Thursday, March 4, 2021

Joel Hoekstra's 13: "Running Games"

 Rating: RRRR

Label: Frontiers

Review by Kimmo Toivonen

Who is Joel Hoekstra? Well, he's a world-class guitarist who's current employers include David Coverdale, Trans-Siberian Orchestra and Cher. This is his second album with his solo project "13". If you're thinking it's some guitar noodling he recorded on his spare time in his garage, you couldn't be further from the truth. This is an all-star supergroup album, with some of the best musicians out there: Russell Allen (Symphony X, Adrenaline Mob) on vocals, Derek Sherinian (Sons Of Apollo, Dream Theater, Black Country Communion) on keyboards and the rhythm section includes a living legend Vinny Appice on drums and  Tony Franklin (The Firm, Blue Murder) on bass! However, as the name of the project suggests, Hoekstra is the man in charge. He produced and wrote the album, with Chris Collier taking care of the mixing.

A star-studded line-up doesn't automatically guarantee a good album, it comes down to the songs. I'm glad to say that this line-up didn't waste their time recording these songs Hoekstra has written . They are quality hard rock songs. In fact, I can imagine David Coverdale listening to some of these and saying "Damn you Joel, why didn't you offer these for Whitesnake?"

Let's check out some of the highlights... the opening track "Finish Line" sounds like a perfect mix of classic Dokken and Dio, with a "Lynchian" guitar work and Dioesque vocals from Russell Allen. 

"I'm Gonna Lose It" is a melodic hard rocker that sounds like it was written for driving down the Pacific Coast Highway. A bit of a Night Ranger vibe on this one. "Hard To Say Goodbye" completes the very strong opening trio. It is my favourite track on the album, a stunning hard rock hit again with a great melodic chorus. 

I also like "Lonely Days", "Reach The Sky" and "Take What's Mine" quite a lot, and the rest of the songs aren't too bad either. Vocalist Russell Allen does a fine job, alternating with a Ronnie James Dio-like rougher sound and a softer, more AOR-friendly vocal style. Hoekstra himself doesn't overshadow anyone else, this might be his project but there's no self-indulgent widdling to be found. 

One more thing... "Lay Down Your Love" is marked as a digital bonus track. It is not the Whitesnake track by the same name, just an interesting coincidence. Maybe Hoekstra heard it and thought that "if I were to write a song called that, it would sound like this...hey, this is too good to waste!"

Monday, March 1, 2021




This one seemed to come out of nowhere, with Chez Kane plucked from her family band Kane'd, which also contains her two sisters. Enter Danny Rexon of Crazy Lixx, who saw in Chez the chance to make an unashamedly retro female fronted rock album, with the emphasis on big guitars, powerful vocals and massive hooks. As you can see from the rating above, he definitely succeeded!

"Chez Kane" is, to put in simply, a monster. Every track is in your face, full of hooks and backed up by incredibly powerful and competely fitting vocals. My own take from the firsrt few listend was Chrissy Steele's debut, though you can add Vixen, Lita Ford, Joan Jett, Fiona and just about any goddamned female rocker of pedigree you want. Of course, that pedigree has to be from the mid eighties to early nineties, because that was a GREAT time for powerful female rock, and this album puts me back there every single time, and I'll confess I've streamed this promo more than any other I've been sent in the past. 

Straight off, this kicks you in the nuts with "Better Than Love", a catchy number Cher would have loved in her rockier days, whilst "All Of It" uses a "We Will Rock You Beat" combined with a ridiculously catchy chorus and is probably my favourite track, simply because I can't help singing along every bloody time. A perfect opening salvo is completed by single "Rocket On The Radio", a five and a half minute track that seems to whizz by in three and will have even a dead rocker's toes tapping. This continues for a total of ten tracks and forty five minutes, after which the natural inclination is to do it all over again. In the middle of the album is the one slower track "Defender of The Heart", though it's not a sappy ballad and has a decent bounce to it. We also get "Ball & Chain" which borrows a bit from Danger Danger's "Bang Bang" and Bon Jovi's "You Give Love A Bad Name", and that sort of shows you the sort of influences you're dealing with here. "Midnight Rendezvous" is another worthy of mention, as it's a fast track full of energy and, of course, a great hook.

