KOTIPELTO & LIIMATAINEN: "Blackoustic"

Rating: RR
Label: earMusic/Edel 2012
Review by: Urban "Wally" Wallstrom

Pardon my ignorence but I honestly thought this would be the acoustic album consisting of covers only? Sure enough, they do cover Gary Moore's "Out In The Fields", The Who's "Behind Blue Eyes", and Deep Purple's "Perfect Strangers". So naturally anyone would at first draw the conclusion that, "Black Diamond", "Coming Home", and "Hunting High And Low", should be the tunes originally performed by KISS and A-HA?

Obviously not, since this is the rather dodgy pub-project by Stratovarius singer Timo Kotipelto and Jani Liimatainen from Sonata Arctica. Unfortunately one of these projects that seems good on paper but doesn't always turn out quite as great on record. The semi original idea of bringing the low-key concept to the public is not all too bad actually. I can totally understand average female/male would/could most certainly enjoy the night out with food, beer, and the acoustic duo on stage.

However, it's one thing as the fun night out at your local pub and a completely different animal in the studio. It's clearly not the lions rather than lambs at play here, not a single version comperable to the superial standard of the originals. A lot of the Stratovarious (and Sonata Arctica) material is based on arena rock, loud guitars, thundering drums, and on top of this soaring vocals by Kotipelto. He's frankly not as impressive nor interesting as the stripped down singer/songwriter and the same goes for the material. Highlights, Behind Blue Eyes, followed by Perfect Strangers. They've been performing their acoustic set all across Finland and they'll be heading out on the roads again this month. Catch them live on stage instead as this is strickly intended for/to the mad collector of everything connected to Kotipelto/Liimatainen.

KAMIKAZE KINGS: "The Law"

Rating: RR
Label: limited Access 2012
Review by Alan Holloway

Arriving on a wave of PR bullshit, Germany’s Kamikaze Kings are ready to take the world by the scruff of the neck and shake it until it screams “Uncle”. Well, if they were any good, but sadly these lads are destined for the bargain bins of Europe rather than the palaces.

This “long expected” debut has been hiding in my inbox for a few weeks, and I suspect my brain had an idea that it wouldn’t be up to much. It’s not terrible, really, it’s just very straightforward chest beating old school hard rock that takes the worst bits of Manowar, Saxon and Judas Priest and wraps them up in a studded nappy. Glam rock meets Wrestlemania it may be, but whilst there’s a few tracks that genuinely kick some ass, such as “Burn Baby Burn” and the single “Boys ‘n’ Men”, there’s so many more that just meander about like a goat with it’s eyes poked out. “Bible Black”, for example, is the worst track I’ve heard this year, a doomy dirge that drags and drags, not helped by the poor vocals of Elmo Kamikaze (yeah, they‘re one of those bands), which just don‘t work on a slow song. Elsewhere, he gets quite a godo RickY Warwick vibe going, just not here. The band are certainly better when they are rocking out with their cocks out, but even so this is a very uneven album.

Although they’re probably fun if they come to a pub near you, Kamikaze Kings just haven’t got enough good songs to get an y real recommendation from me. When they’re good, they’re pretty good, but it doesn’t happen often enough.
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GEOFF TATE: "Kings & Thieves"

Rating: RRR
Label: Inside Out 2012
Review by Alan Holloway

Now this was bound to be a tricky one. Geoff Tate and Queensryche get on about as well as a creationist and Richard Dawkins these days, but to be honest Queensryche have been pretty poor for a while anyway, case in point the dire “American Soldier” album. So although I used to be pretty fond of the band, I was genuinely expecting an album full of Geoff Tate with his head up his own arse singing “La la la la…. I can’t hear the criticism”. This was not, thankfully, the case.

“Kings & Thieves” (guess which one Geoff is…) is an album that serves as a bridge between the classic Queensryche sound and the more plodding modern day stuff. Whilst Tate isn’t afraid to bang on about his own genius (“The Way That I Roll”), there’s also some good stuff here as well, such as the dark, sexual “Say U Love It”, which could have been a Mindcrime bonus track, with Tate showing the talent he has for menace as well as melody. Elsewhere, there some good, powerful songs, but as an album it never really gets going, never injects the spark that will keep you coming back for more. The tracks come at you at walking speed, and a bigger, chest beating production would have improved things, whereas what we have is merely adequate.

There’s nothing intrinsically wrong with “Kings & Thieves”, but whilst I have enjoyed listening to it I doubt it will be calling me back anytime soon. Tate is in fine voice, full of the usual expression, and the music is strong and well played, but there’s nothing here that offers anything to get too excited about. Far from bad, as many were expecting, this is above average but nothing more.
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ELO: "Mr. Blue Sky The Very Best Of"

Rating: N/A
Label: Frontiers 2012
Review by: Urban "Wally" Wallstrom

Are you fed up reading the (Frontiers) press-releases which include big words such as "legendary" and "classic" in regard to each and every obscure act of the past? Well, hold on to your hats (really? hats?) since the write-up actually makes sense for once. The Electric Light Orchestra and the legendary Jeff Lynne. What's possibly left to type down about this sheer genius in the year of twenty twelve anyhow? It's all been written in stone and I seriously doubt that I can come up with anything remotely fresh or interesting to say about ELO and Lynne?

Here's a couple of notes though. I never ever expected to find ELO/Lynne at Frontiers Records (kudos). Bands such as Cheap Trick, Supertramp, The Cars (the list goes on and on), based their entire career on taking various bits and pieces from ELO. Not to forget the "Jims" from Survivor and Meat Loaf fame, etc, etc. Lynne on the other hand, obviously inspired by Beatles, Orbison, and Phil Spector's 'wall of sound' as he turned it into perfect rock/pop music for the seventies.

