VANDEN PLAS: "The Ghost Xperiment Awakening"

Rating: RRRR
Label: Frontiers 2019
Review by: Urban "Wally" Wallstrom

Their previous attempt at world domination, "Chronicles Of The Immortals - Netherworld", the very ambitious two album effort and collaboration between Vanden Plas and fantasy writer Wolfgang Hohlbein. Perhaps a wee bit too ambitious as yours truly thought the following and I quote: "It's frankly just a blur of all the ancient sagas and stories. All this could still not put me off if the album came with great compositions. Sadly they are not quite as great as the grand concept as they lack killer hooks and epic chorus parts. It goes on like a sturdy tractor and at its sudden halt, you still don't recall that many parts or main riffs", end quote. Perhaps a wee bit harsh? Nah. It's their most ambitious work up to date, but unfortunately not quite their best material.

On the other hand, "The Ghost Xperiment: AwakenIng", the complete surprise and 'back to the roots' kind of album, including proper riffing, progressive arrangements, longer songs, and powerful melodies. It's however still a two part concept album, with the second part 'Illumination' to be released in 2020. The story is based on an actual documented paranormal experiment. The main character must constantly fight for his life against the relentless shadows and through knowledge with books he finds in the library of a school of metaphysics, he reads about secret teachers and parapsychological experiments, which become an important foundation from which he can fight against the creatures of darkness. Yes, well... excellent?

This time around the focus has shifted more on to the actual compositions and away from the orchestrations. Everything from the opening track of "Cold December Night" to the closing title track reek of experience and proper musicianship. They've been releasing records for twenty five years by now and this time it's hardly a tractor rather than a Ferrari at full speed.

If you're searching for comparisons for The Ghost Xperiment, the closest is obviously Dream Theater, but quite frankly that doesn't always do this German band justice. Sure, there are many hints at Theater especially considering the arrangements, only six tracks, but there is more to Vanden Plas than that. They have carved out a sound and place all of their own. Guitarist Stephan Lill and keyboardist Günter Werno takes the band into the realm of the the truly great. The interaction between the two something out of the ordinary and they combine flashy guitar work with great waves of keyboards and piano to great effect. Add to this a killer rhythm section (Andreas Lill on drums, Torsten Reichert on bass) and splendid vocals by Andy Kuntz, and you're all set to go Proggy. Recommended.
facebook.com/VandenPlasOfficial

MICHAEL SWEET: "Ten"

Rating: RRRR
Label: Frontiers 2019
Review by: Urban "Wally" Wallstrom

Heavier than thou. "Part of me is searching for the holiness in thee". It's the better part of me, according to the soldier under command aka Michael Sweet. "Ten" features an all-star guest line-up that includes appearances by Jeff Loomis of Arch Enemy, Gus G of Firewind, Rich Ward of Fozzy, Joel Hoekstra of Whitesnake, Tracii Guns of L.A. Guns, Mike Kerr and Ian Raposa from Firstbourne, Todd La Torre of Queensryche, etc. etc. On the subject of guest musicians Michael comments: "There is a different player appearing on every song. It started out where I was just going to have a couple of guest appearances on it, then I decided that it would be really interesting to bring in different players for every song".

Before I forget and start rambling on about To Hell With The Devil or the yellow and black attack... what's your definition of "solo album"? Or rather... what's the meaning of releasing a solo record that sounds like the previous two Stryper albums? Don't get me wrong. Merely asking out loud. It's a rather good and powerful metal album. I'm not saying that "Ten" - there is a title track on here about the Ten Commandments - should be banned and thrown off the edge of the world. But I do find it a wee bit strange when the main character and sole writer of Stryper releases a solo effort in the same style and formula as "Fallen" or "God Damn Evil".

Conclusion? I'd much rather hear something completely different from band members' going solo. Regarding the musical direction of the album, Michael states: "I'm very excited about this release, there are old-school, straight-ahead metal ideas in the vein of Judas Priest, Dio and Iron Maiden, all the stuff I love listening to!". Indeed. If you're not up to date with the Stripes as of lately, they've been on steroids for the last couple of albums (Jesus Juice?) and everything is slightly harder, heavier, faster, than in their MTV days/daze. The same goes for Ten vs. All This and Heaven Too.