If you, like me, miss the good old days of powerful women singing powerful, catchy rock tunes that can be played on the radio but also blow your socks off live, then this is the album for you. Check out "Rocket On The Radio" on youtube, then go down the rabbit hole to check out some of Chez's superb cover versions from a few years ago. Kane'd may have languished in obscurity for quite a few years, but Danny Rexon and Frontiers realized that Chez Kane has one of those voices that is pure gold if you give her the right  material, and "Chez Kane" is absolutely stuffed with the right material. 

Pre Order From Frontiers

Bonne TYLER: "The Best Is Yet To Come"

Rating: RRR

Label: earMUSIC

Review by Kimmo Toivonen

Bonnie Tyler is one of those instantly recognizable voices, and even though she's celebrating her 70ieth birthday this year, her raspy sound hasn't changed that much. With "The Best Is Yet To Come" she's musically traveling back to the glory days of the eighties. If you enjoyed her strongest 80s albums "Faster Than The Speed Of Light", "Secret Dreams And Forbidden Fire" and "Hide Your Heart", you'll surely find a few decent songs among these 12 tracks. A couple of the songs even harken back to the very early, country'ish style of "It's A Heartache".

"Dreams Are Not Enough" is my favourite song, it wouldn't sound out of place on "Hide Your Heart" with its' very Desmond Child-like chorus, although not written by him. Desmond Child does provide one song, "Stronger Than A Man". Unfortunately it's one the weakest songs of the album, the stagnant beat and r'n'b-styled production doesn't work for me at all. I prefer "When The Lights Go Down",  a mixture of Springsteen and Boston's "More Than A Feeling" and the title track which has touches of Abba and "Holding Out For A Hero", good hook there too. 

Among the other songs there are a few good ones which could've used a bit more powerful, bombastic production and a few somewhat forgettable covers. All in all, I do like this album much more than others I've heard from her since the late eighties. But hopefully the best is indeed yet to come, and she gets a couple of really great songs from Desmond Child and maybe even Jim Steinman for the next one! 

Thursday, February 11, 2021

MAVERICK: ”Ethereality”

Rating: RRRRr

Metalapolis Records 2021

Review by Kimmo Toivonen

I can’t help but think that Maverick’s sound is based on the first SKID ROW album. Of course that’s not entirely true, but on their latest effort they come close to recreating the magic of that album. Similary, ”Ethreality”  features a very strong set of songs with big hooks, powerful performances and a huge ”Wagenerian” production. As in Michael Wagener…

Despite the Skid Row comparison, strangely the band doesn’t sound entirely like a retro/eighties-throwback kind of a thing. I could imagine them being played on the radio between Nickelback, Hinder and Black Veil Brides, and I think the fans of those band would like them too. 

Vocalist David Belfour isn’t a Sebastian Bach clone, he has a cool voice of his own with an interesting vibrato and a bit of a rasp. It’s closer to Chris Daughtry than ”Baz” actually. The guitar duo of Ryan Belfour and Ric Cardwell shoot out fierce riffs and solos with flash and style, while drummer Jason-Steve Mageney adds a bit of a modern power metal vibe to some of the songs. Richie Diver’s rumbling bass lines weave it all together. 

Favourite songs at the moment: ”Bells Of Stygian”, ”Switchblade Sister” and ”Dying Star”… ask me again tomorrow and you’ll get a different answer. Hell, the favorites have changed several times while writing this review! I think that’s a sign of a strong album… that and the total lack of ”skippable” tracks! Maybe that one "ultimate stand-out track" is missing, but the overall quality is on a very high level. 

I’ve liked all the previous Maverick albums, but this might just be their best one so far. 

Tuesday, February 9, 2021

DON AIREY: "Live In Hamburg"

Rating: Live
Label: earMusic/Edel 2021
Review by: Urban "Wally" Wallstrom

What to expect from a Sunderland musician who once wrote an instrumental piece entitled 'Dark Side of the Moog'? Many pink moons ago tho' and at The Colosseum together with the late and great Gary Moore (RIP). Don's career has been very much fueled by the Irishman as they started playing/working together in 74/75 when they joined Jon Hiseman's highly influential jazz/rock band Colosseum II. They made three albums and Airey would continue to play on six studio solo albums by Gary between the years of 1978-1990. It make sense to kick off this double digipak edition of Don's first live album "Live In Hamburg" with the powerful version of "Nuclear Attack". One of several songs which Moore wrote about the 'cold war situation' and the potential disaster.