"Mr. Blue Sky", not just another compilation though since Lynne revisited and re-recorded the songs, and according to the man, "When I listen to the old versions they don't sound the way I thought they did when I first wrote and recorded them. I wanted to use the experience I've gained producing records ever since and have a completely new try at them", end quote. Not quite sure if the old fans agrees? Music is so deeply rooted and connected to memories and certain places that no re-recording will ever replace the first, original, and lasting memory. But these versions are actually not-too-shabby all considering and you'll get the previously unreleased "Point Of No Return" as bonus track. And it's frankly just a fun ELO tune and Lynne's as good as always when it comes to vocals and instruments.

I've only been enjoying the music of ELO for a very short period of time and they are still a rather fresh and new experience to my ears. Perfectly suited to please the beginner fan? and what's not to like about the sheer quality of these songs? It all comes down to if you're buying the concept of re-recordings or not? Track Listing: Mr. Blue Sky, Evil Woman, Strange Magic, Don't Bring Me Down, Turn to Stone, Showdown, Telephone Line, Livin' Thing, Do Ya, Can't Get It Out of My Head, 10538 Overture, Point of No Return.
www.elo.biz

JEFF LYNNE: "Long Wave"

Rating: N/A
Label: Frontiers 2012
Review by: Urban "Wally" Wallstrom

Jeff Lynne's "Long Wave" (Goodbye?) his first new solo album in ages and a tribute slash homage to the songs that at first inspired him as the Birmingham kid infront of the radio and eventually also formed him as an songwriter. It's the laid-back cover album consisting of eleven songs originally performed by various crooners and ultra soft pre-rockers of the 1950's and early 60's.

It's stripped down melancholia and I couldn't stand listening to these sort of melodies in the past... but now I find some of them to be strangely decent? It's certainly not my first choice as the fun party album. I'd rather like to think of this as your well deserved pause from the alarming as well as constant noise/sounds which surround us on daily bases.

I definitely perfer the true-blue crooner music of "She" (Charles Aznavour), "If I Loved You", (Rodgers and Hammerstein), "Running Scared" (Roy Orbison), "Beyond the Sea" (Bobby Darin), the superb, "So Sad", etc. The old and very basic rock of, "Let It Rock", doesn't rock at all to be frank. The Rolling Stones cover of "Mercy Mercy" and Charlie Chaplin's "Smile", are okay but hardly favorite tracks. Etta James' "At Last" is however excellent but ever so wimpy and the same goes for "Love Is A Many Splendored Thing".

Lynne on lead vocals, background vocals, lead guitar, rhythm guitar, piano, bass, drums, keyboards, vibes, production, and the whole she-bang. It's less than 30 minutes of music as well as the perfect gift to grandpa/ma?
www.elo.biz

NEAL SCHON: "The Calling"

Rating: RRRR
Label: Frontiers 2012
Review by Alan Holloway

Whatever you think of Journey, there’s no denying that guitarist/songwriter Neal Schon has been a hard worker over the years. He’s guested on dozens of albums as well as being involved with the likes of Hardline and Bad English, and whilst not a prolific songwriter with these projects his fingerprints are there in all the right places. I have to be honest and admit that I haven’t heard any of his seven solo albums, so was intrigued to hear what he could do without a vocalist.

Instrumental albums can be a tricky thing to review, as there’s not usually any nice catchy choruses to latch on to, and obviously there’s no soaring vocals to lift a song to new heights. The most important thing, for me, is a bit of variety, as who wants to listen to ten variations of the same theme. In fairness, Neal Schon seems to be doing his very best to mix it up on “The Calling”, throwing in plenty of intricate, delicate guitarwork along with some truly impressive rockier stuff.

Although there’s no breakneck fret sessions here, Schon shows a deftness of touch that only comes from years of experience, happy to allow the listener to sit back and relax when necessary, such as during the laid back but technically brilliant “True Emotion”. When Schon gets going you can’t really call it shredding, as his stuff is just too, well, pretty to describe that way. Regardless, he can certainly dance up and down the fretboard at some pace when he wants to, and there’s plenty of reasons for lovers of skillful guitar to like “The Calling” as well as lovers of plain old good music.

Although not really a fit for dedicated Journey fans, the influence is there in several tracks, notably the light but powerful “Blue Rainbow Sky”, which would make a superb power ballad if Arnel Pineda was given some lyrics to go over it. Schon manages to combine diversity of styles with some truly imaginative playing throughout, making “The Calling” a genuine pleasure to listen to, and certainly one of the better pure instrumental albums I have come across.
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BONRUD: "Save Tomorrow"

Rating: RRR
Label: Escape Music 2012
Review by Kimmo Toivonen

Bonrud's second album has been a long time in the making, but it has now finally seen the light of day. Some of you may remember the band's first effort which was released a few years ago. While it was a decent album, it didn't have that much character of its' own - I believe I called it "textbook AOR" in my review. Now, for "Save Tomorrow" the band's mainman Paul Bonrud has recruited a new vocalist (Rick "Four Octave" Forsgren) and tweaked the band's direction. This time around the songs aren't quite as "standard AOR" as before, there's a cool metal edge added to some of them. But fear not, if you liked the previous album, there's still plenty of AOR to be found too.

I must say that for my money, the highlights are among the heavier tracks. The opener "We Collide" sounds a bit like Fates Warning's or Queensrÿche's most melodic tracks, as does "End Of Days", another personal favourite. Some of the AOR stuff is really good as well, like the album's title track which reminds me a lot of vintage Journey, guitar-driven tracks like "Stone In Love" and "Anyway You Want It". The Blue Tears-like "You're The One" is another winner.

Some of the remaining heavier songs could have used bigger chorus hooks, while the some of the AOR material still suffers of that "textbook AOR" syndrome, the melodies and the lyrics sound like they were written only to follow some rules of AOR songwriting.

"Save Tomorrow" has been produced by Keith Olsen and Paul Bonrud, and it sounds so good that it's almost a shame to give it only three "R's". If there only had been a couple more tracks as captivating as "We Collide" that additional "R" would have been easy to throw in. But never mind, let's go for five "R's" the next time around, ok?

