HUMAN TEMPLE: "Halfway To Heartache"

Rating: 6.5/10
Label: Escape 2012
Review by: Urban "Wally" Wallstrom

I've been reading the following statement about "Halfway To Heartache" where the puzzled reviewer thought of 'I Will Follow' as and I quote, "to be a strange track to open up things with, and it proves that the band of Janne Hurme is heading towards heavier stuff now and probably even more in the future", end quote. But you wouldn't necessarily agree about the 'heavier' note though. Sure, the fore-mentioned opener signals a more neo-classical approach perhaps mostly due to the guitar vs. keyboard interlude.

However, a lot of Scandinavian and especially Finnish acts are always more than keen to throw in a couple of notes in the tradition of Yngwie Malmsteen and Stratovarius. What puzzled me the most, the complete and utter mish-mash of different styles throughout the album. It goes from one side of the spectrum (pop rock) to melodic hardrock, neo rock, some kind of progressive lite, and at times, even the hint of eighties synth. Seriously, 'Because Of You', the bastard child of Brother Firetribe and Midge Ure (Ultravox).

Not to mention, there's a pretty darn decent cover of "Little Lies" (Fleetwood Mac) to be found on the Euro release. Not your ordinary release from the Escape label. It's actually a far cry from the U.S. traditional melodic rock and very much a Scandinavian affair. Keep in mind that old firm people aka AOR nerds are hardly amongst the most impressionnable and easily led people out there. They are blindly following the scene through their eighties memories and/or flashbacks and have to be dragged kicking and screaming to try something outside of their ordinary nostalgia trip. Brother Firetribe extra lite with quite a lot of poppy arrangements and pompous overtures? Sure, why not?
www.humantemple.com

BLEEDING UTOPIA: "Demons To Some Gods To Others"

Rating: 3/10
Label: WormHoleDeath 2012
Review by: Urban "Wally" Wallstrom

Demons to some, Gods to others? What about bozos? a vast majority of the population will most certainly file Bleeding Utopia under the latter category? And as if that wasn't enough, they proclaim to be a thrash metal band? Perhaps the modern typed ones as Dew Scented or whatever (not that I'd call it thrash). But this is mostly plain old boring death metal/core firmly rooted into the sound of the mid to late nineties. It's unfortunately the worst possible era in the history of hardrock and metal. Geez, remember when Slayer decided to jump bandwagon and do this shit as well in the nineties? Oh, the horror, the horror! They haven't recovered as of yet really and their last classic studio album dates as far back as 1990 (Seasons In the Abyss).

For although at heart it's rather technical album based around groove and power riffing, Killing Utopia has gone over board with the monotonious setting synonymous with the 90's core and chosen to locate their songwriting at the far back of priorities. You may however find their music interesting if you're just about to enter the mosh pit and jump around like a tw*t for an hour. Infront of the stereo, in your MP3 player, or whatever (cassette recorder, sony walkman?), it gets quickly dull though. The songs are simply not good enough. Final verdict: The stamina, agility, and position play of Roger Johnson after a two day bender (FYI: Johnson is the captain of Wolverhampton W - football, premier league).
www.bleedingutopia.com

ALREADY GONE: "One Good Reason"

Rating: 3/10
Label: Indie/TSM 2012
Review by: Urban "Wally" Wallstrom

Already Gone? - Hey, I'm outta' here!! They are a melodic rock quartet from the Midlands, UK, consisting of vocalist Luke Maskery (who appeared on ITV's 'Stars In Their Eyes' at age 18), guitarist Dan Nutt, bassist Tim Buxton, and drummer Vikki 'Vicious' Brown. I've been told they are influenced by classic rock acts such as Bon Jovi, The Eagles and Nickelback (according to the press release).

Hence my surprise (or rather not actually) as I spin the disc only to find out they sound absolutley nothing like their influences. A cynical may suggest that's it's nothing but a desperate marketing to attract the poor listener. Well, aren't all press-releases? Singer Maskery is often compared to the likes of Jon Bon Jovi and Steven Tyler? Not likey, if anything he's more towards the style of Joe Elliot and any other average U.K. melodic hardrock vocalist. Typical mid-range but compensates this with sheer attitude and energy.

Some of the 13 tracks. Opener, 'Cry Baby', tiresome hair metal. 'Stop, Drop, Rock N Roll', decent sleaze with a refrain sort of similar to Shotgun Messiah's 'Sex, Drugs Rock N Roll' (now, THERE's a great tune!). 'Sweet Dreams Baby', corny country rock and not likely to please fans of The Eagles (and yeah, Hotel California IS a smashing album). 'Sweet Lady Jane' may briefly have you thinking about the Def Leppard debut album (On Through The Night - 1980) and various blues rock influenced acts of the past. Best track off the album, "In Your Arms", the one and only track that also may remind you of Bon Jovi. Occasionally catchy with a constant tendency towards the uninspiring and aimless. They desperately need more songs in the vein of track #10 to 12 on the CD (In Your Arms, One Good Reason, Girls I Used To Know). Weird, most bands would have these songs at the beginning of their CD.

Damn it, now I REALLY need to listen to 'Second Coming' with Shotgun Messiah... 'Red Hot' - makes me wanna cry but I like it... weirdorama, psychodome - the lights are on but nobody's home... heartbreak blvd... splatterpunx on acid - yeah!
www.alreadygone.co.uk

VENGEANCE: "Crystal Eye"

Rating: 5/10
Label: SPV/Steamhammer 2012
Review by: Urban "Wally" Wallstrom

"Crystal Eye" is the rationalistic titled new album by Dutch cult metal legends Vengeance. Originally with Arjen Lucassen among their ranks and signed to CBS Holland after only one live performance in 1983, the band has been a on/off project for ages and the line-up has changed around quite a bit since really. But I digress as usual, you're probably not interested in finding out more of the same old boring trivial facts regarding their background history anyhow.

What's up with their music of twenty twelve? Well, their guitar driven agenda powers the album along at what seems a steady beat and pace, which quickly becomes rather one dimensional actually. Perhaps mostly due to lack of killer hooks and/or sing-a-long moments? Merely tiny bits and pieces of the band's bouncing, youthful? enthusiasm of the past are to be found on "Crystal Eye". Barbwire vocalist 'Neon' Leon Goewie do spark like a morbid kind of Las Vegas show on a couple of the tracks.'Whole Lotta Metal','Bad To The Bone' and the powerballad, ' Promise Me'. But to be frank, the rockers from Holland are mostly plodding along to mid tempo AC/DC vs. Priest rock/metal and it does show that not even the coolest of monicker can save them in the end (Vengeance is a pretty cool name for a metal band though). To quote their live album from 2007, 'same, same, but different'...

