the band too. The Zoo's secret weapon, Boris Matakovic's saxophone isn't heavily featured on all the tracks, but rather as a spice here and there, like the ballad "Hold & Care".

Highlights: "The Answer" and "Fall In Love". Yeah, this is good melodic hard rock - nothing more, nothing less. And sometimes that's just what the doctor ordered.

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WHITE WIDDOW: "Serenade"

Rating: 8/10

Label: AOR Heaven 2011

Review by Alan Holloway

Last year, lots of people got rather excited about the debut album from Aussie AORsters White Widdow. One of the few people who wasn’t very excited at all was me, calling it “perfectly serviceable” and not much more. The problem I had was that it seemed like I’d heard it all before, with the songs not having that special something that would allow White Widdow to be themselves, rather than everyone else.

Well, it’s a year on, and album number two has arrived, bringing with it all the promise of the debut but with a health dose of wonderful songwriting that, for me, signifies the coming of age of White Widdow. “Serenade” is more mature and has better songs than the debut, stuffed as it is full of big chorus fluffy rock anthems, the sort where you sing about “Rocking to the radio” without any shame. The album starts off strong, with “Cry Wolf” and “Strangers In The Night”, two ridiculously retro rockers that will have anyone with a sense of fun bouncing up and down and reminiscing about the 80s. The third track, “Do You Remember” is my favourite on the album, and a perfect example of a rock ballad, drawing on a guitar sound from Leppard’s “Hysteria” before taking things in it’s own direction with a chorus that just won’t quit.

“Serenade” is a prime example of a band drawing on rather obvious eighties influences and just managing to break free of them. It’s ludicrously melodic, with keyboards and guitars sharing the limelight, and when they get it right with the songwriting (as they do for the majority of the album) they deliver track after track that you will be playing and singing along to for many years to come. As far as vocals go, Jules Millis strikes a happy balance between Ted Poley and Dan Huff, lifting the songs nicely without overpowering them. There’s a few tracks that are good rather then great, but overall this should definitely be in your collection if you still want to call yourself a melodic rock fan.

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RUBICON CROSS: "Ep"

Label: Indie 2011

Review by The Bailey Brothers

It’s cool to come across fellow musicians who are buzzing with excitement of what they have recorded. We were pretty impressed with the band Furyon when we saw them live so when their guitar player Chris Green got in touch and told us about his new project we were pleased to receive a copy of the Rubicon Cross EP.

“Moving on”: A clean atmospheric opening underpinned by clean guitar from Cross and the second CJ holds onto an awesome vocal note you know this has the beginnings of a quality song if this was the 80’s it would probably lead into a typical cowboy type Jovi song but this is 2011 and it powers into a ball squeezing Zakk Wyldesque riff that’s ignites this ditty. The song has many changes in both clean and distorted guitar if anything the chorus is maybe not strong enough as the rest of the song has raised the bar but with good tempo change, quality vocals and musically tight it’s a cool number.

“Next Worst Enemy”: crammed full like a tin of sardines of attitude, Velvet Revolver style maybe but with a really catchy melodic pre chorus and chorus, the verse has a more stabbed choppy feel which helps the pre chorus and chorus lift. I like the guitar solo which is well structured and there’s a middle 8 section (break down) with a distorted sort of megaphone type of vocal that works well before the track gallops home to a round of applause.

“Are You Angry" again kicks off with clean guitar and vocals intro before gate crashing the picnic on the lawn with a thunderous riff that would have any eloquent aristocrat running for cover .One thing about this band there’s no shortage of ass kicking rifts but the verses have a more open string feel but with distorted guitar maybe clean would have been better before picking up tempo in typical Halloween style. I wasn’t totally sold on the rhythm feel of the chorus it may have road better with a more constant gallop. It was fine vocally and maybe an approach was taken not to do the obvious? Sometimes it felt a little disjointed but again a cool guitar solo and one of the coolest riffs was used for a link after the intro and again at the outro ending.

“Shine”: Thought it was gonna get too predictable with guitar and vocal intro but it actually was all part of a nice ballad that really needed as much thought as the previous songs because it lacked the dynamics of the others where a key change or more soulful guitar solo would have made this a killer song. Maybe to have come out of the guitar solo with just vocals and clean guitar and it would have added a little colour? There’s a really nice change towards the end and that’s what was needed earlier as it got a bit pedestrian (as most ballads do) but the vocals were excellent and the song is good so I just thought this time we had the cake without the icing. Even though again the solo shows great technique it was crying out for a Vito Bratta (White Lion) melodic solo just my opinion. This is a very good EP great guitar playing, great vocals and I definitely think you would be well satisfied purchasing this release. It kicks ass that’s for sure


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WHITESNAKE: "Live At Donington 1990"

Label: Frontiers 2011

Review by The Bailey Brothers

We have been fortunate enough to witness what it’s like to hit the Monsters Of Rock stage in front of 70,000 fans and the adrenalin rush is intense. The event moved from Castle Donington to the Milton Keynes Bowl in 1989 after the death of two young fans in 1988. It’s a welcome return for the MOR and Whitesnake who headlined for the 2nd time On August 18, 1990. This release is a DVD/live double CD set and really captures the essence of one of the most prestigious festivals of its time. The one thing we admire about David Coverdale is his professionalism, he always keeps himself in the best condition he can and his band Whitesnake is renowned for attracting some of the best musicians on the scene. The line up again is pretty awesome; Adrian Vandenberg and Steve Via guitars, bassist Rudy Sarzo, drummer Tommy Aldridge and one of the best bluesy rock vocalist our country has ever produced, David Coverdale, lead vocals. Back stage Rudy Sarzo told the Bailey’s what it meant to him personally to be playing here today. “For me it’s a personal triumph, I’ve always been a fan of British Rock N Roll; it was always my dream to be in a British band and to headline a major festival in England where people come from all corners of the Earth. For me this is a triumph un parallel”.