It's never quite as old skool or progressive as the bands' mentioned above and Michael may still think otherwise though. The trademark harmonies are still there, just not crazy over-the-top. I'd say the sound is harking back to the first mini-album (Stryper) only with a modern sound and production. Ozzy Osbourne (in the 2000's), Metal Church, Sacred Warrior, are three acts I'd also put next to Sweet. Not a perfect "Ten", but a very impressive effort and you simply can't go wrong here if you enjoy the last couple of Stryper albums.
facebook.com/TheMichaelSweet

ECLIPSE: "Paradigm"

Frontiers 2019

Rating: RRRRR

Review by Kimmo Toivonen 

This is the seventh Eclipse album, would you believe it!? They kind of reinvented themselves after the first two and stepped up to the elite level of melodic hard rock, at least in my books. There's been some line-up changes, but the nucleus of the band has remained the same = vocalist\guitarist Erik Mårtensson and lead guitarist Magnus Henriksson. The band's former drummer Magnus Ulfstedt played bass in the band for a few years and he plays on this album too, but recently quit the band. Eclipse recruited drummer Philip Crusner's brother Victor for the bassist position. He was introduced to the public at the album's release party.

Since "Are You Ready To Rock" (2008) Eclipse has been on a winning streak, and it continues with "Paradigm". Sure, this album sounds very much like its' predecessors, and Mårtensson's pechant for certain kind of melodies is evident. But... Is that a bad thing? I'll that over desperate trend chasing or pointless experimenting. Besides, everytime I think that "now this song sounds very familiar" a surprise twist comes along and slaps me in the face!

The opening trio of "Viva La Victoria", "Mary Leigh" and "Blood Wants Blood" is the strongest triplet punch from Eclipse to kick off an album. Hell, it's one of the stongest opening triplet punches from any band! All three songs are anthemic, catchy and powerful, but different from each other.

The pace drops down a little after the breathtaking start, but there are plenty of fine tracks among the remaining 8. Those include the two single releases prior to the album, "United" and "The Masquerade". The former is a laidback anthem driven by acoustic guitars, reminding me of Nickelback, while the latter is a stomping heavy rocker with a big chorus. Both songs took a while to grow on me. "When The Winter Ends" and the intense "Delirious" are also among my favourites.

I must mention "38 or 44" too, which sounds like an unreleased Pretty Maids song from "Future World"... Could it be that it was intended for Mårtensson's Nordic Union project with PM singer Ronnie Atkins, but not used because it would have sounded too much like Pretty Maids with Atkins singing?

With no weak songs in sight, only a few that won't make it to my "Best Of Eclipse" playlist, I see no reason to hold back... It's another 5R album for ECLIPSE. Call me a fan boy if you want!

DAN McCAFFERTY: "Last Testament"

Rating: RRRR
Label: earMusic/Edel 2019
Review by: Urban "Wally" Wallstrom

The pipes, the pipes are calling!!! It's the true Scottish sound by a highlander from Nazareth? It's the whole she-bang really and that's including the bagpipes, the haggies, the deep-fried mars-bars, as well as the accordion? It's actually quite the laid-back affair where Dan McCafferty take a step back from the hard rock arrangements and find himself at the singer/songwriter department?

Indeed. Don't go thinking Nazareth 2.0. since you'd be dead wrong. Last Testament stroll down the avenue of folk-rock and it's mostly about the interaction between Dan's ragged voice, the piano, the accordion, and the mix of acoustic and electric guitars. McCafferty met some musicians from the Czech Republic and got a lot of inspiration. Co-wrote all the song with Karel Marik, whose an internationally renowned accordion player, also responsible for production, piano, percussion, organ, and glockenspiel.