Airey is of course the keyboard player of Deep Purple since 2002, after the retirement of founding member Jon Lord (RIP). One of Airey heroes and there's been a "Purple" connection ever since Don joined Rainbow in 1979 and played on Down To Earth (1979) and Difficult To Cure (1981). This show recorded in 2017 during the club tour of his solo album "One Of A Kind" is a selection of Don's favourite songs from his unique career. A "Hard Rock songbook", played live by a band including the current singer from Nazareth, Carl Sentance (Krokus, Persian Risk) and the guitar rising star Simon McBride who will release his new solo album on earMUSIC in 2021.

Plenty of Rainbow tracks such as Difficult to Cure, All Night Long, Lost in Hollywood, as well as Russ Ballard's Rainbow hits of Since You've Been Gone and I Surrender. Nothing from short stints at Black Sabbath or the MSG debut and that's no surprise really. The biggest surprise and disappointment is however the complete lack of Ozzy 'The Prince of fookin Darkness' Osbourne. Blimey. Airey's keyboards were essential to the early Ozzy stuff and I love the sinister sound of the entire Bark At The Moon album. There's clearly bad blood considering all the Ozzy/Sharon stories and lack of royalties and removal of credits, etc. etc. Oddly enough. There's a Whitesnake number from his guest appearance at 1987 and I dig the subtile/sarcastic and dry introduction of "Is This Love" as Sentance mumbles 'Here's a song for you' without a hint of trying to copy or mimic the posh Coverdale accent.

Sentance, the very confident singer ever since Persian Risk in the early 80s and he's especially good on the Rainbow and Gary Moore material even if "Still Got The Blues" is merely the second rate version of "Parisienne Walkways". It's a bit more difficult to see him upfront at Purple as they also cover Pictures of Home, Child in Time, Hush, and Black Night. Not poor at all though and you'll also find Don Airey solo stuff (originally sung and co-written by Sentance) such as Shooting Star and Lost Boys. McBride play through all the guitar parts with ease and what can you type down about Airey that hasn't already been written? It's hard out there for an ardent Sunderland A.F.C. fan as they now play in League One, the third tier of English football. No longer the days of Kevin Phillips winning the European Golden Shoe, but hey, at least they have a Captain with the cool name of: Max Power. Final Verdict: Honest and "raw" live recording without the usual overdubs.

Thursday, February 4, 2021

ART OF ILLUSION: "X Marks The Spot"

Rating: RRRr
Label: AORHeaven 2021
Review by: Urban "Wally" Wallstrom

Art Of Illusion - This is what you get when you reject +100 name suggestions and merely end up combining the band monicker' of Anders Rydholm's GRAND ILLUSION and Lars Säfsund's WORK OF ART. Indeed. The two Super-Swedes, Rydholm (keyboards, bass, rhythm guitars) and Säfsund (lead and background vocals, keyboards) are trying to map their way to success while using ultra soft melodies and the title of "X Marks The Spot". Shouldn't be too difficult? The debut album is available from AOR-Heaven in Germany, the original home of schlager, and you'll find plenty of theatrical symphonic rock/pop overtures here. It's basically a mish-mash of their Swedish acts and everything from Freddy Mercury (Queen), Jim Steinman (Meat Loaf), Jim Peterik (Survivor), Robby Valentine, Mika, Big Money, to Andrew fookin' Lloyd Webber!?

Blimey. AOI have not gone totally kitsch, but they have gone for less prog than Grand Illusion and more daytime drama than Work Of Art. It's as camp as an endless row of tents at the world AOR-Scout jamboree. Indeed. The founder of the AOR movement saw a need for a gathering of representatives of fluffy music from all around the world. The general aim was to foster a worldwide brotherhood, and to help the young AOR-sters in the movement learn about other peoples and nations by direct interaction with them. Ehem. Yeah? Nah. Back on track. It's sometimes as if you're inside the AOR musicial or the big Disney production version of AOR?