Whitesnake are on the crest of a wave after the “Slip of the Tongue” album release in 1989 so it’s no surprise the concert kicks off with the title track. When you have been around as long as Coverdale and wrote so many awesome songs the set list is cram packed with gems such as Fool For Your Loving, Here I Go Again, Slide It In, Still Of The Night, Cryin’ In The Rain, the list is impressive and the performance top notch with a few exceptions such as “Is this Love” which was over played lead guitar wise. This release is a must have edition for any Whitesnake fan and also fans of the Monsters Of rock festivals (now Download). The 'Live At Donington 1990' DVD also includes a substantial gallery of never before seen stills of the band on the "Liquor & Poker World Tour 1990", plus an intimate behind-the-scenes documentary of the making-of the SLIP OF THE TONGUE album. "Live At Donington 1990 1990" is available in 2CD set, DVD cover pack, combo 2CD + DVD in digi pack and digital edition.

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JORN: "Live In Black"

Label: Frontiers 2011

Review by The Bailey Brothers

We are not going to go down the “he just sounds like the late great Ronnie Dio” route because RJD was a one off a lovely guy and sadly missed. RIP Mr Dio. To be compared is to be type cast and Jorn is very much his own man but with a similar talent, able to tell mystical stories and deliver them with power and passion. There’s still a copy of Jorn’s debut album “Starfire” to hand at the office. He was a little bit more melodic and had a higher vocal range back then but still did a powerful cover version of Deep Purple’s “Burn”. From there he went on to really carve out a respected name in the rock world with brilliant albums with Masterplan plus endless solo albums that have left his trade mark vocal pipes embedded in rock n roll history.

The “”Live In Black” album was captured at the Sweden Rock festival Solvesborg, one of the must attended events on the yearly calendar. It’s not Jorn’s first live album release. He had “Live In America” released in 2007 (another cool album folks) also a live DVD in 2009. This is a follow up to his last studio album which was titled “Spirit Black” released in 2009.The key to any good live performance is the line up and it’s cool to know the likes of lead guitarist Tore Moren is still by his side. There is great camaraderie with in the camp which helps glue the band together and it’s evident in this release, the lead and rhythm Guitar players compliment each other’s styles tastefully and they are Tore Moren and Tor Erik Myhre; the bass chops are tight and feature Nic Angileri on Bass guitar. Bashing the skins and driving the band is drummer Willy Bendiksen. These are all high calibre musicians and give Jorn a delightful array of heavy meaty riffs that allows Jorn’s vocals to soar like they hitched a ride on a surfboard with many vocals descending with an added delay effect like the waves crashing down and splashing the crowd.

if you want to sum this release up I would say this; the one thing you have with every Jorn release is consistency, great vocals, great musicianship, a good selection of songs and a mixture of good old fashioned rock n roll with a sprinkling of modern riffs that keep it fresh. You pick your favourite songs because thankfully there’s no dead wood on this release and it is well worth adding to your collection. We know an awesome singer when we hear one and he’s one of Europe’s best traditional rock vocalists.


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STAMPEDE: "A Sudden Impulse"

Rating: 6/10

Label: Rock Candy/CandyMan 2011

Review by: Urban "Wally" Wallstrom

Stampede played the Reading Festival in 1982 (when Twisted Sister also played there) and that's pretty much their legacy in and of metal. That's a bit harsh, if you'd like a quick history, originally formed by the Archer brothers (Reuben - vocals, Laurence - guitar) after they split from Lionheart in 81'. Released the album "Hurricane Town" before they also split in 83' due to an indifferent reception. Lawrence played with UFO and Phil Lynott's Grand Slam while the other members went on to acts such as Waysted and Meat Loaf??? Oh, and Reuben broke his leg badly and quit the music business to form his disign company (yeah, it's important to have two good legs if you're a singer?).

Fast forward to 2011 - what to expect from a band that barely exsisted inbetween a time period of approx 24 months in the early eighties? Well, the label sticker reads "Classic NWOBHM" but that's clearly not the entire truth. In fact, it's rubbish, erase the NWOBHM stamp a.s.a.p. as this platter reeks of typical 'meat and potato' U.K. hardrock of the seventies. Did anyone say UFO? Indeed, not that strange either as Lawrence played on both "High Stakes" and "Dangerous Men" (and 'Live In Japan' for that matter). Reuben is a fine vocalist in the tradition of Phil Mogg and Lawrence's obviously inspired by Michael Schenker.

The production is definitely retro and true to their late seventies sound. The Archer brothers and original bassist Colin Bond (Meat Loaf, Bernie Torme) sticks to what they're good at and keep things rather straightforward and simple on "A Sudden Impulse". Nothing too fancy or out of ordinary, simply just basic U.K. rock in the nice tradition of UFO (only not quite as great).

www.stampederock.com/

XORIGIN: "State Of The Art"

Rating: 7/10

Label: Frontiers 2011

Review by: Urban "Wally" Wallstrom

Like the old saying goes 'where to draw the line between pleasure and pain, past and present, catchy and cliche? I believe it's a battle of the mind and I still haven't figured out the winning side as I'm typing down the words about "State Of The Art". It's the debut album by Xorigin - a mixed duo out of Scandinavia (a Norwegian and a Swedish guy) and very capable of writing tunes that on one hand are sort of catchy and nice, but on the other, so strangely familiar, borderline deja vu.

I know of vocalist Johannes Stole from the Norwegian progressive rock band Slaves To Fashion (see reviews in archive) and guitarist/keyboardist Daniel Palmqvist' done session work and played in bands for years. Also onboard the spaceship (simply check artcover picture for proof) drummer/producer Daniel Flores -known from all sorts of bands and projects in the past (perhaps mostly prog). The Xorigin project was originally formed in the states (Los Angeles), while the members where studying music there in approx 1999.