WILD FRONTIER: "2012"

Rating: 7/10
Label: Music By Mail 2012
Review by Alan Holloway

I know it’s not a new thing to have a band pop up that I’ve never heard of before, so it was no surprise to learn that Germany’s Wild Frontier have been recording an album every four or five years since the early 90s and in that time never darkened my personal doorstep. “2012” is their fifth such album, and although it contains nothing new it is still a nice piece or work.

Wild Frontier certainly seem to come across as a very, well, German band. Take bits of Bonfire and The Scorpions and mix liberally with the likes of Dokken, and you might well find Running Wild at the bottom of the bowl. Jens Walkenhorst has a slightly grating voice that takes a few songs to get used to, sort of like Klaus Meine with a bit of a sore throat, but by my second playback of the album I was quite enjoying myself. Thirteen tracks full of nice retro melody and thumping hard rock backing later I was actually enjoying “2012” much more than I had initially thought I would.

When they get going, such as on the blistering “It’s All Over Now”, or “Another Lonely Day Without You”, Wild Frontier can hold their own with the best melodic hard rock acts in Europe. There’s some cracking songs here, along with some more average ones (“Why Don’t You Save Me”, “Stay Tough”) and a sorely misguided cover of ABBA’s “Gimme Gimme Gimme”. The good certainly outweighs the bad, and whilst this isn’t anything big or particularly clever, “2012” is anything but a disaster
Website

T.REX: "Electric Warrior" [super deluxe]

Rating: Reissue
Label: Universal/A&M 2012
Review by: Urban "Wally" Wallstrom

Yet another pointless reissue of a classic album? The super-duper deluxe edition of the 1971 album by T.Rex, Electric Warrior, 3 discs (2CD/1DVD). The album topped the UK album charts twice, from December 18th 1971 to January 29th 1972 and again from February 5th to February 19th 1972. The first disc, the original album plus single A and B sides, all you ever need really since its the beginning of the first wave of glam. Seriously, why bother with crappy sounding outtakes, dodgy demos, wacky versions and single vocal mixes???

Make no sense whatsoever. Why spend money on crap if you already have a copy of the very classy 'Electric Warrior' album? I can't find a single reason to why you should, no matter if you're a die hard fan of the Bolan man. And any die hard fan already have the dodgy sounding demos and faulty versions anyhow. Disc 3 is a DVD, and it doesn't include the surround mix, but does include ten performances, two of them, the official promo videos of 'Get It On' and 'Jeepster'. Other performances originated from Germany's Beat Club, the Empire Pool Wembley, where the latter are outtakes from the T. Rex film 'Born to Boogie'. Get It On or Rip Off? - you be the judge.

AXEL RUDI PELL: "Circle of The Oath"

Rating: 3/10
Label: SPV/Steamhammer 2012
Review by: Urban "Wally" Wallstrom

Question: what's even more boring than Yngwie Malmsteen? Well, I'm sure you all know the answer. Don't get me wrong, Yngwie could do no wrong in the eighties, early nineties. People literally idolized him back then and though of the donut loving Swede as a God! It's all been slightly repetitive in the past decade or so, but at least he's got a legacy. Ehem, Axel Rudi Pell on the other hand, not as much.

You don't have to be a genius to figure out who produced Circle of The Oath? Yes, it's the guitarist again (surprise, surprise!) and it barely sounds like there's any other instrument on the record? The songs? does he ever come up with something new? no, never! 'You can't beat the same beat' is unfortunately a sentence that's forever tied to Axel Rudi Pell. The average rock fan wish someone would tie Pell's hands together though and give the poor guitar a rest. But hey, the characteristic ARP sound maintains as the song structure hasn't really changed in the past twenty plus years. The title track is a keeper though and 'Bridges To Nowhere' could possible work as well. The other tracks are so 'been there, done that', it feels like an endless experience of deja vu.

HALESTORM: "The Strange Case Of..."

Rating: 10/10
Label: Roadrunner 2012
Review by Alan Holloway

“I have a feeling there’s a better second album coming from Halestorm,” I mused in 2009 after hearing the Pennsylvanian band’s first album. Although it was good, it was all a bit stadium rocky with a girl singing. Close, but no banana, as they say. To be honest, they fell right off my radar until recently, when a friend insisted that their new album would be right up my street, pushing a copy at me before running off and kicking a puppy. I need new friends, I know, but I am glad he gave me the CD as it’s as good as anything I’ve heard so far this year.

“The Strange Case Of…” inspired by Jekyll & Hyde in that it showcases, apparently, two sides of the band, grabs you from the off and doesn’t let up. Vocalist Lzzy Hale (still can’t afford that extra vowel) almost beams with attitude, like Avril Lavigne when she was hungry and up for a bit of ass kicking. Gone is the safe stuff as well, leaving some nicely paced rock tracks that straddle melodic rock and modern punk pop with a healthy dose of pure exuberance. When they slow it down for “Here’s To Us”, it still works beautifully, and this song should one day make them a fortune if there is any sort of deity looking over rockers. If you want to get a good idea of what Halestorm 2012 are about, just check out the lead track and single “Love Bites (& So Do I)” on YouTube and it pretty much sums up the hunger, melody and sheer brass balls that the band have cultivated since the debut.

Not to be dismissed as a band for young people with a pretty girl singing, Halestorm have produced an album that does not let up for a second, and I seriously can’t stop playing it. They get away with titles like “Rock Show” and “American Boys” without losing credibility, and quite frankly stand head and shoulders above any other young American band out at the moment. As close to perfection as this sort of music gets, and for that they get my first 10 of the year, and I’m now off to listen to it again.
Website

PHENOMENA :Awakening"

Rating: 6/10

Label: Escape 2012

Review by: Urban "Wally" Wallstrom

There's a popular tv series in Sweden about our language (accents) where the main theme song is "Dance With The Devil" from the first Phenomena (1985). Perhaps not that strange considering the wacky tv-host, original and very much former Crystal Pride drummer, Fredrik "Bongo" Lindström. However, what once started out as an ambitious concept album brought to life by Tom Galley (the brother of Mel - Whitesnake, Trapeze, etc.) and based around short stories revolving around a theme of supernatural phenomena, nowadays, just another AOR project with little or any reference whatsoever to the supernatural.