Feeling slightly disappointed at first play. Make no mistake though. It's an album that grows with each and every spin up to a certain point of course. Rydholm love musical kind of humor and lyric-wise, you have songs about going to Rome in Italy, to eat yourself to death. Who doesn't love Italian food? One song (Waltz For The Movies) is about a movie projectionist dreaming of the past and speak of long-gone, black and white heroes on the silver screen, and reek of Mika and Mercury music to the extreme. Another about the fear of being a Gladiator. The song "My Loveless Lullaby" is about love from a loser/virgin male kind of perspective. Tracks such as "Wild and Free", "Snakebite Charm", "Catch You If I Can" and "Rampant Wildfire" are the real highlights of the album as it's straightforward and fun uptempo AOR compositions. "4 AM" should please the Peterik fan and "Go" is a walk in the park. Final verdict: To keep the film theme going. Overall just a wee bit too much drama and not enough action. Then again. Michael Jackson wrote a song about "Thriller" and did the "Horror" movie-video to go along with the hit? I'm sure it's all down to personal taste and plenty of folks are going to enjoy the pompous melodies. Art Of Illusion at Facebook

Monday, February 1, 2021


Rating: RRRr
Label: Frontiers 2021
Review by: Urban "Wally" Wallstrom

Phantom Elite is a relatively new metal band fronted by singer Marina La Torraca (Exit Eden, live vocalist for Avantasia) and features songwriting and production by former After Forever guitarist and producer Sander Gommans. Marina and Sander together with Max van Esch (guitars) and Joeri Warmerdam (drums) unleash an slice of contemporary sounding heavy metal music on their sophomore album "Titanium". Sonically, the band combine symphonic, progressive and heavy metal.

The keyboard player is clearly a prime factor, yet not a proper member of the band though? However, my hat off to Koen Stam as he's contributing to the albums' overall sound with some truly impressive work on the ivorys. It's a relatively lean and stark production, and the style itself is dark and more energetic, immediate and powerful, favouring mostly really aggressive power riffing and mid-song lengths, fast and snappy tempo changes, quirkiness and strong vocals by Marina. It's all resulting in a pretty darn decent, at times even captivating or fascinating second album with more diversity than are often given credit for in this particular genre. The male growls on "Worst Of Me" is however rather typical for the genre and it's far from the most original sounding anthem as of lately.

According to the band and I quote, "Listeners can expect songs where modern meets symphonic and progressive, (very!) heavy riffs meet epic melodies, all overloaded with a wide spectrum of emotions and love for music. For sure, a high note in our careers!", end quote. Indeed. Check out the heavy bombardment of "Glass Crown" where you simply can't resist to shout along to the refrain and the words of 'Wash away, the spell of the night. Lost in haze after midnight'. Intrestingly Phantom Elite have made a few short experimential trips outside the usual "goth" female fronted format and the monster metal title track of "Titanium" clocks in at +seven minutes and should have any metal fan grasping for air. Just to keep it balanced that are some straight ahead goth moments on the following numbers of "Bravado" and "Silver Living". The latter sounding like The Alyson Avenue fronted Nightwish. Final Verdict: They deal in powerhouse vocals and chunky riffing where the stacatto rapid fire guitaring provides a seriously pattern for destruction. Wicked! Phantom Elite at Facebook

LABYRINTH: "Welcome To The Absurd Circus"

Rating: RRR
Label: Frontiers 2021
Review by: Urban "Wally" Wallstrom

Welcome To The Absurd Circus? To be perfectly honest. I haven't been following the development of Labyrinth and I can't really say that I recall much from their 2017 comeback album, "Architecture Of A God". I'm not even sure if I heard it? Anyhow. They were simply one of many bands and let's face it, there's way too many acts out there, you simply can't keep track of them all. Lo and behold. It's album number nine (9) by the Italian Prog Metal act and the founding members of Andrea Cantarelli and Olaf Thorsen (guitars) and Roberto Tiranti (vocals) are now joined by Oleg Smirnoff (Vision Divine, Eldritch) on keyboards, Nik Mazzucconi (Hardline, Edge Of Forever) on bass and newest member Mattia Peruzzi (drums).