The result is both good and bad. When Xorigin get it right, which they do on several tracks, they sound utterly amazing and truly professional. It's once again a mixture of the rather typical (radio) pop rock sound out of Scandinavia (Sweden), AOR and Westcoast - plenty of dut-dut keyboards and hardly any loud guitars to be found. The first two opening tracks are however not to my liking (Can't Keep Running, Crying For You). The sound is simply too sterile and too forced to bare any interesting points. They pick up the torch of Chicago 'ala 1989 and album "19" on "In The Blink Of The Eye" and the result is very pleasing to these ears. Great harmonies and a Chicago hook to die for. "Too Late", pretty good, one of those songs that's neither pop nor rock. "Gina" comes out swinging like an intoxicated Kip Winger at the Peter Cetera/Chicago congress, while, "This Is It" and "Said and Done" simply kills (extremely catchy pop rock with a twist - neato!).

"Matters To The Heart" and "What Love Is All About" are certainly inspired by Yes in the era of "90125" and "Big Generator". However, you'll have to add just as much of the catchy pop/rock out of Scandinavia to reach the core of things. Final verdict: High-tech AOR or simply just poppy rock? I dunno, it's a fine line, hair-splitting, etc. I know that I enjoyed most tracks though and that's not a too shabby result really.

www.myspace.com/xorigin

Toby HITCHCOCK: "Mercury Down"

Rating: 10/10

Label: Frontiers 2011

Review by Kimmo Toivonen

Toby Hitchcock, the vocalist of Pride Of Lions, hooked up with Swedish songwriter/producer Erik Martensson of Eclipse/W.E.T. fame to create his first solo album. Even with the Atlantic ocean between them, the collaboration has worked out pretty nicely. Actually, it has worked amazingly well, as you're not likely to hear a better new AOR album this year. "Mercury Down" has it all - the songs, the production, the edge and The Voice of Toby Hitchcock. I remember the first Pride Of Lions when he was a bit over-the-top, reaching for the big notes even when it wasn't really needed, but now a few years later, he delivers a consummate performance.

While the songs are highly melodic and pure AOR, they rock hard too. Guitars are upfront and the sound of the album is bombastic. The album isn't swamped with ballads, there's actually just one slow song and it has its' fair share of power too.

As my rating probably tells you, there isn't a weak song to be found on the album, but let's take a quick rundown of my favourite ones. The opening track and the first video song "This Is The Moment" is the best song I've heard in months. Massive chorus, intense pace all the way through and and more pomp and power than a hundred lesser AOR songs put together. The dramatic "Let Go" sounds a bit like Survivor but with bigger guitars, while the aforementioned ballad "One Day I'll Stop Loving You" has the kind of a chorus that could knock down walls.

"I Should Have Said" has a bit of a Journey vibe but with Martensson's heavier production sheen, and the same could be said of "Just Say Goodbye", both superb tracks. "Tear Down The Barricades" is the album's heaviest track, reminding me of Talisman and Dio. Martensson, who apparently handles all the instruments on this album, is really on fire, throwing some fantastic guitar tricks to this track. The closing duo of "A Different Drum" and "Mercury's Down" is something special too, both blessed with superb choruses.

If the sheer brilliance of the music wasn't enough, the lyrics of the album are very good as well. It's not your average AOR album with mushy love songs, although most of the songs deal with relationships, just different stages of them. Take "This Is The Moment" for example - it's an anti-love song or at least a "falling out of love" song, and Toby sings it with conviction.

I will make a prediction: "Mercury Down" will be my album of the year 2011. I wouldn't mind being proven wrong, but it's gonna take a hell of an album to push this one from the top. Bring it on...

NEONFLY: "Outshine The Sun"

Rating: 8/10

Label: Rising Records 2011

Review by Kimmo Toivonen

Melodic Metal/Power Metal genre has been rather oversaturated for a long time, with most of the new bands lacking in identity. Neonfly are an exception to the rule, as clearly have a style of their own. Okay, they are not doing anything out of this world, but at least they aren't yet another Maiden/Helloween/Manowar copy. They've got some fantastic melodies, interesting arrangements and certain kind of intensity that I find really appealing. Think traditional power metal mixed with modern day metal of Bullet For My Valentine with some prog elements and you're close to the band's sound.

Time flies by when listening to the first five songs of the album. They're all good tracks, but if I had pick just one, I'd say that "A Gift To Remember" is the pick of the bunch thanks to its glorious chorus. The sixth song "The Ornament" is an instrumental, and somehow it ruins the flow of the album. As far as instrumentals go, it's not too bad but I can't help but feel that it's merely an interlude that lasts for too long.

The band pick up things again on the second half of the album. The charmingly titled "Spitting Blood" is one my favourite tracks, with a great, intensive chorus and a perfectly placed key change. I'm left wondering how much vocalist Willy Norton sounds like young Michael Voss (Mad Max, Casanova). With its' oriental flavours, "Morning Star" reminds me a bit of Kamelot, while the (at times) balladic "The Messenger" features yet another fine vocal performance from Norton. Soft, clean, rough and tormented... the guy displays a real rainbow of emotions. Cool keys too, and some tasty shredding there. The last song of the album is a frantic little punk rocker called "I think I saw a U.F.O.", a bit of lighthearted fun after all the darker lyrics.

If you're like me and a bit fed up with the melodic metal genre, don't give up just yet... Neonfly are worth checking out - it's not the same ol' same ol'.

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LECHERY: "In Fire"

Rating: 6/10

Label: Metal Heaven 2011

Review by Alan Holloway

Do you like heavy metal? Lechery do. In fact, they like it so much they could probably give Manowar a run for their money, although the angry Swedes are most likely to be compared to German metal merchants Accept. “In Fire” is their second album, and it will remind you that there is always a fine line between metal majesty and outright comedy.


So how metal are Lecehry? Just check out these song titles: “Heart Of A Metal Virgin”, “Lust For Sin”, and the not at all clichéd “We All Gonna Rock You Tonight”. As you may have guessed, there are no ballads. Musically, Lechery are better than the tacky cover and titles would have you believe, with some fine singalong anthems and straightforward metal steamers. Hell, “Cross The Line” could sit well on a Saxon album, so despite all my piss taking I still enjoyed listening to “In Fire”, although I a still embarrassed to sing along to some of the tracks. Ex Arch Enemy man Martin Bengtsson has a fine metal voice, and there are plenty of fist pumping guitar moments to help him along, along with some breakneck drumming from Kristian Svensson.