I have no idea if Tom Galley has any major part in Awakening (besides co-producer), but there's a couple of blasts from the past here. For instance, the song, Homeland, written by Galley and Glenn Hughes and originally found on the latters 1994 solo album "From Now on" is now performed by Rob "Mickey Mouse" Moratti (Saga, Final Frontier). Otherwise, the overall style of the album is at times similar to the 2nd and 3rd album in the Phenomena series, rather than their debut. Clearly not quite as impressive, but it's at least proper craftmanship and a decent cast of singers/musicians.

The opening two tracks, Smash It Up (Lee Small on Vocals, Mat Sinner Bass, Magnus Karlsson Lead Guitars) and Reality (Toby Hitchcock on vocals and Mike Slamer on Lead Guitars), had me constantly thinking about 'Dreamrunner'. Old skool melodic rock like in the mid eighties (1987 actually). Close your eyes and you can almost imagine it being John Wetton and Ray Gillen (R.I.P.) and the days of Dreamrunner. Well, not quite (heh!), but it's darn good anyhow. "Going Away" (James Christian vocals and Tommy Denander on Guitars) doesn't work out as well as the fore-mentioned ones. The same goes for "Gotta Move" (Ralf Scheepers on vocals) and I always tend to skip this track (plodding stuff).

How Long (Lee Small on vocals and Martin Kronlund on Guitars) dates back to the traditional Phenomena sound. Neat! Fighter (Terry Brock on vocals and Steve Newman on Guitars) is wacky and uncommerical with an excellent performance by Brock. Dancing Days (Niklas Swedentorp on Lead Vocals with all Coldspell members), is not pleasing to these ears and better off leaving alone. Stand Up For Love (Chris Antblad with JAVA Gospel Choir) has absolutely nothing to do with Phenomena as it's a rather typical Antbland pop/rock/gospel song. Which makes ya' wonder really, what exactly did Mr.Galley do other than letting them use and record an album under the Phenomena banner/monicker?

TRIXTER: "New Audio Machine"

Rating: 3/10

Label: Frontiers 2012

Review by: Urban "Wally" Wallstrom

People always pick on me for loving the first two albums with the U.S. hair-metal band, Firehouse. Guilty at charge though. I can't get enough of the somewhat cheesy, but extremely catchy, "All She Wrote", and what not really off their early work. Yeah, well, at least I'm not raving about Trixter. One of the lamest hair-metal acts of the era? "One In A Million", need I say more? Probably not since it's extra cheesy with hardly any substance nor purpose whatsoever. Thank God that Grunge aka Kurt Cobain came along to snuff out bands like these...

Ehem, fast forward to twenty twelve and here's the comeback album. Damn, where's Kurt? six feet under ground? and these schmucks are still doing the hair-metal? No, of course not, they've been jumping on every bandwagon since and now it's finally time to return to their roots (read: cheese). Overall, the songs are slightly better?, more rootsy, not quite as corny (huh?), and Steve Brown does rip and shred like a proper guitarhero throughout the album. "We take pride in the fact that we are one of the few bands of our genre that have all original members," says Brown. That's pretty funny, considering it's the only thing "original" about the band.

The opening track (Drag Me Down) feature the annoying 'na-na-na' choir of the past (Shotgun Messiah did it in style though) and the following one (Get On It) goes through the mandatory 'woah-oh's'. Sigh, We're off to a dodgy start indeed. "Dirty Love", slightly better, poor man's Def Leppard. But we'll have to wait until track five (Live For The Day) for the first sign of decent songwriting. "Ride", yet another track in the poor man's Def Lep style. The lead single "Tattoo's & Misery" is however a feel good tune and sadly one of few good moments. "The Coolest Thing" with its more contemporary sound - easily the best track...

The riffing and a couple of cool sing-a-long moments (special guests collaborated with the band in the songwriting department: Glen Burtnik of Styx and solo fame and Snake Sabo and Rachel Bolan of SKID ROW) are simply not enough to save this from being below average. There's nothing wrong about the musicians nor hair-metal. In fact, we take pride in the fact that we are writing about the genre as well as everything else that either rocks or pops. These songs are however not up to standard...

www.trixterrocks.com

DEPARTURE: "Hitch A Ride"

Rating: 4/10

Label: Escape 2012

Review by: Urban "Wally" Wallstrom

I do have a couple of Departures in my vast music collection. I barely recognized the style and music of the past though. Truth be told, I haven't played their pervious discs in years, but they had more of the old "pomp" and vocalists such as Dave Baldwin (Tradia) and keyboardist Dave Rosenthal (Red Dawn) among their ranks. It's still the brainchild of American multi-instrumentalist Mike Walsh and he's as usual responsible for most things on this record.

However, they now have a Swedish lead vocalist (Andi Kravljaca) and he's not all that impressive to/in my ears. Sure, there's nothing remotely wrong about his set of pipes and he's clearly capable of singing the melodies. But (and there's a BIG but), I find him to be completely soulless and typical of the Scandinavian nature somehow (cold, sterile, neat, clean). "Soldier of Fortune", one of few times when he actually gets down and dirty and tries to capture the feeling and mood of the song, instead of just singing it out loud with no real punch nor attitude. "Lovsick", makes ya' sick in the stomach as it sounds like any East European entry for the Euro Song Contest. Most of the songs will have you thinking about the Euro spectacle actually, and we all know that Walsh can do so much better really.

FIREWIND: "Few Against Many"

Rating: 8/10

Label: Century Media 2012

Review by Alan Holloway

For me, Firewind are one of those bands that it’s almost impossible to dislike, as they cater for all sorts of rock music tastes, with their always entertaining mixture of melodic power metal. “Few Against Many” is their seventh album, followi9ng 2012’s excellent “Days Of Defiance”, and I’m glad to say that this is yet another instance of Greeks bearing very cool gifts indeed.

The most instant thing about Firewind is always their fluid, melodic style, where smooth, catchy tunes are bolstered by blistering guitar solos. As ever, Gus G is given free reign to throw all sorts of guitar shapes at the wall, with just about all of them sticking like bastards. Apollo Papathanasio delivers some great, higher pitched vocals throughout, in what I would call a now traditional European power metal style. The album starts off incredibly confidently, with “Wall Of Sound” a traditional Firewind sounding track, but they slow down to a more chugging, metal style with follow up “Losing My Mind”, and whilst it’s a good song, it’s lack of real fuidity makes the six and a half minute runtime stretch a bit. Thankfully, it is, for me, the only potential weak spot on a very solid album full of well paced, guitar driven kick ass rock music. Things do slow down for “Edge Of A Dream”, which features Apocalyptica, but in all honesty it’s a cracking ballad.