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TEN: "Heresy And Creed"

Rating: RRR
Label: Frontiers 2012
Review by Kimmo Toivonen

Ten made a welcome return to the scene with last year's fine "Stormwarning" album. They had a lot to prove and they did just that, giving us some excellent songs. Now, if that album was a "stormwarning", this new one should have been a hurricane of epic proportions, right? It isn't. At times it gets quite stormy, but at its' weakest we merely get a little bit of rain and some wind... ok, that's enough weather.

Once you get past the standard "orchestrated, pompous intro", the album gets a fine start with "Arabian Nights", which is classic Ten with plenty of power and melody - just the way I like it. I really don't know what to make of "Gunrunning", it has its' moments but somehow it ends up being somewhat unremarkable. "When The Lights Go Down" has a great, atmospheric intro which promises good things, and indeed the song is one of the better ones, but the chorus doesn't really take off like I hoped it would.

"Raven's Eye" is the album's "celtic ballad", and frankly I could've done without it. The verses are almost hilarious with vocalist Gary Hughes streching the words to the extreme. I know it goes with the celtic theme, but it's still funny. I could've also done without "Right Now", which is a monotonous and dull song that doesn't seem go anywhere. "Game Of Hearts" is better, as is the beautiful ballad "The Last Time", which gets my vote as the album's best slow track.

I guess "The Priestess" was written to be the album's "groovy and sexy" track, but it could have been just as well saved as the Japanese bonus track, it doesn't really work. One to skip for me.

"Insatiable" and "Unbelievable" are both very good uptempo rockers, and inbetween them you'll find the very melodic "Another Rainy Day" which is the most AOR-type of a song on the album. This trio of good songs would have ended the album on a high note, but there's still one ballad stuck to the end of the tracklisting. Gary Hughes has written some of my favourite ballads, but this isn't one of them. It's melodic and nice enough, but not that memorable. And the keyboard stabs during the chorus almost kill the song... seriously, they are rather disturbing.

I'm hoping that this album is just the "calm before the storm" that were warned about. The next one could tear off the roof, please.

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PANZERBALLET: "Tank Goodness"

Rating: RRR
Label: Gentle Art Of Music 2012
Review by Martien Koolen

Panzerballett is a German rock band from Munich combining jazz and metal; and so creating a new sound called phatting, in German Verkrassung. After highly appreciated albums like Hart Genossen Von ABBA Bis Zappa and Starke Stucke, Panzerballett again comes up with a highly original fourth album with a unique sound. You really have to listen to this album to understand and feel how this band sounds: it is complex music with lots of saxophone and trumpet, but also some really mean and heavy guitar riffs and hooks. Most of the tracks are instrumental but on two songs you can hear vocals from Conny Kreitmeier and Ron Van Lankeren (Time Of My Life)) and Mattias IA Eklundh on IKEA trauma. The CD also contains four covers, being: Some Shunk Funk (Brecker), Giant Steps (Coltrane), The Time Of My Life (Previte/DeNicola) and Take Five (Desmond). Especially the song from the horrible movie Dirty Dancing is completely weird, but the classic jazz tune Take Five is also played completely over the top. From the other four songs I really like Vulgar Display Of Sauerkraut - what a great title - which is an instrumental guitar driven metal track with amazing solos, riffs, hooks and arpeggios. The IKEA Trauma - again a superb title - is a rock song with vocals, some heavy passages and a keyboard solo. The other two tracks are rather jazzy and funky and not really my cup of tea. But you should really have listened to this album once in your lifetime and then maybe Panzerballett will become one of your favourite bands.... They are unique, so check them out at maximum volume and go crazy!

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PENDRAGON: "Out Of Order Comes Chaos" DVD

Rating: DVD
Label: Metal Mind 2012
Review by Martien Koolen

This brand new DVD was again recorded in the Wyspianski Theatre in Poland on April 2011. The gig lasts for more than 2,5 hours and Pendragon, the best neo prog rock band of this time, play 16 tracks! In fact the setlist is a journey through time as you can enjoy "old" classics like Paintbox (from The Masquerade Overture, 1996), Shane, Prayer, Back In The Spotlight (The World,1991) and Not Of This Wolrd and If I Were The Wind from Not Of This World (2001). Furthermore you can enjoy songs from their two latest albums Pure(2008) and Passion(2011), of which This Green And Pleasant Land and Indigo are probably the best songs on the entire DVD. The band is in great shape and the sound is really remarkable; crystal clear and spot on; especially the guitar solos of Nick Barrett are really out of this world... The DVD also includes a video documentary about the band's life on tour and a video with behind the scenes footage, an interview with Nick and more. The album is also available on Blu-Ray for the first time in the history of the band. This is one of the best DVDs I have ever seen and heard and therefore a must for lovers of excellent melodic prog rock! Buy or die!

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ELDORADO: "Antigravity Sound Machine"

Rating: RRR
Label: -Eldorado 2012
Review by Kimmo Toivonen

Spanish hard rockers Eldorado have put together their third album, and spared no expenses doing that. The album has been produced by Richard Chycki (Rush, Gotthard, Aerosmith) as was their previous one, and I have no doubt that this album could take them to the next league. Especially right now, when retro-rockers like Rival Sons are just about the hottest ticket in rock.

The band's style hasn't changed since the last album, they still play 70'ies flavoured hard rock along the likes of Rival Sons, Black Crowes and Tesla. Of course one can draw comparisons to the "originators" too, Zeppelin, Free and so on. If that's your kind of rock, you could just as well add one or maybe even two R's to the rating and head to the nearest record store right away, because Eldorado would definitely rock your boat. I've never been that much into this particular style of hard rock, hence the three R's only. Eldorado are a really talented and tight band, if they had more hooks and memorable melodies I would be probably praising them to high heaven.

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BOY HITS CAR: "Stealing Fire"

Rating: RRRR
Label: BHC 2012
Review by: Urban "Wally" Wallstrom

Boy Hits Car and end up under school bus? Originally formed in 1993, their best known self-titled second album was released at Wind-Up records in the early 00's. It's very obvious that they're a serious anti-L.A. glamour band even though it's their hometown @ California U.S. of A. Initially the nu/alternative band, their post-hardcore album number four, "Stealing Fire", packs tons of emotionally tunes and the quirky term of lovecore.