It's overall music in the vein of Joe Cocker (RIP), Rod Stewart/Faces, The Pogues, Lou Reed (RIP), and merely a couple or three uptempo hardrocking tunes inbetween the laid-back material (Home Is Where The Heart Is, My Baby, Bring It On Back). The accordion, very much present throughout the album and on all the tracks, giving 'Last Testament' a South-European feel and sound. However. The opening song-and-dance number, "You And Me", should have an fellow Scottish singer and Celtic-legend grinning while giving the thumbs up (that's Rod Stewart in case you got lost along the way). The transformation from Lou Reed to Rod on the opening verse is truly fascinating.

"Why", the heartfelt melody and lyrics that speak of being lonely and lost again. Marvelously raspy vocals by Dan and you sort of expect Marianne Faithfull to turn up for the duet? That would have been great actually, but sadly, no. "Tell Me" display all the mistakes and fault of McCafferty and speak of the damage and sorrow that he's caused in the past. It's sort of Dan's Johnny Cash moment and it's a very sad (but great) little tune to be honest. Nazareth fans might appreciate the piano remake of "Sunshine" from the year of 1974. Pete Agnew on back-up vocals. Final verdict: Quite different to be honest and not at all what we expected. This time, different is good. You probably need to enjoy the laid-back stuff to truly appreciate Last Testament. Recommended.
www.dan-mccafferty.com

THE FERRYMEN: "A New Evil"

Rating: RRR
Label: Frontiers 2019
Review by: Urban "Wally" Wallstrom

"A New Evil - a world on fire. No more heroes - will save us now. A New Evil - a world in darkness. No one hears you calling - it's over now". Blimey. Cheerful bastards? One thing's for certain. The Ferrymen are clearly not The Merrymen? They should however be pleased with their European melodic metal sound and listening to "A New Evil" it's not difficult to hear why as they combine fierce riffing by Magnus 'Klister' Karlsson (Primal Fear, Allen/Lande, etc.) and power drumming (Mike Terrana) with a vocalist who can actually sing (Ronnie Romero).

Taking in small doses, tracks like "Don't Stand In My Way", "Bring Me Home", "The Night People Rise", offer pleasant metal listening but nothing more. It's not a question of holding back though and on the plus side, The Ferrymen sounds very professional and like the real deal. They certainly create a big melodic metal sound for a three piece and Karlsson are keeping track of both the 4 and 6 string in the studio. In fact. Some of the changes, chord progressions and guitar work reminds you of the old ancient masters of the seventies and eighties. The first couple of tracks are no doubt the best and Karlsson's still capable of writing an absolutely killer chorus or three.

The overall sound of the album, cruising down the same avenue as the likes of Kamelot, Masterplan, Allen/Lande, only perhaps not quite as impressive or with lasting power. Great musicians, great vocals, but rather typical middle-of-the-road when it comes to arrangements. "A New Evil is a bit heavier and more progressive", says Magnus Karlsson. "I'm always learning and trying to improve my songs and productions each time out. Working with Ronnie and Mike is a such a great experience. I can concentrate on the writing and whatever I will come up with, I know they will nail it! This time Jacob Hansen (Pretty Maids, Volbeat) did the mix and it works really well with the heavy style". Final verdict: Solid stuff, but hardly earth-shattering.

MADHOUSE: "Money Talks Bullshit Walks"

Rating: RRRR
Label: MarsMusic 2019
Review by: Urban "Wally" Wallstrom

You came here looking for a derranged pig in shades (see artwork). Perhaps pure Sleaze and Melodic Hardrock rooted in a more sunny and fun era? Look no further than the debut album 'Money Talks Bullshit Walks' by Vienna/Austria's rockers, MADHOUSE (still drunk from yesterday), which includes twelve tracks full of lunatic Hair Metal! Indeed. The six-piece act including two vocalist and a hairdresser (latter statement not correct) are all about having pigs in a blanket and f-u-n. Current gang and line up: Tommy Lovelance & Lonewolf (vocals), Freddy Heart & Mikky Stixx (guitars), Ben Walker (bass) and Ken Shuri (drums).