Lechery play the sort of music that can easily go very wrong, and they do a good job of the metal/moronic balancing act, mainly because the actual tunes overcome the often silly lyrics. If you are a fan of old school metal with a melodic heart, you could do a lot worse than this.

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SERPENTINE: "Living And Dying In High Definition"

Rating: 9/10

Label: AOR Heaven 2011

Review by Alan Holloway

First up, I have to say that I’ve been a fan of Tony Mills since his days in Shy, and it’s always a pleasure to hear him on an album that plays to his vocal strengths. The first Serpentine album did just this, and I’ delighted to report that this one does as well, only more so.


Full of hard edged melodic rock, “Living & Dying In High Definition” is, for my money, the best album involving Mills since Shy‘s seminal “Brave The Storm”, with a similar song structure that allows every song to evolve at it’s own pace, with none coming in under 4 minutes 50. “Heartbreak Town”, for example, follows a deceptively similar path to Shy’s “Caught In The Act Of Love”, but has a ton of it’sown ideas as well. There’s out and out rockers, such as the impressive opening salvo of “Deep Down (There’s A Price To Pay)” and “Philadelphia”, and even a soaring ballad in the shape of the very hummable “Love Is Blue”. There’s a great mix of keyboards and guitar throughout, and kudos are definitely due to Gareth David Noon and Chris Gould respectively, whilst producer Sheena Sear has kept everything well balanced.


With nary a duff track in sight, this is a big improvement on last years debut, impressive as that in itself was. Definitely old school but with a real spark of originality at it’s core, this is a must for all fans of Tony Mills and keyboard driven melodic hard rock.

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DEREK SHERINIAN: "Oceana"

Rating: 7/10

Label: Mascot Records 2011

Review by Alan Holloway

Derek Shrinian, former tinkler of the ivories for mega talented but often tiresome prog rockers Dream Theatre and current Black Country Communion member, continues to carve out a reputation as a top notch instrumentalist with this, his seventh solo album.


I say ‘solo’ album, but “Oceana” sees Sheinian team up with five different guitarists over nine tracks of varying quality and style. Top of the heap is Steve Stevens, particularly on “Ghost Runner”, a track that bounces along with a real vigour that is reminiscent of some of Satriani’s better stuff. Joe Bonamasa, Sherinian’s BCC bandmate, unsurprisingly pops up for a single track, “I Heard That”, which is very laid back but no less effective for it. Doug Aldrich also gets a good shout with his track “El Camino Diablo”, which has a refrain that sticks nicely in the listener’s head. Steve Lukathor gets to play on three tracks, whilst Tony Macalpine finishes off the roster with two. Interestingly, the majority of the tracks are written by Sherinian and drummer Simon Phillips, with only Bonamassa and Stevens contributing to their tracks.


“Oceana” is a solid instrumental album, although it could perhaps do with a little more flair. The keyboards of Sherinian are mixed well with the guitars of his guests, although he never tries to overshadow anyone. Although I have found it hard to go overboard about the album, I find myself coming back to it time after time, which can only be a good thing. A slightly mixed bag, but overall an album to enjoy and admire.

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ANCIENT VVISDOM: "A Godlike Inferno"

Rating: 7/10

Label: Shinebox/Gordeon 2011

Review by: Urban "Wally" Wallstrom

Lyrics about the mysteries of occult, paganism, satanic philosophy and what not really. Yes indeed, The Ancient VVisdom is blacker than black and darker than dark(ness) - you sort of expect to find tons of growls, full-throttle black metal, and abyss-like screams on "A Godlike Inferno", only to end up disappointed (?) by the soft and laidback album both style and music-wise. Well, it's a nice surprise as well as a welcome change from the cliche' like releases of the genre.

They blend acoustic and electric guitars, synth sounds, vocal harmonies and abstract percussion in their search of a deeper, ethereal quality and minimalist arrangemets. Certainly related to the most laidback style of Type O Negative at times and neo-folkore music. They're using acoustic guitars to give the music an organic connection to the nefarious rites they begat. Very basic and several tracks such as the excellent "Necessary Evil", "World Of Flesh" and "Children Of The Wasteland" are more in the style of singer/songwriter than full-on speedy black/death metal.

To be honest, the music doesn't fit into the usual/normal pigeonholes and it's actually quite healthy and nice to listen to something out of the ordinary. What's next AOR with black metal lyrics? Vocalist Nathan Opposition (ex-Integrity drummer) isn't howling over the melodies as much as softly whispering and his powerfully honest voice works nicely together with the material. I like it, I like it a lot... but if you can't look past the lyrics, well, simply look the other way.

www.myspace.com/ancientvvisdom/

WORK OF ART: "In Progress"

Rating: 8/10

Label: Frontiers 2011

Review by: Urban "Wally" Wallstrom

Work-o-fart?? It's clearly a windy and smelly sort of business? Huh, what? Work Of Art - ehem, right, the moniker fits like a glove and if "In Progress" came out back in the days, it would probably have been hailed as a small masterpiece of poppy melodic rock aka AOR with plenty of westcoast influences. These days, it's like if major record labels are afraid to support any quality album since it would only make their other releases look bad in comparison. Ehem, and don't give me the old "it sounds too much like the eighties" b.s. A quick glance at the Pop albums as of lately and you'll quickly notice that most acts are heavily inspired and influenced by the eighties.

Hailed as the new Swedish wonder of Toto-like melodies, these guys are certainly capable of mixing catchy and smooth compositions with keyboards, grand-piano and excellent vocals by Lars Säfsund. They play the sort of music that's mellower than a hippie on holiday down in Caribbean and it's clearly not every man's poison. "Eye Of The Storm" has more in common with Signal and their one and only album or Mark Free's 'Long Way From Love' than Toto, but I guess it'll attract the same kind of music lovers after all. "Until You Believe" is moodier and more towards the style of Steve Perry/Journey and their approach to semi-ballads, well, at least until the chorus part.