Armed with heavy guitars, groove driven bass, tribal rhythms, intense melodic vocals and open tuned 12 string acoustic guitar, the album gets a lot badder than should legally be allowed and a lot better than expected. They've managed to create the nice mixture and contrast between melody and energy as they now play a style of rock that smacks of angry indie vs. commercial radio friendly stuff. Yup, it's clearly Poprockhardcore?

If anything, "Stealing Fire", takes them further up the ladder of excellence than they've ever been before, albeit with more easily accessible songs and sharp hooks. Sell out? Oh get the f##k out! It's the rhythms of Jane's Addiction only with slightly catchier and more direct material in the typical arena rock style of today. This leads to each track having its own mood, but all sharing the common ground of intense and close to tribal arrangements. It's the entire package with crunchy guitars and sing-a-long melodies that makes this a nice change from the average post nu-metal affair. I prefer this over their Wind-Up release and it's nice to witness the band's progress without the backing of a major label. Kudos!
www.boyhitscar.com

MARK SPIRO: "Care Of My Soul Vol 2"

Rating: RRR
Label: Sun Hill/Playground 2012
Review by: Urban "Wally" Wallstrom

"Care Of My Soul Vol.2" - obviously the sequel to Vol.1 (duh!) and the brand new recording by the multi-talented U.S. songwriter and musician. Mister Mark Spiro is indeed responsible for absolutely everything on the record from programing (drums), keyboards, guitars, to vocals and production. It's nearly close to pro-tools overkill with several samples and processed vocals that at times will have Spiro sounding like Jamiroquai? It's the utterly clean and sterile production and hardly the earthy sound of the ancient westcoast platters.

But don't get me wrong, I'm not personally taking a stand against all modern production and evolution. However, I know that some of you may not appreciate the lack of proper musicians and especially the drummer. Then again, drummers were never really musicians in the first place and I nearly tend to agree with Simon 'Tw@t' Cowell on the subject? Yes? No? Hands up if you're into drummers? Ehem, pardon me Rick Allen, that's hand up.

Spiro combine witty, intelligent lyric with the undying passion to explore. The only problem is his inability to stick to a more defining sound. Instead he's all over the place with westcoast tracks, quirky electronic beats, and processed vocals that merely the pre-teen would/could find intriguing in the long run. The album also seems to suffer from a severe pace problem but that's laidback rock for you.

Strangely enough, one of my favorite tracks, "Love Don't Come Around Here Anymore", the most outrageous trip of them all and almost like the weird music competition between Jamiroquai and Peter Gabriel. "Up In Flames", mixes Nik Kershaw and Jamiroquai melodies while others such as, "A Beautiful Mistake", or the fantastic, "Paper Dragons", pure soft-rock heaven in the vein of Lawrence Gowan, Richard Marx, and Spiro. Final verdict: Vol.2 is like the emotional rollercoaster with many ups and downs and you might need a barf break?
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MARK SPIRO: "Care Of My Soul Vol 1"

Rating: Reissue
Label: Sun Hill/Playground 2012
Review by: Urban "Wally" Wallstrom

Originally released in the mid-nineties (1994) as "Care Of My Soul", now re-released, re-entitled (Care Of My Soul Vol.1), re-mastered, re-arranged (tracklisting), including two previously unreleased tracks plus new artwork and as digipack (phew). Mark Spiro is perhaps mostly known as the U.S. songwriter merely second to Desmond Child and Diane Warren in the late eighties/early nineties. His (co-)work sold a total of approx. 100 million copies with the likes of Bad English, Cheap Trick, Giant, Heart, Julian Lennon, Mr. Big, Winger, etc.

I have recently been going through the seventies era after spending many years in constant fear of their weird looking artists and bands. That's a rather strange note to include in the Mark Spiro review? Well, merely trying to point out that I now appreciate the ultra soft singer/songwriter style of Simon/Garfunkel, Cat Stevens as well the superb westcoast, yacht music of Christopher Cross, etc. etc. Regarding Spiro and his old album, it's definitely not a problem of being too soft or laidback... but do NOT expect this to rock or AOR at all really.

Soft spoken verse followed by the great refrain, the opening title track definitely sets the pace and standard of the album. It's the Stevie Wonder harmonica as well as banjo (huh?) to be found on "Wheels May Rust", while other tracks may remind you of the laidback work of Sting (the former Police singer/bassist). "Drop In The Ocean", highly inspired by the Paul Simon sound of the mid/late eighties and the same goes for several other tracks by the way.

I clearly remember hearing this CD for the first time in the very late nineties and ended up truly disappointed. I couldn't understand the ultra soft melodies and almost jazzy arrangements since we expected it to rock 'ala Giant or Bad English. I do get it nowadays, but it's clearly not AOR (simply remove this particular thought out of your head). It's the folk-rock, westcoast, Sting, Paul Simon, type of arrangements with the occasional hint of Steely Dan and overall beautifully crafted melodies. Nice but ever so laidback...
www.myspace.com/markspiro

IMPERA: "Legacy Of Life"

Rating: RRR
Label: Escape 2012
Review by: Urban "Wally" Wallstrom

Going through the tracklisting of Impera one will notice several titles that once belonged to your favourite acts of the past. "Kiss Of Death", "More Than Meets The Eye" and "Is This Love", are however not the songs performed by the hair-metal legends of Dokken, Europe, and Whitesnake. Nope, these songs and project is the brainchild of drummer J.K Impera? We've never heard of him either but appearently he's been bashing the skins for Bruce Kulick, Graham Bonnet, Vinnie Vincent, John Corabi, and Brian Robertson. We might have noticed him earlier but it's not like drummers are musicians or anything? They merely hang out with them (ouch! ancient joke). :)

Tommy Denander on lead guitar and that's usually enough info for us to turn off the stereo nowadays. Don't get me wrong, Tommy D is the six-string bender supreme and we enjoy the first Radioactive album, etc. But man, he's been playing on every sappy AOR album in the past 10-12 years and I believe he's currently the guitarist in hold of the world record for playing on most crap albums? Ehem, somebody should tell him it's quality over quantity. That's rich coming from a crap reviewer? I dunno... Tommy probably agrees about the amount of crap and that any session work is indeed session work. He's done several good ones too and the guitarwork on Impera kicks major butt. It's a proper guitar album for once (no keyboards whatsoever) riffs a plenty - licks 'n tricks in the old school tradition of melodic metal and hard rock.