“Few Against Many” wisely doesn’t try to reinvent the Firewind brand. They’re not as fast and furious as the likes of Dragonforce, but sit between them and the more traditional heavy metal bands, providing speed without overkill and melody without being wimpy. Fact is, metal fans, that if you like Firewind this is yet another solid album.

Website

FLYING COLORS: "Flying Colors"

Rating: 9/10

Label: Music Theories Recordings 2012

Review by Martien Koolen

A new supergroup has arisen; Flying Colors consists of Neal Morse (keyboards, vocals), Mike Portnoy (drums, vocals), Dave LaRue (bass guitar), Steve Morse (guitar) and Casey McPherson (vocals) and together these guys have made an amazing
debut album.

Right from the start these super musicians grab you by the balls and they do not let go till the last note is played. Opener Blue Ocean is a very catchy, wonderful song with an outstanding guitar solo from ex-Dixie Dregs and now Deep Purple member Steve Morse. Followed by the roaring rocker Shoulda Coulda Woulda, these two songs form a perfect opening for this spectacular album. Kayla, one of my favs, is rather complex, filled with beautiful harmonies and the almost bittersweet yet powerful vocals of Casey McPherson, who you might know from the bands Alpha Rev and Endochine. Also notice the breathaking guitar solo in that song which is split in two by some astonishing vocal passages.

The heaviest song on the album is without any doubt All Falls Down, where Steve and Mike really get it on; keep on headbanging, guys! Another surprise on this album is Mike doing the lead vocals on Fool In My Heart, but we already know from the last Transatlantic album - listen to Salty Dog - that Mike can actually sing rather well. Better Than Walking Away is the second ballad on the album and again Steve and Casey steal the show in that one.

Finally we are treated to an epic prog rock song, clocking in at precisely 12 minutes, called Infinite Fire. This song wraps up the album perfectly; as it is complex, diverse and reminds me of prog icons Yes and Genesis. An almost perfect song for an almost perfect album. The production of this masterpiece was done by Peter Collins (Rush, Queensryche) and he did a more than remarkable job. Flying Colors is a must for prog rockers and it will not leave my cd player for a long time to come. Let's hope that these guys will also be going on tour with this outstanding debut album.

Website

WALKALONE: "The Stand"

Rating: 8/10

Label: Playground 2012

Review by Kimmo Toivonen

This band's name and their home country of Finland might make you think that they're just another post-HIM rock band with a slight case of depression and tendency for drama. Especially when their album opener "Echoes" starts with the lines "Heart full of hope/Turning to stone"... Yeah, I should listen without prejudice, because Walkalone may have a dark undertone in their lyrics and music, but they don't sound too depressed. In fact, the aforementioned first track of the album is actually a rather cheery, uptempo track with a killer pop-rock hook. Quite a contrast to the not-so-cheery lyrics. And they follow it with another hit potential melodic rocker with an apt title - "Drama Kills". Superb stuff - kind of like the lovechild of Duran Duran and HIM! I heard some similarities to Scottish rockers Gun too.

The first two tracks are the strongest ones of the album, but the rest of the album is quite good too. The band's "signature song" "Walkalones" and "Roll The Dice" are my two picks among the remaining songs. The weakest track of the album is probably "Break You", which features my biggest pet peeve in modern rock during the chorus - the yawn-inducing "coldplay rhythm".

The production is good, the arrangements are colourful and the band sounds good, so what's there not to like? Nothing really. Good stuff. Check 'em out!

Website

PAUL SABU: "Bangkok Rules"

Rating: 7/10

Label: Z Records 2012

Review by Alan Holloway

I was a late convert to Paul Sabu, having managed to avoid most of his stuff apart from the album he did with Alexa back in 1989. I knew the name, knew his Dad played Mowgli years ago, and knew he was supposed to rock out with his cock out (not literally), but that was it. Last year, his new label Z Records threw out a best of compilation, “Call Of The Wild”, and I was hooked. When I had finished kicking myself for not having heard his stuff before, I resolved to keep track of his movements, which has led me to this, his first original album on Z.

“Bangkok Rules” isn’t going to shatter anyone’s preconceptions of Sabu, and stays true to the brand with big choruses, skyscraper riffs and the man himself’s throaty but wonderfully AOR vocals. Appropriately for a man whose Dad played jungle boys, when the album hits the highs the music makes you want to beat your chest like a gorilla and punch the air like it spilled your pint. The title track, followed by the album’s stand out track “Rock Don’t Run”, kick things off in fine style, and although there’s plenty of other impressive tracks (“Live Or Die Trying” has an awesome chorus) it’s these two that stick in the mind the most. It’s hard not to enjoy a song called “Rocked & Loaded”, especially when Sabu is singing it, and “Love’s Got A Mind Of Her Own” rolls along nicely after an intro that sounds amusingly like Sweet. So yes, there’s plenty of good stuff here for Sabu fans, but it’s not all plain sailing, as when the pace slows so does the enjoyment. Whilst “Read My Eyes” is a good, if not great, ballad, the slow grinder “Black Star” does nothing for me and the plodding “Code Blue” isn’t staying on my iPod, although I suspect it may have a better lease of life when played live.

I know that this album was written, at least in part, by Vince O’Regan, but have no idea about who else had a hand. I do know that there is a real gulf between upbeat, party rock tracks like “Rock Don’t Run” and the slow, grungy “Black Star”, whoever wrote them. Out of the eleven tracks, only three don’t do much to move me, with the rest more than making up for it with their energy and fun. I can’t see Sabu fans being disappointed with the overall product, but would have preferred a few more bouncy anthems.

Website

CRAZY LIXX: "Riot Avenue"

Rating: 7/10

Label: Frontiers 2012

Review by Kimmo Toivonen

The first impression of this album was a bitter disappointment. It sounded like the band had morphed into a Hardcore Superstar wanna-be, and as if the melodies of their previous material had been thrown out of the window. Now, having played the album a few times, it has started to show its' true colours and what do you know, everything's not lost after all.