Musically the band continues to move away from the Vanden Plas and Dream Theater Prog that used to be its mainstay and influences. It's hard to fault the first couple of tracks as they feature a nice slice of Italian prog-pizza spice, wicked rhythms, and ever changing dynamics. Quickly flowing into a complex groove it sets the blueprint for the album and it's good weighty prog metal. The vivid arrangements delivers the best possible wrapping for the band's musical gifts and I don't recall Tiranti ever sounding/singing this great in the past?

Hardly everything that glitter is gold though and you can still find a couple of false/dodgy gems and nuggets towards the end of the album. I do however enjoy their version of "Dancing With Tears In My Eyes" as originally performed by Ultravox. You can't beat perfection though and the original version still rule the crying game of this poor dented metal heart. The problems only start when The Absurd Circus are sending out their clowns to sweep the floor after the elephants. It's a couple of bad and sad moments before they return home to the impressive ballad of "A Reason To Survive". Final Verdict: Solid as Prog-Metal goes in 2021. It's not earth-shattering or ground-breaking stuff. It's... darn solid! Labyrinth at Facebook

Sunday, January 31, 2021

POUNDER: "Breaking The World"

Rating: RR
Label: Shadow Kingdom 2021
Review by: Urban "Wally" Wallstrom

Pounder are another metal band stuck in a timewarp 'ala back to the future and yesterday's tomorrow. The merely seven tracks on offer on their second release, "Breaking The World", have been carefully chosen to present a broad view of the bands' influences and skills. They hail from US of A and Los Angeles and it's mostly a bit too basic and primative American Metal of the very early eighties (pre-Glam era of the Sunset Strip). Throw in the odd NWOBHM and Thrash plus some bold statements of Manowar-ish "Spoils Of War" and you're pretty much set for the naff and rampant rock.

You may recognize vocalist/guitarist Matt Harvey from his Deathgrind act Exhumed, and lead guitarist Tom Draper recently joined U.K. cult Thrashers: Carcass. Not too shabby. The band itself is surprisingly good and I especially enjoy the powerful riffing on "Hard Road To Home". The overall sound is not to dissimilar to listening to the early wave of American metal of the eighties. It's however the fun Twisted Sister, Lizzy Borden, Quiet Riot, melodies of tracks such as "Give Me Rock" that I find intriguing and it's probably the best track shout-a-long-wise.

Only seven tracks as mentioned and the thirthy seven something minutes goes by just like that. There are times when things look on the positive side, particularly when they head into the pure hair-metal jungle and arrangements. I'd say, ditch the second rate Manowar moves and melodies next time and go for the Quiet and Twisted, Lizzy. Final Verdict: It reeks of long-gone metal days/daze and you only need to take one quick glance at the artwork to understand what they're all about. You're no longer in 2021, it's rather 1981...

Saturday, January 30, 2021


Rating: RRRRr
Label: Frontiers 2021
Review by: Urban "Wally" Wallstrom

"Just like a shooting star I'm gonna find my way on this broken highway". Geez. Paint by numbers lyrics and the cheesy opening of 'woh-oh's' had me seriously worried for a while, especially considering that I wasn't much of a fan of their debut. Not expecting much on the second album "II" (well, duh), but I'm pleasantly surprised as it's high quality throughout the record. Working on this follow-up album to the self-titled debut. The plan was to refine and improve the songs and approach. I'd say mission completed as everything from production, songwriting, to a new and impressive vocalist: August Rauer, add a lot of fire and cuddle-fluffy animal guts.

Keep in mind that it's extremely Poppy stuff and the likes of Fingerprints, Big Money, or Paul Rein (Swedish cult pop musician) might just sound like Slayer in the quick comparison. Nah. That's a bit over the top and not always true, lol. Do however not expect to find any 'metal' whatsoever on this platter. It's hi-tech AOR, Power-Pop, and ultra slick melodic stuff with the 80s retro in the mix. It's a little bit of everything really and it's oh-so-catchy and just a little bit corny (but in a really feel-good way).