Matti Alfonzetti (Jagged Edge, Bam Bam Boys. Skintrade, etc) on lead vocals and he's always rock solid and underrated by most. Add to this a rather punchy production by Lars Chriss of Lion's Share fame and we're all done. Huh? right, the actual songmaterial? It may at times remind you of Jagged Edge and the solo album, 'Ready', mostly due to Matti's vocals of course, but also because of the classy guitar work. Scandinavian acts and the guitar work by the likes of: Pangea, TNT (Realized Fantasies), Fate (the 'Scratch and Sniff' album feat. Mattias "la" Eklundh) plus some of the work by Lynch Mob - the other hints and tiny point(er)s to pick up along the way. Not quite as impressive but not shabby at all.

I'm sure others will find the international and famous act to compare to the music of Impera, but I'll stick to my guns. It's the riff guitar based rock album and it may lack a couple of more fun sing-a-long melodies in the vein of "Tell Me", "Is This Love" and "Show me The Money". It's overall solid and close to 4 R's (4 R's? Are we pirates or what?). I leave you with this from the press-release: In a departure from their icons, KISS, only J.K wears make-up on stage, but it's nothing like the trademark KISS characters. "It's my way of showing that I'm the ruler", J.K laughs. Every band needs a leader, and in this band it's me. I'm the Yngwie in IMPERA. But that's not to say we're not a band - we are, and we're here to rule the world!, end quote. - Everybody wants to rule the world (Tears For Fears)...
www.impera.org

END OF SEPTEMBER: "s/t"

Rating: RRR
Label: Ulterium 2012
Review by Kimmo Toivonen

Even though the band's press release states that "they have been able to successfully create a mix between melodic metal and more modern metal that not many bands have", End Of September haven't really invented anything new. Lacuna Coil, Evanescence and Within Temptation have already played this kind of music successfully for years, not to mention the dozens of hopefuls following in their footsteps. That's not say that EOS aren't good, they're actually a decent band with a quality album under their belt. Good material, well-produced and played and with the enchanting voice of Elin Redin on top of it.

Why only 3 R's, you ask? The melancholic and dark nature of the songs is a bit overwhelming, with virtually every song being more or less mournful, both lyrically and musically. The somewhat more uptempo and lighter "Waiting For The Rain" stands out, even though it features some cookie monster vocals. The chorus oozes that famous Swedish pop sensibility, and I would definitely pick this song as the single if I was their record label boss.

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The FINEST HOUR: "These Are The Good Old Days"

Rating: RRR
Label: Heybert 2012
Review by: Urban "Wally" Wallstrom

"She never heard of Dylan but still she sang along", it's a quote from the opening track "Never Heard Of Dylan" by the UK act The Finest Hour and it's quirky British feel good music at its very core. "These Are The Good Old Days" - the name of the debut album from this four piece based in the Cleethorpes/Grimsby area of Linconshire.

The old vikings are still present in other words (Grimsby) but these lads draw their influences from indie rock, punk, ska and folk. It's basically darn fun music based on the late 70's formula and arrangements used by the likes of The JAM, The Clash, Madness, Joe Jackson (Look Sharp), mixed with the slightly more modern approach of Weezer and Green Day. But then again, Green Day pretty copied everything from The Clash anyhow.

It's a nice and cozy little effort with typical (very) British accent vocals and consistently strong melodies throughout the album. Big choruses, arena/indie guitars, a rock solid rhythm section, and the typical mixture of ska/punk/rock made famous by all those crazy fun loving U.K. acts in the late seventies. Looking like they've just walked in off the same streets where others such as Elvis Costello and Joe Jackson once strawled, possibly crawled down, these lads won't draw big crowds based on looks and charisma. The music however is something not to be missed if you enjoy acts/artists such as Joe "Look Sharp" Jackson, The Jam, Weezer, etc. Release date: 1st October.
www.thefinesthourmusic.com

DOKKEN: "Broken Bones"

Rating: RR
Label: Frontiers 2012
Review by: Urban "Wally" Wallstrom

Broken bones and dodgy vocals? Well, Don Dokken may not be the same vocalist as in the eighties (then again, the same goes for most singers) but at least he's aware of his strength and weakness. You won't find any hi-pitch screams and overall weird performances on this record since it's definitely low key and back to basic. The 2012 version of Dokken are perhaps not the most intresting act in the world as they deliver a set of 11 songs so patchy you could make a quilt out of it. Make that a metal quilt with a skull pattern though as the guitarwork by Jon Levin -at times true to their heydays.

That's right. Mr. Schlokken and Mr. Bongo (Mick Brown) are the two original members left and Levin and bassist Sean McNabb (Quiet Riot, House Of Lords, Badd Boys, Black Bart, Paul Shortino, etc.) are trying to cope with band history and various other issues such as background vocals? I couldn't put my finger on it at first but I do miss the bgv of Jeff Pilson and perhaps his contribution to songwriting? Not that it matters much since this is very much hits and misses. The first three tracks are the best in my opinion and opener "Empire" gives the false intention of the fun uptempo album. Nothing could be further from the truth though as things gets pretty ugly at track four and onward.