While it's true that the band has added a big dose of sleaze into their sound, there are still quite a few melodic gems among the less appealing "street rock" material. The opener "Whiskey Tango Foxtrot" combines the best of both worlds, as does the anthemic and melodic title track. "Fire It Up" reminds me a bit of Cinderella's "Shake Me" and that's not a bad thing at all, while "Downtown" is totally 80'ies Kiss. "Heatseeker" has a strong chorus, but I'm not that fond of the plodding tempo of the verses. The ballad "Only The Dead Know" has to be mentioned too, it sounds like the more morbid cousin of Great White's "Save Your Love" and Kix' "Don't Close Your Eyes".

If the band were after a very authentic late eighties/early nineties sound, I must say that they succeeded in it perfectly. If this album had been presented to me as an undiscovered band from 1991, I might have been fooled... and had this album been actually released back then, it would nowadays be a cult favourite alongside the likes of Outlaw Blood, XYZ and Roxy Blue... not necessarily one of the million sellers.

Website

LULLACRY: "Where Angels Fear"

Rating: 6/10

Label: Playground 2012

Review by Kimmo Toivonen

After a few years away from the scene, Finnish metal band Lullacry has returned with a new album under their collective belt. Just like on their previous albums, the band still plays melodic metal with female vocals, combining elements of 80'ies metal to a more modern soundscape. And just like their previous albums, I kinda like their music yet it's the kind of stuff that won't get too many spins after this review is done, save for a song or two.

The album is well produced by Mikko Herranen, who also sings a duet with the band's vocalist Tanja Lainio on the album. The balladic "Feel My Revenge" is one of the better tracks of the album. It might even bring some unexpected rewards for the band, as Herranen is currently successfully competing in the popular "Voice Of Finland" TV show. Other highlights of the album include "Still An Angel", "Thousand Suns" and "Where Angels Fear", all relatively catchy tracks with big hooks. Quite why the band chose "Bad Blood" as the first single and video I don't know, as it's one of the album's more average tracks. Some of Tanja's vocal lines are like fingernails on a chalkboard - I hardly doubt that it's the effect they were after.

Website

TYKETTO: "Dig In Deep"

Rating: 7/10

Label: Frontiers 2012

Review by Kimmo Toivonen

Tyketto's first album "Don't Come Easy" (1991) should have made them superstars, and songs like "Forever Young" and "Wings" should have been chart-topping hits. As it turned out, the album and its' songs became much-loved favourites but only among the die-hard hard rock fans. Whether it was the turning tide in the music biz or the teen spirit or whatever is quite irrelevant now, what's more important is that the "Don't Come Easy" line-up of Danny Vaughn, Michael Clayton, Jimi Kennedy and Brooke St. James (plus a new keyboard player Bobby Lynch) is back with a new album.

Clicheed as it may sound, but I feel that "Dig In Deep" is a natural-sounding successor to the first two Tyketto albums. 20 years have passed and understandably this has affected the band's sound and songwriting, but the core elements of Tyketto are still evident. None of the songs have the urgency and magic of those early Tyketto classics, but they're good in their own, more subtle way. Danny Vaughn's excellent lyrics are one of the band's strengths, there aren't enough "storytellers" like him in melodic rock these days. It's his lyrics that raise some of the weaker tracks to a higher level.

The production has recieved some criticism, but for what it's worth, I think the album sounds good and natural. More "classic rock" than "glossy melodic hard rock" I would say. Maybe a little more "gloss" here and there wouldn't have been out of place though. Anyway, the band plays well and Vaughn puts in a superb performance as usual, he still remains one of my all-time favourite vocalists.

The album's standout track for me is the powerful and catchy opener "Faithless". To be frank, the album could've used a couple of other similary strong tracks. Instead the band offers us several nice, more or less acoustically driven songs like "Battlelines", "Here's Hoping It Hurts" and "Evaporate". They're all good, but somehow I was hoping for more. I really wanted to love this album, now I "only" like it...

Website

PRETTY MAIDS: "It Comes Alive"

Live album

Label: Frontiers 2012

Review by Kimmo Toivonen

30 years. That's how long Pretty Maids have been around. To celebrate their anniversary, the band has released "the band’s first ever audio-visual release". Unfortunately I only have the audio to review...

With a career of 30 years, the band had a lot of songs to choose from. They've managed to put together a solid setlist, there are fast and hard songs as well as their melodic songs, with the emphasis slightly on the melodic side. I have no complaints about that! Of course I have my favourites among their catalogue and not all of them are included, but I guess that applies to each one of their fans. At least they didn't completely overlook my favourite album of theirs, "Jump The Gun", as they did way back in 2006 when I saw them live.

Although I'm not that fond of live albums, I must say that "It Comes Alive" is one of the better ones I've heard lately. The band sounds really good, and while vocalist Ronnie Atkins' vocal style cannot be easy on his vocal chords, he can still deliver. Damn, this album makes me regret that I missed their recent gig in Helsinki!

Website

FURYON: "Gravitas"

Rating: 6/10

Label: Frontiers 2012

Review by Kimmo Toivonen

Furyon have finally secured a wider distribution for their acclaimed debut via Frontiers Records. They represent the heavier end of Frontiers' rooster, with a modern metal sound that as close to Alice In Chains as it is to old school hard rockers like Whitesnake. An AOR band they most definitely are not.

The band has been called "the best new metal band from Britain" and all sorts of accolades have been handed to them. While I can appreciate the talent in the band, I'm not going to start throwing superlatives their way. Yes, the album sounds great and they are very talented musicians, not to mention Matt Mitchell who is a top class vocalist... but still, there are far too many songs on the album that merely pass me by without drawing my attention to them. At their best the band can deliver "heavy and melodic" rock as they promise in the press release, both "Disappear Again" and "Wasted On You" are good examples of that. Then again, I don't know how many times I've played this album, but songs like "Souveniers" or "Fear Alone" may be decent enough, but I just don't remember anything about them. Heavy, but not melodic enough.

The fact that at times I find Furyon slightly dull doesn't mean that they couldn't go on to become the next Metallica, so do check 'em out... I have a feeling that they're onto something.

The Frontiers release includes a couple of bonustracks, no comment on those since the promo package didn't include them.

Website

JACK BLADES: "Rock N Roll Ride"

Rating: 9/10

Label: Frontiers 2012

Review by: Urban "Wally" Wallstrom

RATT once sang, "Round and round, what comes around goes around, I tell you why". Okay, tell me why as it's hardly straight to the point (as if ever), but... it's sort of the circle of life. Hakuna matata or whatever kind of b.s. Elton sang about? Music gone the full circle and musicians ending up sounding like a mish-mash of classic and modern contemporary rock. Jack Blades of Night Ranger and Damn Yankees fame has certainly been blessed with the 'know-how' as the songs on his latest solo album blend a little of both camps (new and old rock).