The opening riff on "Carry On" strike up the odd moment of Treat vs. Bad Habit in the late eighties and you're about to feel the HEAT (pun intended). What the heck is up with the ultra-fast fade out on the track, "Find A Reason". Very annoying and darn right unprofessional. "Siberia" is however catchy as fudge and it's no doubt the best song about the bitterly cold and sterile landscape since the heydays of Laban (Danish Pop band of the 80s). "Face To Face" might just have you thinking about the FM song from their classic debut especially since the chorus goes and I quote, 'face to face - heart to heart'. Blimey. There's a football choir effect to be found on "Can't Stop What We Started" and the piano ballad of "Lost Without You" is a proper tearjerker. "Hold Back The Night" might just have you thinking about Glen Burtnik, with or without the 'C', but oozes of HEAT. Make no mistake. These are songs written by craftsmen and performed from the heart. Final Verdict: It's all about the hooks and they're all razor sharp and ultra catchy. Creye at Facebook

JASON BIELER: "Songs for the Apocalypse"

Rating: RRRR
Label: Frontiers 2021
Review by: Urban "Wally" Wallstrom

Songs for the Apocalypse? Blimey! Justin Beiber is darker and moodier than ever... huh? My bad, it's appearantly Jason Bieler and you may (or may not) recall him from SAIGON KICK of metals' past. Right down to the point. Are the songs enough to make you a Bielver? A true cult follower of Baron von Bielski's bonky Orchestra? To be perfectly honest. It's one of those albums which you need to spin over and over again and simply just slowly digest as you'll discover something new and wonderful weird on each play. It's actually pretty darn good in a 'hello friendly/wacky' way. Remember when Frankenstein's Monster asked the little girl by the water if they are friends? Ehem. I believe she ended up floating face down... ouch!

Anyhow. It's a monster, made of different body parts and several musical influences. All vocals, guitars, bass, keyboards, programming, noises, nonsense and wonky bits by Bieler. All songs written, produced, mixed and engineered by Bieler. Okay. At least you know who(m) to blame if you don't appreciate the wacky arrangements and compositions. As for the music within, you can sort of expect it to sound like the heavier hard rock follow-up to My Chemical Romance's The Black Parade. It's grand and melodic, orchestra, symphonic, sometimes progressive (King's X), sometimes Elton John-ish, or the 70s rock concept 'ala The Who (Quadrophenia), spiced with keys/piano, samples, and energetic guitar work in the vein of Saigon Kick of course.

Diverse, outside the box and norm with a production that is massive and modern. It's a rollercoaster ride and accessible for the masses if only the masses would be accessible? I'm not sure it's the right kind of label for Bieler and it's probably going to drown in frontiers releases. Saigon Kick vs. My Chemical Romance? Sounds good to me. Guest musicians: Todd LaTorre (Queensrÿche), Dave Ellefson (Megadeth), Devin Townsend, Pat Badger (Extreme), Butch Walker, Bumblefoot, Jeff Scott Soto, Clint Lowery (Sevendust), Benji Webbe (Skindred), Kyle Sanders (Hellyeah), etc. Final verdict: It's alive! It's alive! The villagers are definitely trying to kill the monster though, so you better be quick and pick up a copy before it's too late. Friend? jasonbielermusic at Facebook

WIG WAM: "Never Say Die"

Rating: RRR
Label: Frontiers 2021
Review by: Urban "Wally" Wallstrom

"So, here we go again into the lions' den"- WIG WAM. It's been nine long years since their latest offering to the Norse Gods. The album 'Wall Street' (2012) showcased plenty of valleys, towering mountains, and bitter cold fjords, but sadly no real material nor profit to be found at the dow jones index. 'Never Say Die' showcases the slightly heavier approach and style as the Glam Rock has at times been replaced with Teeny's powerful guitar work and there are moments that actually border on old school heavy metal and fellow Norwegian Jorn (Masterplan, Yngwie, etc) on this platter.

Definiely more guitars and less bubblegum sing-a-long moments than their first couple of albums in my humble opinion. It's however still a step in the right direction since 'Wall Street' but you won't find that many "hit singles" amongst these tracks. It's more of an album effort where the boyos are keeping things safe and darn right Hardcore Superstar sleazy on numbers such as "Dirty Little Secret" and "Call Of The Wild". The latter sounding extra sinister and vicious like only Sid could. The opening title track as well as the first single from the album is however the proper kick to the head with its killer refrain.