Blimey, "Waterfall", so utterly boring it will quickly put you in a state of coma. Plodding and extremely dull leftover from Solitary? The same goes for "Victim Of The Crime", it's ultra slow metal with the complete lack of refrain or hook. The following song and dance number (Burning Tears) yet another slow/mid tempo track but not quite as dull. Next up, "Today", the Jefferson Starship hit of long gone days/daze and it's a decent attempt at bringing the hippies back to life. I truly believe it's long dead though and it's ever so laidback. "Fadeaway" yet another slow ballad and this is really getting on my nerves. The closing track "Tonight", decent attempt at coming up with "In My Dreams" part two minus a great refrain.

Final verdict: I believe it's time for the fans and Frontiers (the record company) to put some pressure on the geezers for next album. Let's face it, the record buyers are expecting more from Dokken and definitely more of the original sound. What's the point in releasing an album that's more like the boring mid-nineties anyhow? (the worst era of hard rock and metal).

PRIDE OF LIONS: "Immortal"

Rating: RRR
Label: Frontiers 2012
Review by Kimmo Toivonen

"A Boy. A Voice. A Dream. He's got just one chance to make it... and become "IMMORTAL". The new Broadway musical by Jim Peterik." Okay, as far as I know Jim Peterik has no plans to turn this into a musical, but if he did, he wouldn't really have to change the songs that much. I like Peterik's songwriting and vocalist Toby Hitchcock is an awesome singer, but some of the songs on this album really do sound like they were intended for a theatrical piece.

The title track is a suitably uptempo opener, with Peterik and Hitchcock sharing the lead vocals. I actually prefer Peterik's vocals on this track, as Hitchcock goes over the top with the theatrics during the choruses. As for the song, it's not bad, but not the kind of opener that grabs you right away. The lead-off single "Delusional" sees the duo sharing the vocals again, but no matter who sings, the song really doesn't work for me. It has Broadway written all over it. "Tie Down The Wind" is okay enough midtempo AOR track, but "Shine On" sounds like another track from "Immortal - the musical". The gigantic ballad "Everything That Money Can't Buy" is another very theatrical track, but somehow it works better than the others.

"Coin Of The Realm" has obvious connections to Peterik's past hits and don't be surprised if you feel a burning sensation in your heart... I'm not so sure about the chorus though. "Sending My Love" sounds a lot like "Edge Of The Century"-era Styx, it's nice AOR song with a restrained vocal from Hitchcock. Apparently "Vital Signs" dates back to the Survivor-album by the same name, although it was finished only this year. Unsurpringly it's quite Survivor'ish, but that never hurt an AOR track, did it? One of the better tracks of the album.

"If It Doesn't Kill Me" is my favourite track of the album, classic AOR with no Broadway leanings. The melancholic and moody ballad "Are You The Same Girl" is another favourite, and the energetic closing track "Ask Me Yesterday" isn't too bad either.

I can't say that I'm too fond of the first half of the album, but things start to look brighter when the duo gets most of the theatrical stuff out of the way. Maybe the album would work better with the tracks in a reverse order?

Website

KIX: "Live In Baltimore"

Rating: Live
Label: Frontiers 2012
Review by: Urban "Wally" Wallstrom

"Atomic Bomb, Cool Kids, Midnight Dynamite, Blow My Fuse". KIX - arguably America's best party rock 'n roll band according to Kerrang of the past. Blimey, the magazine and their so called journalists of today would hardly even argue as this sort of discussion would never come up for debate in the first place. KIX always been the fun live act though performing more and more shows at festivals, casinos and biker rallys across the country since their mid-00's reunion, impressing promoters and fellow musicians with their top notch and highly entertaining performances.

Live In Baltimore takes the listener on a trip through their entire back catalogue and the best of KIX. Nearly so anyhow since you may not totally agree with the tracklisting. Me thinks it's pretty darn close to the ultimate KIX even though I don't believe they've ever recorded the perfect studio album? But darn it, the sheer energy of the band makes the live experience of the following tracks a joy to listen to. Tracklisting: No Ring Around Rosie, Atomic Bombs, Lie Like A Rug, Don't Close Your Eyes, Girl Money, Cold Blood, Cold Shower, She Dropped Me The Bomb, Blow My Fuse, Kix Are For Kids. Midnite Dynamite, Yeah, Yeah, Yeah

'Do you feel happy? I feel happy too' - Steve Whiteman is a fookin' genius when it comes to working the crowd (ehem). 'Are you still happy? You sound happy, you look happy'. Can you imagine him during the grunge era or infront of an goth audience? He's way too happy and in a way that's what KIX are all about really. Tongue-in-cheek. You're not supposed to sink further down the s**t while catching KIX live in concert. They're not supposed to add more problem(s) to your world (that's reality for ya'). The excellent power ballad "Don't Close Your Eyes" contains anti-suicide lyrics for chirst's sake. That's Steve "Happy" Whiteman at his very best. Neither rocket science nor the cure for cancer... it's merely happy KIX rock 'n roll as well as the brief escape from your daily struggle. You'll go to sleep with Whiteman's words still ringing in your ears: are you happy, happy, happy, happy, etc.
www.kix-band.com

FIRE ON DAWSON: "Seven Billion and a Nameless Somebody"

Rating: RRR
Label: FOD 2012
Review by: Urban "Wally" Wallstrom

Listening to Fire On Dawson, it's too easy to think of other German Rock/Prog acts throughout history and time in a sort of desperate attempt to draw similarities and/or influences. But then again, it's all too easy to gather acts under the same banner simply because they're from a particular part of this world. Or, more to the point, I never would have guessed Germany in the first place. However, they're from Karlsruhe, Germany, formed in 2006. The current line-up consists of founder and bassist Martin Sonntag, guitarist Markus Stricker and Indian vocalist Ankur Batra.

"Seven Billion and a Nameless Somebody" is their second full length album. Recorded and mixed in the band's own studio and later sent across the pond to Hollywood, US of A to be mastered by multiple award winning sound engineer Stephen Marsh (Incubus, Korn, The Hangover). They're a Progressive Rock band according to the press-release (and according to themselves?), however, don't go thinking Genesis, Rush, or any other old-geezers act of the seventies.