"The Great Fall" is another fine example of top-notch AOR and the same could be said about "Call On Me". But again, don't expect this to be all about "Toto" as these tracks are really more about the first Bad Habit and Big Money vs. classy U.S. AOR of the late eighties. "Fall Down" and "One Step Away" on the other hand - definitely in the vein of Toto and you'll get plenty of these moments as well as "In Progress" literlly reeks of professional arrangements and several layers of instrumentation. Final verdict: perhaps just a bit too safe and predictable at times but you simply can't go wrong here if you're a soft-rock fan. Recommended.

www.myspace.com/musicofworkofart

www.facebook.com/musicofworkofart

CHASING KARMA: "Cosmocracy"

Rating: 5/10

Label: Indie 2011

Review by: Urban "Wally" Wallstrom

Do you recall Biloxi??? and no, I'm not refering to the dusty old town in America (come to think of it, there's one helluva lot of melodic acts/cities out there: next to Biloxi, Baton Rouge, Boston, Chicago, Kansas, Nantucket, etc.). The U.S. band Biloxi recorded a fine debut in 1993 (Let The Games Begin) and ended up worse with each following attempt before they decided to split up the other year. Chasing Karma is the new project of vocalist/guitarist Mark Allen Lanoue (Dean Fasano, Arcara) but more like a continuation of the latest Biloxi album really.

It rumbles along the highway like a trusty old tractor rather than a speedy racer and the three (!) lead guitarist make no difference whatsoever in the end. Mostly due to a rather dodgy production (very hollow and thin-like) and the difficulties of finding out who's what on the record. The songs are not all bad... but, perhaps they should spend less time on chasing karma and focus more on chasing a decent production and hooks... oh, man... I'm in trouble now... bad karma... bad kharma.

www.chasing-karma.com

GRIFTER: "Grifter"

Rating: 6/10

Label: Ripple Music 2011

Review by: Urban "Wally" Wallstrom

Ehem, a quick glance at the tracklisting and you'll find charming song titles such as: 'Alabama Hotpocket', 'Asshole Parade', 'Strip Club', 'Bucktooth Woman', 'Bean', and 'Piss and Gas'. Read the usual album-notes nonsense by the band and find out that Grifter exclusively uses guitars, bass, drums, percussion, throat kebabs and Guinness. They are open to endoresment, especially from Guinness but please no shit!!! They won't use Peavey, pointy heavy metal guitars, Line 6 or any other rubbish like that. And if you're not on the (thank you) credit list it either means that they've genuinely forgotten or they think you're a cunt!!!

Watch the band photo and end up screaming and cursing the day you believed this to be a great idea. Listen to the tracks on display on their self-titled debut album and find out that you're now in the hands of three nutty U.K. rockers. It's stoner-rock lite' or if you prefer, compositions and arrangements influenced and inspired by the Prince Of Fookin' Darkness aka Ozzy Osbourne's Black Sabbath, Monster Magnet, Motörhead, and possible even the likes of Cathedral, Kyuss, and Hawkwind, no?

Doom 'N Gloom, yeah? surely!!! yet not quite as 'true to their art' as the above mentioned artists. Among these 11 tracks you'll also discover the odd melody in the vein of The Almighty or Nashville Pussy. Pretty basic and heavy groove-laden rock/metal which we've heard a lot in the past to be honest. Nevertheless, the musicianship and production hits ya' right between the eyes. What pours out of the loud-speakers is akin to listening to a accident involving a concrete-mixer and you're neighbours constantly howling dog(gy). It's noisy, groovy, at times even interesting/entertaining. Check out soundclips at below links if you're into this particular genre of metal/rock.

www.grifterrock.co.uk/

www.myspace.com/grifterrock/

IRON CLAW: "A Different Game"

Rating: 6/10

Label: Ripple Music 2011

Review by: Urban "Wally" Wallstrom

Finally - the answer to the ancient tartan riddle: what's that noise at the bottom of the abyss of obscurity??? Blimey, from 1969 to 1974 Scottish heavy rock band Iron Claw plowed across the UK, blasting-out relentlessly doom-laden blues rock. Then nothing, and more of the same, until the bulk of their original recorded output decided to crawl up from the abyss in 2009... to the shock of stunned and confused highlanders as they could merely watch in horror as the self-titled debut was released by Rockadrome records.

2011 - the three original founding members of the band: Jimmy Ronnie (guitar), Alex Wilson (bass), Ian McDougall, and 'new' but hardly young, vocalist Gordon Brown (the PM?), are now returning to the scene with their first ever proper release. 40 years had passed since they'd last played together, but time meant nothing and according to the press-release, 'it was like putting on an old pair of shoes'. Did they have 'Nike' back in those days? hell, did they even have shoes for that matter?

Anyhow, "A Different Game", 13 tracks where some of the songs have their beginnings in songs written as far back as 1969. Some had been part of the band's live set in the very early 70s and some where bits of other projects. The album shows that tartans are getting tougher in their old age as the songs are stomping rock, but may lack a certain amount of proper sing-a-long moments. They're basically caught somewhere inbetween the compositions of Lynyrd Skynyrd and Iron Butterfly (with merely a hint of Nazareth) and it's at least a nice change from all the Sabbath and Purple sounding acts. Final verdict: Nice but no cigar.

www.myspace.com/ironclaw/

ZOMBIESHAKERBOX: "Encrypted"

Rating: 6/10

Label: HeadFirst Ent. 2011

Review by: Urban "Wally" Wallstrom

Dodgy moniker, check! R-e-a-l-l-y dodgy artcover, check! dodgy metal music? Czech...o-slovakia? Nope, they're actually from Las Vegas, U.S. of A, and bandleader/vocalist Kirk Hulshoff had once a project called Legacy together with Martin 'Swede' Andersson from the band Lizzy Borden. Aside from having one of the lamest, if not the most horrific names in the current metal scene, ZombieShakerBox have a completely different agenda when it comes down to their music.