"Northbound", the impressive instrumental guitar piece where Teeny (aka Trond Holter) goes native and Norwegian folk music to the extreme. Glam aka Åge Sten Nilsen sings better than ever on the Wig Wam goes Whitesnake moment of "Hard Love". You can literally feel and taste the blues. The excellent closing number "Silver Lining" dates back to the late seventies ballads and could also just as easily have been included on the cult movie of 'Still Crazy'. Although Wig Wam are guilty of losing some Glam in the studio, they make up for it in quality performances that offer plenty of sleazy and melodic metal. Final verdict: Never Say Die sees Wig Wam treading a slightly more heavier approach than ever before. Slightly more Jorn (another Norwegian) but still keeping the essence of Wig Wam - uplifting and rather decent/fun music. Wig Wam at Facebook

W.E.T.: "Retransmission"

Rating: RRRr
Label: Frontiers 2021
Review by: Urban "Wally" Wallstrom

The good, the bad, the ugly. A.K.A. W.E.T. and the three bandidos of Robert Säll (Work Of Art), Erik Mårtensson (Eclipse), and Jeff Scott Soto (Talisman) are shooting from the hip with a brand new tribute to spaghetti Western from outer space and not to mention... Melodic Rock. The release of their fourth album "Retransmission" are taking the AOR space cowboys to familiar territory where we found our heroes once again face to face with dangerous desperados, dodgy satellites, and not to forget the beautiful game?

It's all guns blasting and big curvy hats and pants from the word go as they are at first trying to let us know that "Big Boys Don't Cry" only to later proclaim that it's just ain't true that big boys don't ever cry? Well... It's one way or the other? The song may actually lack a proper hook and truly memorable refrain in my humble opinion. "The Moment of Truth" is closing in as they just can't let go of yesterday? Another space western anthem and the tears are once again falling (speaking of the lyrics), this time co-written by Dag Finn and I believe originally intended for the 'new' album by Sha-Boom? Whatever happened to the comeback of Sha-Boom anyhow? It's been a couple of years since last update? Are those plans in the bin? No longer in the works?

Anyhow. Back on track with "The Call Of The Wild" and it seems like all the Frontiers releases are going for the same song and dance title in 2021 (see also Wig Wam review). Again, pretty standard melodic rock and I miss the genius refrain or at least something out of the ordinary. Track #4 is however the best so far, "Got To Be About Love" (heh, another 'love' title from JSS - see my review of his solo album), one of those semi-ballads that would fit acts such as Heart or Unruly Child. Next up to bat, "Beautiful Game", the best uptempo track so far and "How Far To Babylon" feature a big beat/heart and wicked rhythms by drummer Robban Bäck. "You Better Believe It" take the cake and "What Are You Waiting For" is as beautiful as power ballads come and it's sheer uplifting, heart soothing/smoothing melodic rock featuring steller lead vocals and singing guitar work. "One Final Kiss" is the perfect match making to Lita Ford and her dangerous curves and deadly lips. Yet there's something missing in the end and especially the first three tracks are truly disappointing. Final Verdict: Trusty as your old Colt 44 (I prefer it over 45) but it's hard out there for a gunslinger. Shoot 'em down or simply ride off into the sunset... W.E.T. at Facebook

Thursday, January 21, 2021

Stan BUSH: ”Dare To Dream”

Rating: RRRR

Label: LA Records 2020

Review by Kimmo Toivonen

Stan Bush is reliable. When you get a new album from him, there are hardly any surprises - you'll get uplifting anthems and heartfelt ballads. Yes, it's predictable and unadventurous, but he's been doing this better than most others for almost 40 years now, so I'm not complaining.

"Dare To Dream" (not to be confused with 2010 release "Dream The Dream") is full of anthemic, very Survivor-esque songs about never giving up, believing in one's dreams and fighting the battles that need to be fought. Every now and then Stan reminiscences about the "The 80's" (don't we all?) or his father's words ("Dream Big"), and of course there are those ballads ("A Dream Of Love", "Live And Breathe" and the country'ish "Home"). 

I am thankful that this album doesn't include yet another version of his biggest hit "The Touch", although "Never Give Up" does sound a lot like a re-make...

My personal favorites include "Born To Fight" (the best Rocky soundtrack song you've never heard!), "The Times Of Your Life", which is just pure AOR magic and the intense ballad "A Dream Of Love". Stan himself sounds almost like he did in 1987, which is something quite special. He must be one of those rock vampires who never age, or maybe there's a fountain of youth on his backyard!