Fire On Dawson are certainly not stuck in yesteryear sound or production and have just as much in common with Korn and U.S. contemporary metal as Progressive rock. In fact, I know that a lot of old-skool folks wouldn't even consider this as proper "prog" at all really. The style has usually been described as alternative rock or post grunge with progressive influences rather than all out progressive rock. File this under modern math metal with intricate timing patterns and rhythm changes and you need to enjoy both the aggressive prog and modern metal to get all the benifits with Fire On Dawson. Nice but no cigar.
www.fireondawson.com

DORIS BRENDEL: "Not Utopia"

Rating: RRRR
Label: SkyRocket Records 2012
Review by: Urban "Wally" Wallstrom

Always remember to expect the unexpected when it comes to UK's Doris Brendel (vocals, flageolet, piano). And to be perfectly honest, that's the main reason to why we enjoy her music in the first place. Clearly different from the rest of the wags (kidding, she's not married to a footballer) and totally unafraid to experiment with musical styles and genres.

It's hard to pigeon-hole or categorise her latest project with the multi-talanted Lee Dunham (producer/musician). The compositions of "Not Utopia" are moody, emotional, catchy, fun, pompous, and I'd call it modern Art-Rock in lack of the definite description? In reality varied tastes and influences are jam-packed together and it's everything from Classic Rock, Celtic/folk-rock, 70's Pomp/Prog, Punk/Skunk Anansie, Beatle-esque pop. Thus why the simplicity and termology of "Art-Rock" and why not?

The former 'The Violet Hour' vocalist has improved a great deal as a songwriter for the past two albums. It's a remarkable and very positive change from the at times very dull early efforts. "Ebay" such a perfect little piano ballad with a message that goes straight to the heart. But almost every track is fun, hynotic, vulnerable, mesmerising, intresting. Unfortunately, the title track, also the worst song on display and the really boring acid/electro number with a v-e-r-y annoying refrain. Please skip this particular style and formula in the future. "Thank You" - imagine if Pink recorded a prog-ish tune. Born to an famed opera singing mother and ARTist (Iris) and famed classical pianist father (Alfred Brendel), Doris has always been connected to 'class' and real craftsmanship. However, 'Not Utopia' is clearly Doz' at her best alongside her previous record (The Last Adventure) and her bluesy vocals are simply outstanding throughout the record. Recommended to the open-minded music fan.
www.dorisbrendel.com
MySpace site

MYTHIC FORCE: "Twilight Prelude"

Rating: RR* (see below)
Label: MFR 2012
Review by: Urban "Wally" Wallstrom

First impression, plenty of fun tricks and metal licks by the two lead guitarists Broderick Gray (also lead vocals) and Karl Helmar. They are very true to their eighties style and several different techniques used by the neo-classical trained guitarist are at play on "Twilight Prelude". They hammer, rip, and shred, and the fast key changes and speedy (flashy) notes throughout the album is a rare discovery in this time and era.

Twilight Prelude, the latest concept album by the USA group and part of the Mythic Force trilogy. What's it all about? Well, ehem, laced with symbolism the story takes place in the dark ages of a distant, mythical land. A knight is sent on a mission to defeat the Pahntom aka The Evil One aka Demon King (yeah, yeah, whatever). The knight's mission is to venture the labyrinth and find the sword of power before the phantom finds him. It's basically the typical dungeons and dragons story of the past and it's all very back to the eighties somehow. Retro metal vs. retro role playing games (nerdy?).

Originally formed in 1991, Mythic Force toured mostly the East Coast and released several albums including "Sacred Vision" and "I, II, III". In late 2010 with new members Joey Anaya (bass) and Mike Crisafulli (drums), they returned to the studio to complete the trilogy of neo-classical power/heavy metal. Pros and cons - the overall metal music (14 tracks) and the extremely skillful guitar playing, the not so good stuff, the production and the rather average vocals by Gray. He's a class guitarist but sadly not quite as talanted when it comes to vocals. Have a go at the link below to find out more about the band (RRRR for the smashing guitarwork).
www.mythicforce.com

DAUGHTRY: "Break The Spell (Tour Edition)"

Rating: RRRR
Label: Sony 2012
Review by Alan Holloway

Although this album by American Idol heart throb (well, a few years ago now) Chris Daughtry was released last November it seems to have slipped through our fingers at Rock United, so this ‘Tour Edition’ (also known as the ‘Give Us More Cash Edition’) will have to do for us.

Firstly, you need to know what differentiates this from your bog standard 2011 version. What you get here is the original ‘special’ edition, which runs to sixteen tracks, plus a DVD featuring three music videos and five live tracks. This sort of thing is always annoying, because those with the bog standard edition tend to feel rightfully cheated. As I never had the original, though, I feel fine!

Musically, Daughtry doesn’t take any chances. The music is strong, melodic and tuned to perfection, a blend of every radio friendly hard rock at of the last 20 years, backed up by the undeniably great voice of Chris Daughtry himself. Seriously, this man has a larynx tailor made for this sort of thing, and can wail alongside the likes of Jon Bon Jovi and Uncle Ted Poley with ease. The tracks are very solid, with plenty of catchy choruses, such as “Can’t Get You Out of My Head’, which is only a crunchy guitar away from being a One Direction song but is so catchy you forgive it. The style is Nickleback meets Bon Jovi, and when it’s good it’s very, very good indeed. There are no duff tracks, although with a 16 strong rota the better songs tend to stand out more. Still, this album has happily been on rotation here for the last week or so, with plenty of comments and appreciation from passers by.

Sony aren’t going to make many new friends with this cash in re-release, as fans don’t get much they haven’t seen or heard already, but if you are new to the name Chris Daughtry and you like radio friendly hard rock this is a great place to start. If, like me, you have become disillusioned with dull Bon Jovi albums, then “Break The Spell” just might give you something new to rave about.
Website

Julian Angel's BEAUTIFUL BEAST: "California Suntan"

Rating: RRRR
Label: Platinum Blonde Records 2012
Review by Kimmo Toivonen

Julian Angel continues his mission to take us all back to the year 1989. With the second Beautiful Beast album he succeeds quite well, the songs are better, the artwork's better... In my first review I nagged about the vocals, but I won't do it this time. Julian might not be the best singer in the world, but he sings better than before and his style suits these songs.