It may sound like a cliche, but sheer dumb 80's party and FUN is what they provide. One listen to the opening song "Boom Boob Shaker" is enough to have anyone of a certain hairdo grinning and running for their retro KISS pinball machine. Lyrics in the questionable tradition and content of Gene Simmons and it's definitely a feast on the eye slash ear. The title track weirdly progress as they manage to cement themselves as holy rollers and followers of the new wave of sleaze, where the past is unshackled and a slightly new flavour is added. "Crazy Nights" may at first glance remind you of Kiss, but sounds more like Crazy Lixx and Motley Crue. Cheeky rock and naughty messages, "1st Time Lover" (featuring guest vocals by Kati Cher), the really catchy sing-a-long. "Tears Like Rain", the really great and slightly different power-ballad.

Powerful vocals and guitar work through the album and the absence of keyboards is a prime factor to proper sleaze, contributing to its relatively raw and mean production. The Glamour style itself is energetic and successful, unfortunately, they ran a little bit out of steam and stamina towards the end of the album. Some of the tracks are similar and they still need to work on getting all the pieces together. That's album number two, yeah? The haters may not agree, but simply to continue to exist will take young-ish acts such as Madhouse further up the ladder of success. Have a go at this if you enjoy acts such as: Crazy Lixx, Tuff, Motley Crue (Girls Girls Girls), Crashdiet, etc.
facebook.com/madhousekickass

BLACK STONE CHERRY: "Black To Blues Volume 2"

Rating: EP
Label: Mascot 2019
Review by: Urban "Wally" Wallstrom

"She's a 'Big Legged Woman' in a short, short, short, mini-skirt". Oh lordie, lordie. The blues in all its wicked nature? Wicked thoughts, wicked minds, wicked musicians? It's the devil's music, you know? And I'm speaking about the old skool devil and old skool nature. Not the family friendly kiddie version of today. Preachers used to roam the earth in desperate attemps to stop the blues from spreading like disease. All in vain of course since hordes of raving mad fans are still listening to the oldies (and newies) and Black Stone Cherry are merely trying to re-create the magic of proper roadhouse music. Correct. It's the cover album or EP since it's merely six tracks...

Starting up "Back To Blues Volume 2" with two powerful upper-cuts in "Big Legged Woman" (Freddie King) and Robert Johnson's "Me & The Devil Blues", it's a wonder that you're still standing. Chris Robertson (vocals/guitar) and the band have certainly gained confidence with these releases, taking more chances and letting it all hang out to dry. Showing off and even going for the first, second, round KO may not always be the best way to keep the audience on your side. However. When it's done properly like on the first two blows and the following Mississippi blues of "All Your Love (I Miss Loving - originally performed by Otis Rusch), it's no doubt the winning concept.

The songs are obviously more up-to-date (duh!), hardrocking, and heavier than the originals. Some may not enjoy the sound as they prefer the ancient production and style. Then again. How can you not enjoy the wicked groove of "Early One Morning" or the howling version of "Down In The Bottom" as originally performed by Howlin' Wolf? Covers are always difficult though and it's sometimes a no win situation. Damned if you do, damned if you don't? Nah... I'd rather go with damned if you don't have a listen, since this is pretty darn fun....
facebook.com/blackstonecherry

BLACKRAIN: "Dying Breed"

Rating: RR
Label: SPV/Steamhammer 2019
Review by: Urban "Wally" Wallstrom

The artwork is... ehhh... interesting and had me thinking about my absolutely favourite waste of time... grave robbing!!! Yeah, baby! There's nothing more exciting than to really dig in and... huh? too macabre? Fair enough. The French sleaze rockers / grave robbers of Black Rain and the new album called "Dying Breed" - is like a response to the way the music world goes. Surrounded by electro music and R&B, struck by the death of many of their idols that made the rock history, asked by people why they still wear the old-fashioned hairdo, the four guys more and more felt like a "Dying Breed", 'the last of their kind' as the opening track will have you singing?