Do not, I repeat, do NOT expect to find any 'Zombie' lyric nor dodgy outfits on this platter. The band's clearly not the next GWAR and in fact, I'd go as far as saying, the name and artcover, not to their advantage in any music related situation whatsoever really. Lyric-wise, "Encrypted", speak mostly about modern day urban issues and topics: the usual drug addict and their innocent victims aka loved ones. Their music is basically one equal third each of metal music from the 80s, 90s and 00s. Some kind of hybrid zombie monster and you can pick up influences from the likes of Alice In Chains, Cinderella, and Hinder.

Original? ground-breaking? fresh? hardly - the opening two tracks (Welcome To My Rave, Blow N Smoke) sound exactly like any other post-grunge act in the past 15 year. Vocals and melodies in the style of Layne Stanley and AIC, a tight rhythm section and a rather wicked groove but sadly no real hooks. The excellent power ballad, "Tigerlilly", featuring lyrics about Hulshoff's daughter Alexa, sits firmly inbetween the sound of Cinderella and Hinder. The same goes for "Answer To No One" by the way and extra kudos for the old skool guitar work and solo by Jami Lin (by the way, R.I.P. Jani Lane today), especially since it's a nice change from the 'non-existent' style of the modern day six-string bender. It's overall a nicely crafted album with a professional sound and musicians. I'm afraid their name and artcover might just scare away quite a lot of potential fans though [say what? no Czecko-Slovakia? what about the Soviet-Union then???].

www.myspace.com/zombieshakerbox/

DANNY NEUBECKER: "Here I Am"

Rating: 4/10

Label: Feedback Records /doolittle Group 2011

Review by Kimmo Toivonen

The press bio says that Danny Neubecker "continues the great tradition of Swedish melodic pop/rock that Sweden are known for since the big success of ABBA, Roxette & Europe"... Indeed, Swedes know how to produce catchy pop, so I decided to check this album out. And ummm... Neubecker still has a long way to go before he's in the same league as Roxette and the likes.

The "rock" in Neubecker's pop/rock isn't exactly the dominating part. He has the kind of a "whispering" vocal style favoured by many other pop artists, suitable for cutesy ballads but not really anything harder-edged. A good thing for him that the two more uptempo songs of the album ("You Light Up My Life" and "Here I Am") aren't too hard rocking, merely pop songs with a barely noticeable rock edge.

Some of the melodies sound disturbingly familiar, but none as familiar as the chorus of "Believe Again" which rips off Lara Fabian's "I Will Love Again" rather shamelessly. Those of you more in tune with the contemporary pop hits might find some other similarities in the other songs.

Despite all I've written above, I do think that Neubecker has some potential to be a decent poprocker if he wants to. More uptempo songs, better hooks and less sugary ballads. As it is, "Here I Am" is just too damn polite, wimpy and squaky clean for me. Where's the ROCK?



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STALA & SO: "It Is So."

Rating: 7/10

Label: So Music Finland 2011

Review by Kimmo Toivonen

Now that Stala, former drummer of Lordi, doesn't have to wear a monster outfit anymore, what does he do? He goes to another extreme and embraces the feminine side of himself by wearing a lot of make up, hairspray and glamourous clothes. And is that a mini-skirt in one of the promo photos? Surrounded by four other guys in more or less similar outfits and warpaint, Stala is prepared to conquer the world with glam rock. They already tried the Lordi route and entered the Finnish Eurovision Song Contest, but that didn't work out, so now it's back to the square one and starting from the grassroots level.

"Kita" (Stala's Lordi monicker) was always the one in Lordi that could actually sing, and without his backing vocals the Lordi songs wouldn't have sounded as good as they did. Now with Stala & So he is the singer and the main songwriter. Former Lordi bassist Nick Gore ("Kalma") is also in the band, along with guitarists Sami J. and Pate Vaughn and drummer Hank.

The band cite 70'ies glam rockers such as T. Rex, Sweet and David Bowie as influences, both visually and musically. There's plenty of eighties' influences to be found on the album too. But enough of background info, let's see if it is indeed So...

"The Show by So." is a short intro that leads into a straightforward, melodic opening track "Got To Believe". Good stuff, although those of you who like their music without a trace of an accent aren't likely to be pleased with Stala's one. The Finnish language is very "consonant-heavy" and that tends to shine thru in most Finnish singers' vocals when they sing in english.

"One Night Stand" is a decent, but slightly throwaway 70'ies like rocker, while the pop-rock track "She" sounds uncannily like the biggest Finnish band of the eighties, DINGO. Sung in english though. "Won't Let You Down" is one of my favourites, a highly melodic track with a good chorus. The band's Eurovision song "Pamela" is excellent 80'ies tinged melodic hard rock and one of the album's standout songs. The radio single/video track "Bye Bye" is ballad made from the usual 80'ies ingredients, soundind like a mixture of Warrant's "Sometimes She Cries", Crüe's "Home Sweet Home" and a dozen other power ballads. You've surely heard it before.

My favourite track of the album owes a lot to the eighties too. "Shout" kicks off with a giant-sized Ratt-like riff and is blessed with an awesome chorus. Makes me wonder whether Stala ever offered this to Lordi, this could've worked for them as well... although I must say that with Stala's vocals, this is probably better than Lordi's version would have been.

As far as I'm concerned, the album could've been a mini-LP with just these seven songs. The rest of the tracks are rather bland, including two nondescript ballads and two forgettable rockers. Okay, the hook of "Woman" is memorable, but only because of Stala's curious pronounciation... "Whummm Man"?

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TWO WHEEL EEL: "Two Wheel Eel"

Rating: 7/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

How could you possible go wrong with a moniker such as TWO WHEEL EEL? Excellent! I noticed they have a British vocalist (Jon Dunmore) but they're actually from New Jersey, U.S. of A and the influences are definitely both foreign and homegrown and showing on their sleeves. It's the early to mid seventies rock sound throughout the record and very much in the style of blue collar aka working class heroes of the past.