The opening two numbers, "Back In the Game" and "Rock N Roll Ride", perfect examples of my theory, it's extremely fun and catchy-crunchy rock. Back to basic and acts such as The Foo Fighters are also trying to belt out these kind of tunes nowadays (their latest album). If you like, it's the modern/retro twenty twelve version of "You Can Still Rock In America" and the Damn Yankees. Pretty timeless stuff in other words. It's fun GUITAR rock, mo-fo! It's the sort of moment where you expect Ted 'Wacko' Nugent to pop out of his box and scream his head off for no other reason than being extremely excited. You'll be shouting along at the top of your lungs too - what kind of ride - a ROCK N ROLL RIDE!!

The first video/single, "Born For This", top notch rock in the vein of Bon Jovi? "Hardest Word To Say", goosebumps warning? the perfect ballad mix of Night Ranger, Damn Yankees, and Daughtry. "Anything For You", surely must be the result of the collaboration between Blades and Robin Zander? It's basically a (cool) mid-tempo Cheap Trick tune. The same goes for "West Hollywood" as the hall/trademark of Zander is written all over it. Well, The Beatles started out with these kind of tunes and the likes of Jeff Lynne, Tom Petty, and Zander picked up the torch back in the seventies.

"Say You Will" takes the fun uptempo mood up Night Ranger and blends it (again) with what the Foo Fighters are trying to capture. If you haven't been in the game for the past years. Don't go thinking grunge and depressive rock as they're a classic/modern rock band in this century, grandpa/ma. "Don't Give Up", the piano arrangement and formula of Bruce Springsteen in the background while blasting out the timeless rock upfront. Final track, "Hey Now", the old rock'n roll blues gone cowboy Bon Jovi and Shaw/Blades. Yup, kids take notice, the old Night Ranger is back in the game. It's a rock'n roll ride...

www.jackblades.net

JEFF SCOTT SOTO: "Damage Control"

Rating: 7/10

Label: Frontiers 2012

Review by: Urban "Wally" Wallstrom

JSS, Jeff Scott Soto, the bloke upfront, powerhouse vocalist, U.S. Swede, the metal version of Terence Trent D'Arby? There are many different ways to describe the former member of Yngwie Malmsteen, Journey, Talisman, Eyes, Takara, Soul SirkUS, etc. Me? I'd say he's a dou**e. I spent my childhood disliking him for hooking up with my crush and favourite Swede girl/woman as a kid, Tone Norum, and yeah, she's the one singing, 'hey, can't you stay'.

All jokes aside (I pretend to like him now as the memories hurt too much otherwise. LOL! No, seriously. I'm in pain), after plus 25 years in the business, you pretty much know what to expect from this all American singer. It's a very professional packaging and everything on, "Damage Control", speak volume of experience and a certain class. From the moment JSS decided to take some time off from touring, other gigs, sessions and various contributions, it's been more or less a controlled chaos to get this album together.

There are twentysix musicians from three continents involved (members of Y&T, Kamelot, Treat, Night Ranger, etc.) and they all do their part without ever stepping into the spotlight of JSS. Some of the tracks on display: The title track sparks like a radioactive cat in the dark. Very much the early Talisman sound, the mere hint of funk, and the odd reference to another US singer with capitol letters, JLT (or JOLT aka Joe Lynn Turner of Rainbow and Deep Purple). "If I Never Let Her Go", a neat poppy power rock song and borderline cheesy to be honest. "Die A Little" reeks of 1986 and the pure AOR sound of the era. And no, that's certainly not a neagtive mark in my book, quite the opposite really. Great stuff.

To my surprise, "Tears That I Cry", as well as most other tracks are true to the power pop and melodic rock sound. I sort of expected something else as this singer was never afraid to embrace and involve the funky/groovy stuff as we know, and much of 'Damage Control' is a pretty straight forward melodic hardrock affair. Starting out with a couple of notes of classic soul/blues piano, "Bonafide", quickly becomes yet another fine soft rocker with lines such as "wearing my heart on my sleeve". And even though if "Krazy World" flirts with the Jean Beauvoir, Prince, D'Arby, sound, it's still very much a melodic rock tune. "Afterworld" does sound like something Talisman could have done in the past (RIP Marcel).

I'm told the deluxe version holds three bonus tracks (not on my copy) where 'Take U Down' is a personal fave according to JSS. Final verdict: On the one hand, big, catchy rock. On the other, a tad too safe and predictable at times. Nontheless, overall a solid effort and a very safe purchase for the JSS and melodic rock fan.

www.jeffscottsoto.com

The SUN EXPLODES: "Emergence"

Rating: 7/10

Label: Perscription PR 2012

Review by: Urban "Wally" Wallstrom

The Sun Explodes and the moon waits for its opportunity to finally shine? Actually, if the sun explodes, the moon will also, ehh... nevermind. We're discussing a heavy synth-laden rock/metal quintet out of the U.K. and hardly the scientific report of the day. You'll find an amalgamation of styles on their debut album, "Emergence", and it's very much the experimental approach to contemporary rock. It's basically a mish-mash of EMO, Prog (Math), Synth, and Metal melodies.

They have managed to produce a sonic display of musical angst and progressive ideas where the songs stand on their own merits even if you can't ignore the concept and the reviewers need to name-drop a couple of acts. They're from Carlisle in Cumbria and the likes of Coheed and Cambria and Muse, definitely something to have in the back of your mind while listening to their melodies. I'm a major C&C fan and their sort of music is all about emotion and thinking outside the box. The same goes for The Sun Explodes as the offer a quirkly atmosphere to a certain type of mood and formula.

They're at times heavier than afore-mentioned acts, but vocalist and keyboardist Dave Maclachlan sings with a very clean and poppy approach throughout the album. It's the ever so popular metal band meet poppy singer attitude. Maclachlan can really pull off the high notes though and there's quite a lot of keyboard/piano interludes on the record. The frantic display of "We're Not Soldiers", poppy vocals upfront, growls in the background, it's something we've noticed a lot of as of lately. This is a pretty great anthem though and the style which acts such as Dead By April should explore really. The autotune part is kind of annoying but doesn't last for long, thankfully.