Truth be told. Not really singing rather than pointing, shouting, and screaming at their vocalist, Swan (song or lake?) as the vocal styling may not always fit the melodies. His ability can not be denied but for the most past I am left confused by what he's trying to communicate? The album's been composed and recorded in Sweden where frontman Swan is permanently settled and tracks such as "All Angels Have Gone", "We Are The Mayhem", "Rock Radio", are all pretty grand and sleazy to the extreme.

This isn't a complete dire album, far from it, although it would be difficult to get over excited about many of the tracks on here. I guess someone forgot to tell BlackRain that the album sounds like a typical reject of the eighties scene. You know, clicheville and heard-it-before-city via 2ndrate-town. To each great song, there's two really dodgy ones and that simply won't do in the long run. I believe it's back to the drawing board (really? it's all computers now!) and let's hope for better next time. We need to support these acts after all or they're all end up as dying breed....
http://blackrain.fr

JAN AKKERMAN: "Close Beauty"

Rating: RRRR
Label: Mascot 2019
Review by: Urban "Wally" Wallstrom

Hocus Pocus with Focus. There you go. That's pretty much all I know about Jan Akkerman. Not a whole lot to be honest. But I won't lie or pretend to know everything about each and every (hard) rock artists out there and certainly not when it's instrumental music (his solo outings). Do the google, you say? No. You do the google. It's sort of interesting to listen to 'Close Beauty' without any knowledge, if you know what I mean? You simply can't keep track of them all and Focus was before my time. No real excuse since I obviously do track back in time.

However. It's twelve compositions, acoustic, electric guitar, and overall varied works. According to Jan, "I've always been able to tell that none of my albums sound the same. Exploring new things is something that I'd always wanted to do. Harmonica player Toots Thielemans once told me: ‘your timing, that’s your signature, your autogram’. I consider ‘Close Beauty’ exactly like that. If you stand very close to a cow, you can’t tell it’s a cow, after all", end quote. Conclusion? It's a cow!?

He's obviously 'Dutch' from the Netherlands (Holland) and "Close Beauty", instrumental rock in its more classical sense, having a penchant for more snappy medievil influences and open land/soundscapes, than never-ending cycles of riffs held together by shredding and pace, Akkerman's compositions are progressive when it comes to updating the vast spectrum of instrumental music. Hard to categorize, the mood changes from sunny afternoons to not so sunny melancholy. The music is really diverse, so the different music channels have different structure and avenues to choose from. Some of the songs are in the vein of the classical masters, others are more fusion influenced, there's fingerpicking, as well as a few odd numbers of clarity and Spiritual Privacy.

The bottom line: Less widdly widdly diddly, and more in time with the current 'less is more' vogue, the compositions add a wicked sense of individuality to the album which channels the timing, harmonics, virtuosity of a great guitarist. It's the great album to listen to while reading a book and I mean that in the best possible way and sense. One thing's for sure. It's the art cover of the year, if not for the sneaky fishy 72 year old geezer in the background :-) facebook.com/JanAkkermanOfficial

LAST TEMPTATION: "Last Temptation"

Rating: RRr
Label: earMusic 2019
Review by: Urban "Wally" Wallstrom

I actually feel sort of sorry for guitarist Peter Scheithauer (Killing Machine, Belladonna, Temple of Brutality) and vocalist Butcho Vukovic (Watcha, Showtime) as they release their debut album. They are the masterminds of the new band and project of Last Temptation yet the press release and not to mention sticker on the album cover mention only that the recordings were accompanied by Bob Daisley (Ozzy Osbourne, Gary Moore, Rainbow) on bass, Vinny Appice (Dio, Black Sabbath) on drums, and Don Airey on keyboards (Deep Purple, Rainbow, Ozzy) as they recorded their eponymous first album.

This record is decidedly old school in its execution and stands for classic 70's and 80's Metal, that is supposed to reminds on genre icons like Rainbow, Black Sabbath, Dio and Ozzy Osbourne. Well... hold your horses and keep your rabid rabbits and hungry hounds on the leash. It's never quite really that good and the compositions and arrangements (all by the dynamic duo of Scheithauer and Vukovic) are kind of samey and once you've noticed the refrain to one, you've pretty much heard them all. It doesn't help to repeat the words "Bring Your Light Out" a thousand times if you're sort of fed up the first time. The most Ozzy/Sabbath moment of "Blow a Fuse" and "Never Say Goodbye" might have the oldies going at least up until the refrain. The latter sounding more like Soundgarden in the late eighties, early nineties though and not bad at all.