Guitarist and main 'eel' Johnny Renken started playing at seven years old. He grew up touring the tri-state area club and college circuit for a few years. With the intense desire to have his own original band, Johnny started a band called "The Tilt" later to become "Second Coming." Under the production and management of Ron Johnsen who had worked with Kiss, Billy Squire, Carol King, The Troggs and other great artists in the early days. Unfortunately without major label support, the group soldiered on in search of new vocalist front man. They started over again with the same great rhythm section, Allen Paul on bass and Tony Rock on drums. When Johnny and Allen went to a Mount Holly NJ studio to record the clsoing track on this very CD, "Waiting for You" they met British vocalist Jon Dunmore and the beginning of Two Wheel Eel had been born.

Opener, "Hey Annie", hardrocking blues, "The Ecology Song" a nice mixture of early UFO and The Who. "Runaway (Hitching In L.A.)" revokes the Beatles (Lennon) and more so the 'all the young dudes' formula and old rock of Mott The Hoople and obviously David Bowie as he wrote the 'dude' song after all. "Heaven and Hell" speak of John Miles and John Lennon influences but more importantly pure AOR as this power ballad could almost have been the work of early cult acts such as The Baby's. But then again, UFO did these sort of ballads already on the 'Lights Out' album. "Melody", another sappy ballad but now like a 50/50 mix of Rod Stewart and more so of the drama in the vein of Smokie. "Red Light", yet another sappy but actully quite nice tune. Once again a tad too much of the 70s 'Smokie' and John Cougar and not enough of the 'Classic Rock', but nevertheless nice... in a harmless sort of way. "We're All The Same" reeks of The Hollies, The Who, and every other U.K. act while "Head For Home" rocks in the style of UFO lite.

Dunmore is a fine 'old school' rauchy U.K. vocalist and you could almost imagine him upfront with the likes of The Hollies (70s era), Smokie, UFO, or why not Strange Fruit? The latter act obviously from the 'Still Crazy' film and not a proper band (very UFO inspired music anyhow). Definitely worth checking out if you're into the seventies sound and production. Nicely done!

www.twowheeleel.com

www.myspace.com/twowheeleel

LUCID RECESS: "Engraved Invitation"

Rating: 5/10

Label: TSM/SLW 2011

Review by: Urban "Wally" Wallstrom

Groovy bass-lines, vivid guitar riffing, and crashing drums, the main ingredients of Lucid Recess. They're from Guwahati, Assam, India, however, don't expect to find any homeland references on their latest album as we're talkin' about a modern power-trio influenced by the likes of Coheed & Cambria, System Of A Down, and slightly alternative acts such as the old Radiohead. "Engraved Invitation" is in fact a blend of alternative routes and classic metal tunes where the compositions range from heavy and fast to slow ballads and sort of memorable hooks. Nope, this isn't catchy as cold, the musicianship is however top notch and the line-up consisting of Siddharth Barooa (vocals/bass), Amitabh Barooa (guitars) and Partha Boro (drums) are all very professional lads (well, at least in the studio). Very dark and depressive at times, but that's where the Radiohead influences kick in, I guess? Final verdict: So-so! I need stronger hooks to feel the need to hand out a better rating next time.

www.lucidrecess.com

www.myspace.com/lucidrecess

REINXEED: "1912"

Rating: 6/10

Label: Liljegren Records/doolittle Group 2011

Review by Kimmo Toivonen

I've heard one Reinxeed album before this, the 2009 release "Higher", and kinda liked it. It was a fairly interesting mix of pomp and power metal, with some nice melodies. On this album, the emphasis seems to be on power rather than pomp. If you're a die-hard fan of Helloween, Stratovarius, Dragonforce and enjoy their fastest songs the most, this might just be the best album of the year for you, because Tommy ReinXeed doesn't stray from the path too often. It's ultra-fast drumming, hymn-like melodies and at times ridiculously high vocals. Take the aptly-titled "Reach For The Sky" for example...I dare you to blast this on your stereo system - the dogs of the neighbourhood might go crazy and all the glasses might end up shattered...

The album is a concept one, with a storyline about Titanic. I could write something about this album sinking like a stone, but it's not actually that bad, in small doses these songs work quite well. But three or four tracks with a breakneck speed in a row is a bit too much, let alone a whole album of bass drums being played at 15320 beats per minute. Okay, maybe not that fast but pretty damn fast anyway.

The album sounds good and I don't actually dislike any of the songs, but the highlights are difficult to find too. Maybe "We Must Go Faster" which is actually one of the more relaxed songs of the album would be my choice cut... The melodies remind me a bit of early Sonata Arctica, which isn't a bad thing. But anyway, I guess this one's for the Power Metal fans who think that the faster the better, ballads are for losers and midtempo tracks are for middle-aged people... and that a metal vocalist can not sing too high.

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Andreas NOVAK: "NoVakation"

Rating: 8/10

Label: MelodicRock Records 2011

Review by Kimmo Toivonen

Former Mind's Eye and current House Of Shakira vocalist Andreas Novak has been working on this album since 2009 I believe, and now it's finally in the stores. Novak's first album "Forever Endavour" was favourably reviewed by us, yet I've personally managed to miss it completely. A mistake soon to be corrected, because I'm quite impressed by this album and Mr. Novak's talent as a songwriter and singer.

Danny Bowes of Thunder, Europe's Joey Tempest, Glenn Hughes. Those are some of the vocalists who Andreas Novak's style and voice remind me of. When it comes to the music style, I'd say that what's on offer here is classic AOR with aa touch of the bluesy rocking style of Thunder and Glenn Hughes' various projects. Everything's superbly played and sung, and when Novak hits the bullseye with his songwriting, he's frighteningly good.

The best tracks of the album for me are the perfect on-the-road song "Highway To Anywhere" (with some cool Journey'isms embedded in there), the fantastic "The New Hope" and a fine version of "Yesterday's Rain", previously recorded by the Harry Hess-fronted project First Signal. I'll go on record saying that Novak's version is better.