I believe it's just a matter of time before you'll notice these guys on tour outside of the U.K. as it's "progressive music", but certainly more innovative and interesting than many other releases of its type and genre. The opening title track and the following, "Honour Bound", with its buzzing guitars and sweeping melody, the least interesting tracks in my opinion. Things kicks off big time with "Second Sight" and the next couple of tracks. It's a rather complex CD and I'm afraid they could end up inbetween two chairs. Perhaps too complicated for the average EMO fan and simply not enough to the Prog/Math lover? You need to be open-minded and possibly enjoy both genres to fully appreciate The Sun Explodes...

www.thesunexplodes.com

STORY OF JADE: "The Damned Next Door" (Know Your Neighbors)

Rating: 6/10

Label: WormHoleDeath 2012

Review by: Urban "Wally" Wallstrom

Horror metal is a huge? part of the Italian scene as it's buried deep into their roots just as pizza and pasta. Yeah, well, they have several of those mad producers of (slightly) disturbing splatter/horror movies... and there seems to be new followers of the genre each and every year since the days of Death SS really. Probably even further back, but I'm no expert on pre-eighties rock out of Italy or anything else for that matter.

Story Of Jade are desperate to let you know about, "The Damned Next Door", as it's appearantly important to know your neighbors? It's their debut release at WormHoleDeath Records and the image goes hand in hand with the music concept. It's the usual corpse painting, zombies, dead bodies, and various other strange objects and items of horror and terror (Gremlins?).

What else to expect than morbid ideas from songtitles such as "Confessions of a Headless Man" and "Bloodsuckers Motherf**kers". The latter featuring lyric that goes and I quote, "Crawlin' through your veins, they bite when you fall asleep. Breakin' your filthy dreams, lickin' your sweaty flesh, creepin' under your clothes. You are their juicy prey, you're gonna die tonight", end quote. Indeed, they are the juvenile bloodsuckers and I'm not quite sure what to say really?

Okay, lyrics, perhaps not their strongest point. The music however mixes influences such as Exodus, Slayer, Megadeth, WASP, with the more modern core of The Black Dahlia Murder. Baphomatt (their lead vocalist) sings/growls like any twisted person of the genre. The clean vocals are quite similar to the ones by Mustaine (only worse?) and it's not a poor record. It's just that words such as neat, pleasant, decent, just doesn't ring true when it comes to horror metal.

www.storyofjade.net

R.O.C.K.: "Freedom"

single

Label: Playground Music 2011

Review by Kimmo Toivonen

R.O.C.K. flirted with techno sounds and pop influences on their first album "Mirror Ball & Red Lights" last year, hoping to create the perfect crossover style. Their latest single sees them going for a more hard rockin', anthemic style, which is fine by me. As interesting as their crossover concept was, it sounded a bit contrived.

"Freedom" is a big, pounding stadium rocker with "Whoo-ohs", melody and a huge chorus. I'm not completely sold on the chorus, but the pre-chorus and the bridge are both pretty ace, so I'll have to say that this is a winner.

Somewhat off-topic... isn't it funny that H.E.A.T. has and album called "Freedom Rock"? Now we need a band called F.R.E.E.D.O.M. to release a song called "Rock Heat", right? No, that's enough d.o.t. bands...


Website

The WAY OF PURITY: "Biteback"

Rating: EP

Label: WormHoleDeath 2012

Review by: Urban "Wally" Wallstrom

Doing the Jesus Christ pose? (see artcover). For those of you who remain uninitiated into the bizzare world of The Way Of The Purity, here's a small chance to find out what the fuzz is all about. They're from Sweden. They're into black, core, doom, melodic metal (B-C-D?). They never show their faces (dodgy ski-masks). They actually want to spread the word of Christianity? (you seriously doubt them considering their image and approach). They have a female vocalist out of Norway (face shown and not using the smelly ski-mask). They are completely bonkers?

Their 3-track EP, "Biteback", follows a path of confusion, combining provocative ideals and lyrics with growling vocals by Tiril "Gwaargh" Skårdal. Mastered by Mika Jussila at Finnvox studios, there's no denying that these guys are the real deal (sound-wise). Tiril sings like a person possessed by demons and it's quite the brutal wake up call to the ones expecting the sound of gospel by a tiny blonde woman. And no, it's neither sexist nor demeaning to call a tiny blonde woman, a tiny blonde woman! (keep the PC people away from my door).

The songs, "Keep Dreaming", "Eternal Damnation to Rene Descartes", "Reverse The Time", are all steeped in the same formula and style. Nicely done with atmospheric keyboards in the background, crunchy guitarwork, and demonic vocals upfront. It's pretty decent stuff (but perhaps not too original) done in the Arch Enemy tradition with a similar female vocalist to Angela Gossow. "Biteback" will not only chew your head off, it'll keep haunting your headless body in your dreams.

myspace.com/thewayofpurity

ROMEO'S DAUGHTER: "Rapture"

Rating: 8/10

Label: RD Records 2012

Review by Alan Holloway

After FM came back on the scene, many fingers were crossed that Romeo’s Daughter might join them at some point, what with the bands being linked in the past by both marriage and tours. Although their revival has been slower and less high profile (by AOR standards), Romeo’s Daughter are finally ready to unveil what is only their third album, following on from 1993’s “Delectable”, now available again on Rock Candy records.

“Rapture” is certainly a confident album, starting out with a catchy, crunchy (for RD anyway) rocker, “Trippin’ Out”, sending out the same message as “Heaven In The Backseat” did on their debut. As with that album, this isn’t a guitar fest by any means, and there are a fair few emotional, laid back tracks. Romeo’s Daughter have stayed true to their original image and are a rock band that you’d have difficulty headbanging to. Guitar solos, when they come, are short and sweet, and keyboards are ever present.

What keeps “Rapture” from being a snooze fest is the simple fact that all of the songs are well crafted and catchy. “Bittersweet” may be verging on country music, but that doesn’t stop me from warbling along to the chorus each time it pops up. The other thing that perks up every song is, unsurprisingly, Leigh Mattey’s vocals. It may be 18 years since she’s delivered the goods, but she sounds exactly the same, like someone pouring honey laced with sugar cubes onto an Oompa Loompa.

So what you have here is an album that should certainly appeal to fans of the band’s debut, but may not be to the tastes of people who just like pure pop rock AOR goodness. Romeo’s Daughter are rock-lite, that’s for sure, but “Rapture” is a great album full of catchy, guitar based tracks that once again show a band that were cruelly robbed of wider appreciation.