The bottom line according to Scheithauer was "having that live feeling that seems to be missing with a lot of recordings these days. We'll go and rehearse in the studio, sometimes we'll hear something that would be a great take, and that’s a magical thing. What makes certain records magical is that the music is living and breathing; it’s organic, it's real, including the occasional mistakes (laughs)". Fair enough. It's organic, real, proper production, but never really exciting or fun. By the way. Guest musicians also include Rudy Sarzo, James Lomenzo, Stet Howland, etc. but why bother, since they don't fit the bill and classic rock genre?

SASCHA PAETH'S MASTER OF CEREMONY: "Signs Of Wings"

Rating: RRRr
Label: Frontiers 2019
Review by: Urban "Wally" Wallstrom

Sascha Paeth is one of metal's odd sod. The wicked multi-instrumentalist, producer, and overall mad genius. I'm really fond of his work with the likes of Avantasia, Edguy, Kamelot, and perhaps not as impressed with the Rhapsody Of Fire. The solo project of Masters Of Ceremony and their debut album, Signs Of Wings, treads a fine line between the merry Pirate metal of Running Wild, Within Temptation, and Avantasia, and incredibly it seems to work for the most part.

I'm also very fond of the vocalist on this record, Adrienne Cowan from Seven Spires, and she's no ordinary goth or the shy wallflower. Her range goes from head to toe, meaning she likes to play both the angel and the devil. Huh? What the fudge? Okay. Straight to the point. Just as good on the soft and hard parts and there's a lot of guts as well as gusto on the record. For the most part, Signs of Wings, revolves principally around the essence of all good metal, decent material and wicked guitar work. The majority of Paeth's arrangements accompanying the excellent vocals of Adrienne Cowan and her performance transforms a number of good songs into great ones. Keep in mind that you need to be slightly open-minded as you'll find the occasional modern metal growl(s) and style though.

Offering a wide range of styles within the metal spectrum, from aggressive and straight foward metal, to the more melodic and symphonic track, this record has a bit of everything. Soundwise, the sonic delivery is as good as ever by The Paeth and the guitarist sure do enjoy noodling to his hearts' content, making the best out of the situation, the motto of the day. The Path of The Paeth clearly have big intentions and highways in mind and with this album should achieve many of them. "Blissful I die and reach for the sky. Hoping to find a way through the night. I leave my worries alone way down below and try not to cry anymore, fight anymore".

MOTORHEAD: ''Bomber'"

Rating: RRRR
Label: BMG
Review by Martien Koolen

This is the 40th anniversary edition of the classic Motorhead album 'Bomber'; their third studio album was released on 27 October 1979, just 7 months after their 2nd album "Overkill" This again must have album featured classic Motorhead songs like: "Dead Men Tell No Tales", "Sweet Revenge", "Stone Dead Forever", "Bomber" and one of my personal Motorhead favourites "Lawman". Again all the 10 songs on "Bomber" were composed by the three original members:Kilmister, Clarke and Taylor; therefore all the tracks are full of the characteristic sound of that classic line up. So, there were some real killer songs on this album, however, the fans and the critics found the overall songs on Bomber not as good as those on Overkill. Still the album ranked number 397 in Rock Hard magazine's book of the 500 Greatest Rock & Metal albums of all time!

Again this anniversary edition comes with a live bonus CD, whch was recorded in Le Mans and the set list contained 18 tracks with a total playing time of almost 70 minutes! Live classic Motorhead songs like Overkill, Stay Clean, No Class, Metropolis, Lawman, Motorhead and Bomber are featured here and they rock like hell. Other highlights on this amazing live set are Limb From Limb, featuring a superb guitar solo by Clarke, a cover of the old time classic Train Kept A Rollin' and a dazzling version of Capricorn.