On the second half of the album there are a few songs that seem to just float by, hence the rating. Otherwise it's all good, and Novak's vocals are excellent. I'm looking forward to the next House Of Shakira album, with his songwriting input and vocals it really cannot be anything other than good!

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FIREWOLFE: "Firewolfe"

Rating: 8/10

Label: Indie 2011

Review by: Urban "Wally" Wallstrom

Fronted by powerhouse-vocalist David Fefolt (ex-Masi, Angels Of Babylon, Hawk, Valhalla) and supplied with excellent twin guitarwork by Nick Layton and Paul Kleff (both have multiple US tours doing guitar clinics for Guitar Center, Sam Ash and other major music stores), this particular pack of wolves are all set for metal havoc and biting mayhem. The albums' been mixed by John Payne (Asia) and Jay Schellen (Hurricane, Asia, Unruly Child, World Trade) and it's a pleasant surprise actually. Schellen takes also care of all the top notch drumming aka drums on the album by the way.

You can definitely tell what kind of album this is just by listening to a couple of minutes on the Firewolfe's debut as they're using killer lines such as this one from the opening track, "Air Attack", and I quote, "Eating the dirt and spitting out lead with luck on your side soon you'll be dead", end quote. Hah! Did anyone say fluffy westcoast music in style of Toto and The Doobie Brothers??? No, of course not, this is pure old skool heavy metal in the mighty fine tradition of bands such as Judas Priest, Dio, Savatage, The Rods, Banshee (Race Against Time), Sanctuary.

I didn't expect anything to be honest and they're a band who've really popped out of nowhere to join the A list of several more "professional" acts on the market. Here's the million dollar question though! Why are these guys still unsigned??? Sure, it's not a groundbreaking record and they're certainly not doing anything we haven't heard before (style-wise). However, I simply can't stop shouting along to the likes of "Unholy", "Firewolfe", "Back From Hell", etc. as they have the energy to create the coolest headbanging spasm attack on the most strongheaded A&R representative. The enchanting refrain of "Armed Forces" simply kills and I'm pretty sure that fans of Jorn Lande will also get a kick of these ten tracks of metal. Surf along to their site (below link) and have a listen to samples of all tracks, get a free download song, and eventually pick up a copy of the CD as this is VERY METAL (the latter according to the famous words of Vyvyan)...

www.firewolfe.com/

SANCHEZ: "Run The Streets"

Rating: 1/10

Label: 7Hard 2011

Review by: Urban "Wally" Wallstrom

Blimey, these guys must surely be winners of the most ridiculous statement of the year so far. "Music that will get you laid, ever and over again", end quote. Sure, especially since you're now listening to a band with a moniker just as dodgy as your average (illegal) Mexican gardner in the states. It's like if you've named your U.S./British act "Smith" or "Jones" only that this particular Sanchez hails from Sweden?

However, the name really isn't such a big problem in comparison to the music, the arrangements, and the (lack of) melodies, not to mention the vocals. I almost fell off the chair when I first heard the backup vocals and harmonies!!! It's like they've brought in a bunch of tonedeaf drunks aka football hooligans directly off the street to record in the studio? What the smeg??? The lead vocals are slightly disturbing to say the least and the voice is about as interesting as watching wet paint dry. Utter-utter monotone nonsense.

It does make you wonder about the A&R representative at 7Hard Records. What the hell? a shaved monkey in a suit could do a lot better at coming up with fine acts to sign and promote (probably refering to myself here). And it actually reads in the press-release, "One of Sweden's finest are finally back with a brand new melodic rock and roll package", oh, it's just too silly. Nah, back to the drawing room for these guys and replace the A&R dude with Bubbles the chimpanzee a.s.a.p.

www.myspace.com/sanchezkicks/

SAMMY HAGAR with JOEL SELVIN : "RED - My uncensored life in rock"

Label: HarperCollins 2011

Review by The Bailey Brothers

If anything the most outstanding feature of this Sammy Hagar book is his honesty. That’s always been his trademark. He’s a fantastic live performer who sincerely cares about his fans. What is surprising is the detail in which he bares all including the affairs he had behind his wife Betsy’s back. The Montrose days looked like the band were raking in the money but Sammy tells it different:

“We were making $500 a night and it was costing about $600 a night to tour. We were dying, without getting paid, my home phone was shut off, Betsy was back on Monfort street in Mill Valley with Aaron, sitting there freaking out unable to talk to me. It had made the latter part of the tour miserable.”

The good, the bad and the sometimes ugly stint in Multi Platinum selling band Van Halen will sadden some hardened Van Halen fans. Sammy says of the reunion tour:
“It seemed to me that Ed was going through the motions, like he didn’t care about his playing. He didn’t care about the way he looked. He just took the money. He was embarrassing; Al, Mike and I did it from the heart. We played our asses off every night. Ed went out and jerked off”

It took a while for Hagar to finally snap on the road during a double headliner with Former Van Halen front man Dave Lee Roth but when he did he didn’t hold back his feelings toward Roth:

“He’s a fuckin bald-headed asshole”, I said “a swaggering, middle-aged prima donna who was out there pretending to be something he no longer was. He’s a nostalgia act who has to wear a wig and he even spray paints that”

You get a good insight into the music business as Sammy is very open about the money he and the bands would earn, the dodgy management and record company contracts, the drugs, the booze and the groupies. He reveals the pit falls of being a musician at all levels, not only did he work his ass off as a solo artiste but also has had a string of successful business ventures including manufacturing mountain bicycles, and the world renowned Carbo Warbo tequila liquor export business. He’s had a few failed ventures too. The success of his business empire means he can now enjoy his music career without relying on it to make a living and this is most evident with his latest super group Chicken Foot who are one of the coolest bands on the scene. Now in his 60’s and performing as well as ever the book is a fascinating journey from welfare handouts to the Rock N Roll Hall Of Fame. The Red rocker tells it how he feels it from the heart with the help of co author Joel Selvin.
It’s a book you won’t want to put down; a remarkable story from a lovable road warrior.


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