Website

A PASSAGE THROUGH THE PURITY OF PAIN :The Way Of Purity

Rating: DVD

Label: WormHoleDeath 2012

Review by: Urban "Wally" Wallstrom

Thirty minutes of brutal romantic atmosphere created, written, directed by Susi Medvsa Gottardi featuring the music of the Swedish band, The Way Of Purity. Ehem, yeah, it's thirty minutes of something alright. Not the usual music DVD really even if the plot follows the first WOP album? The band (obviously united in faith through a blood pact), lost in the woods of Bohemia, discover an abandoned house and in it they find an old skool tape recorder. When they play it (oh, no! don't play it!) the harsh screaming lyrics of a suffering female voice causes them to have insane visions of blood and martyrdom.

Yep, it's appearantly jam packed with the screaming and visual being of some poor naked woman (obviously covered in blood) that lived in the house and committed suicide in the name of God back in 1972. Why nude? Who cares? The woman is however played by some Hungarian porn star (Lena Cova) and she's definitely a sight for sore eyes. So now you have one cute and very naked Hungarian porn star as well as poorly Italian actors with horrible accents running around in the forrest while the plot thickens? Nah, the band (actual actors?) walks through the forrest wearing ski-masks and looking extremely corny. The old traditional corpse painting would have been a so much better visual experience really.

The short film is cheesy scary in the same way as the first Evil Dead (only worse). And please don't tell me that you actually enjoy utter shite horror movies of the eighties? All the eighties movies sucks with a few exceptions really. Scarface, Alien 2, Gremlins? Ehem, yeah, erase the latter. No wait, don't... gremlins are cool. The film isn't dark enough and it could have been more fun to watch had it been all gothic and dirty. Ah! Lena! (Donnie Iris?? Nah, he sang Leah?)

myspace.com/thewayofpurity

susimedusagottardi.com

YouTube Film Intro

MURDER BAY: "Never Was An Angel"

Rating: 7/10

Label: Eonian Records 2012

Review by: Urban "Wally" Wallstrom

A quick glance through the press release and the name Eric Valentine caught my attention. Indeed, the former T-Ride drummer and nowadays famed producer (Good Charlotte, Queens Of The Stone Age, Third Eye Blind, etc.) is responsible for tweaking six out of thirteen tracks on "Never Was An Angel". The rest are all done to the hard work of Rob Beaton (Guns N Roses, Sammy Hagar, Santana, etc.) so expect a rather professional packaging and sound here.

The Murder Bay songs were recorded in 1990 and magazine's such as Metal Edge took notice and the Bay's were included in the 'Bands On The Rise' section. Within a few short months, the band would be showcasing for one of the major labels. The changes the label demanded of the band during negotiations didn't sit well and Murder Bay turned down the offer. Gee, that must be a rather bitter experience and perhaps not their best decision?

Fast forward to 2012 and the band and guitarist Michael Karafilis' soaring, driving work is captivating on highlights as diverse as the opening stomping, "Land Of Plenty", and the Kee Marchello meet Mick Mars riffing on "Honey Child". The latter sounding a lot like a mix of the two afore-mentioned guitarists acts (Europe, Motley Crue). "Outta Line" is slick and catchy hair-metal (yeah, we're not afraid to use the term on a positive note) and "Ultraglide" is groovy yet catchy rock with a capitol R. "Simple Man" is a friggin' great and different sort of softy and not quite as stereotyped as most power ballads. It's almost a jazzy composition without losing the melodic hardrock formula. Again, excellent guitarwork, inspired by the Scorpions?

On record it's undeniable they have/had a fine collection of songs at their disposal in the likes of "Never Was An Angel","Dirty Work", and another great ballad, "Alone Again". However, towards the end of the CD, choruses could overall have been slightly better, bigger, catchier, as they often tend to stick to the Van Halen idea of grooving along to the melody without a sharp, edgy, point to the story. The formula is charming at first... but there are a couple too many of them without a proper refrain (Keep Me Mind, Got No Business, Song?). But hey, if you enjoy the average VH composition and groove. I personally find them dull and merely the debut and especially "5150" are classic albums in my book.

In conclusion, definitely one of the better sounding releases by Eonian Records anyhow. If you fancy the real deal and sound of the late 80s/early 90s, and don't mind some groovy (and excellent) guitarwork, have a go at Murder Bay as they're good at what they do.

www.murderbaycd.com

RATTLESHAKE: "Rattleshake"

Rating: 7-Track Mini-Album

Label: Eonian Records 2012

Review by: Urban "Wally" Wallstrom

Oi! Everybody do the Rattlesnake shake! Having devoted much blood, sweat and tears to every darn club in the Bay Area while opening for major acts such as Winger, Warrant, Tesla, things went belly up when Kurt officially proclaimed that hair-metal was dead in 1992. Indeed, it's the same old sob story as always and you're kind of fed up listening to bands bitchin' about it? Especially since it's been twenty years, Kurt's long dead, grunge too, and trends will always come and go. With the sole exception of Rap? Seriously, they've been playing the same old song and dance number to death for the past 20 years! Where's the new "black" music? Flavour Flav and co. - the last originals? Anyhow, Public Enemy and Run-DMC rawks!

And just for the record, black music should simply be "music" as it's everything really, jazz, blues, soul, R&B, pop, rock'n' roll, and even the first hardrock guitar hero (Jimi H!). No white people came ever up with any modern music, they stole it. Truth be told, Rattleshake will never ever be originals and these seven tracks, recorded, mixed and produced by Rob Beaton (Guns N Roses, Sammy Hagar, Santana, Sea Hags, etc.) are at their best fun, but hardly groundbreaking or even close to original.

In the belly of the Rattleshake snake is the sleazy and sneering attitude of acts such as Ratt, Faster Pussycat, Tuff, the first Lynch Mob (the debut). It's a pretty straight forward, standard template, spiced up with the groovy backbone of the band. Vocalist Don McBee (Flame) spits out the lyrics like a proper sleaze rocker and you're tapping and humming along to the melodies. You can't help thinking... this must be some kind of guilty pleasure? It's so, 'been there, done that', but the fact is that Rattleshake are pretty darn good at keeping things sleazy and catchy at the same time.

Man, the songtitles are sort of lame too, "Shootin' Whiskey", "Gypsy Queen", "Take Me Down", "Mudbone, Delight", "Jump On Me", "Rattleshake Boogie". And not to mention, "Never Say Goodbye", the typical power ballad of the time, sounds like any other sappy number of the era. Guardian had a similar one and so did others. But, when everything's said and done, this 7-track mini album goes by quickly and I keep hitting repeat for another spin. Final verdict: Forget about "original", simply call it hair-metal and deal with it - sucker.