I probably repeat myself here, but again this is a must have Motorhead release, not only for the great heavy rock and roll music but also for the splendid booklet that comes along with it. Highly recommended, again, and as Lemmy said it more than once: "we're Motorhead and we're gonna kick your ass!!", and they certainly did, enjoy!!

WAYWARD SONS - "THE FUTURE AIN'T WHAT IT USED TO BE"

RATING: RRRRR

LABEL: FRONTIERS

REVIEW BY : ALAN HOLLOWAY

One of the better albums from last year was Wayward Sons' debut release, which saw everyone;s favourite little angel Toby Jepson return to the forefront of the rock scene with a bang and a great new band alongside him. Naturally expectations are high for this second release, and I'm here to tell you that there's no need to riot (even if you wanna) because they've all been met with ease.

The album kicks off with the electrifying single 'Any Other Way', a full on melodic rock feast that has melody, harmony and solid brass balls all the way through. Jepson sounds as good as he ever did, and the band are as tight as to expected after a punishing schedule of touring, rehearsing and recording over the last 12 months or so. 'Black As Sin' follows a similar template, not giving the listener a chance to catch their breath as the hard hitting melodies and attitude whacks them about the face whilst laughing like a loon. Speaking of laughing like a loon, 'Jokes On You' is a bit more radio friendly (with a smidge of piano to help the flow) with a killer chorus that is immediately hummable. If you haven't yet, do check out the clown based videos the band are putting out as well- they're quite mental and lots of fun. Elsewhere, Toby gets angry in the monumentally brilliant track '(If Only God Was Real)', allowing the old scream to sneak out, whilst the title track has a slower, mesmerizing stomp to it and a chorus that won't quit.

The band have wisely allowed themselves to play with different tempos throughout the album, and whilst the big guitar stompers are plenty of fun it's nice to chill out with the lighter 'Little White Lies', 'Us Against the World' and 'Fade Away', a song which will have fans of 'Soapbox' creaming their spandex. Ah, yes... it's time for the Little Angels part of the review, which is sort of inevitable. Wayward Sons definitely bring to mind those Scarborough scamps plenty of times, and for me that's exactly what I was hoping for. Jepson's vocals make it pretty hard not to think of them, and the similar style of songwriting and playing just reinforce it. Let me put it this way, if this was a new Little Angels album fans would be ecstatic with the fact that they wouldn't have radically (your lover?) altered the sound. Ya get me?

In the end, 'The Truth Ain't What It Used To Be' is a terrific release. Twelve absolute blinders plus a sneaky bonus track, it's even better that the debut, and that's no easy task. If you've yet to check them out please get to YouTube and see what all the fuss is about. Believe me, you'll be converted. Possibly the best release of the year so far, Wayward Sons may not be original but by Harry they're fucking good so do yourself a favour and join the Wayward Army.

Official band site 

MOTORHEAD: "Overkill"

Rating: RRRR 
Label: BMG 
Review by Martien Koolen 

This is the 40th anniversary edition of the classic Motorhead album 'Overkill'; their second studio album was released on 24 March 1979. This great album featured classic Motorhead songs like: "Stay Clean", "Capricorn", "No Class", "Metroplis" and of course the notorious title track. All the songs on "Overkill" were composed by the three original Motorheaders, being: Lemmy Kilmister, Fast Eddie Clarke and Phil Philthy Animal Taylor. Besides the original Motorhead album you can also enjoy a live album recorded at Aylesbury Friars on 31 March 1979. Sadly the sound of the live album is a bit shallow at certain points but the Motorhead energy takes you through this and makes you forget the rather hollow sound of certain tracks. This live album features 17 tracks with a playing time of over 75 minutes, so you get your money's worth!! Killer tracks on this live recording are "Overkill", "No Class", "Iron Horse", "Metropolis" and of course the last track called "Motorhead". Listening to the second studio album of Motorhead again makes me realise how good and powerful these three guys were; so this anniversay album is a must for Lemmy fans all over the world and play it f... LOUD, if you can!!!

imotorhead.com