"Wet Wild Willing" kicks off the album with some furious guitar acrobatics. The song itself wouldn't sound out of place on a Reckless Love album, it has the kind of positive party vibe and a catchy hook. The groovy, funky but nevertheless average "Dance Little Sister" would have been better off buried somewhere later in the tracklisting, but thankfully it's followed by a couple of album highlights. "Rock School" has a mighty fine hook and some nice keys, even though they're used in an almost apologetic way - "hey, I'm just going to put some keys here, but I'll use a non-intrusive sound and fade them right away"... Goddamn it, if you're going to tinkle the ivories, tinkle 'em proudly! The other highlight is the AOR-tastic "Cry, Cry, Cry". Nice!

"You Better Love Me" has Def Leppard written all over it, which isn't a bad thing at all, and "Fair Weather Friend" sounds like a vintage Glam ballad. The lyrics have a bit more thought put into them though, not the usual "my baby left me" stuff.

"Addiction To The Friction" are "Wet Hair In A Waterride" are both very decent glam rock tracks, but I'd rather skip "Friday To Sunday". It's another funky track, and I've never been able to really get that style, even though I've tried... "Something In The Air" is more my kinda thing, a balladic, melodic song with a big chorus. The "bonus track" "Gimme Just One Night" isn't half bad either.

So there. A good album that should appeal to the fans of 80'ies glam and melodic hard rock. The younger readers who are into the likes of Reckless Love, Jettblack and Crash Diet should give "California Suntan" a chance too.

Website
Website

CLOUDSCAPE: "New Era"

Rating: RRR
Label: Nightmare Records 2012
Review by Kimmo Toivonen

Cloudscape might just be on the verge of something great. Their brand of progressive metal is almost as "non-proghead friendly" as the recent albums by the likes of Seventh Wonder or Threshold. The band knows how to write memorable melodies and some of the songs have really good choruses. And all the hardcore-progsters yell "Sell-out"... well, the album does have its' moments for those people too, the lengthy space-opus "Voyager 9" for example. I can't help but compare it to Seventh Wonder's song "The Great Escape" which has a somewhat similar space travelling theme, and I have to say that although the Cloudscape one is twenty minutes shorter, it feels longer...

If you want to check out one of the more accessible tracks, I'd suggest you listen to the brilliantly named "Simplicity...Huh..." Now that's a great song title for a prog metal band! Not to mention the fact that the hook is one of the better ones on the album.

While "New Era" doesn't completely convince me, I have no doubt that these guys could come up with the kind of an album that would do just that. They just need to find the perfect balance between the prog, the rock, the metal and the melodies.

Website

KEMILON: "Twisted Storm"

Rating: RRR
Label: Maple Metal Records 2012
Review by Kimmo Toivonen

Canadian melodic metal band Kemilon play very European-styled kind of metal, with fast tempos and plenty of keyboards. Unlike most of their genremates on this side of the pond, they don't have a high-pitched vocalist though. Nope, Yan Gagné has a good voice that reminds me of Gary Hughes, although it must be said that at times his nonchalant style doesn't carry a lot of emotion. Anyway, he's got a lot of potential and hopefully he fullfils it on the next albums.

The most prominent member of the band is keyboard player Arnaud Spick-Saucier. His keyboards dominate the overall sound but I'm not complaining, he has a good knack for choosing interesting sounds which add a special flavour to the songs.

It's hard to pick out any favourites, because most of the songs on "Twisted Storm" are enjoyable slabs of melodic metal. There lies the problem of the album - although the songs sound good, none of the songs have the kind of hooks that will really catch you by surprise. Frankly, that's not enough these days. Let's hope that on the next album the band does have a few real "metal hits", I won't deny that they've got potential.

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ESCAPE: "Unbreakable"

Rating: RRRR
Label: Z Records 2012
Review by Alan Holloway

Surely, was my first thought, this band should be on Escape Records? Maybe it would confuse people, especially is this debut album had been self titled, as you would have been looking for Escape by Escape on Escape. This is, or course, irrelevant, because the band are safely tucked under the wing of Z records, and the album is called “Unbreakable”. By all accounts it has been two years in the making, which by my reckoning is not something to boast about, especially when label mates Legion manage to chuck out decent albums approximately every seventy three seconds. Nonetheless, it’s good to see another UK AOR band making a good stab at taking on the Europeans.

“Unbreakable” is unashamedly retro in feel, with plenty of keyboard from the oddly named Roland Moog (yes, I see what they did there) and a strong vocal performance from Stevie K, who is a new one on me but hopefully someone we’ll be hearing more of in the future. He’s not one of the greats, but has a nice, slightly throaty voice that suit’s the music here. The music is what it’s all about, naturally, and Escape don’t disappoint. There’s plenty of upbeat tracks that positively fly by, reminding me of the good old days and feeling like I’m listening to some obscure hidden gem on Rock Candy or something. Iniv Castro demonstrates good chops on guitar, and the solos are placed just right throughout. It’s always nice to hear an album that comes out of the gates kicking and screaming, and once “Still Alive” and the title track have grabbed you it’s easy to relax and let the rest of the album do it’s job, right down to the impressive couple of slower numbers.

As an album, “Unbreakable” doesn’t quite reach the heady heights that it wants to, but it does come close. It’s a great treat for lovers of classic AOR, more Strangeways or Dare than Danger Danger, that is a genuine grower. Here’s hoping the second album doesn’t take quite so long to put together.

TARJA: "Act 1"

Rating: Live
Label: earMUSIC/Edel 2012
Review by: Urban "Wally" Wallstrom

Act 1: The ultimate Tarja experience 2 CDs- Recorded in Rosario, Argentina 30th and 31th of March 2012. Two dates and you'll quickly notice how the audience fades in and out at the beginning and end of every single track. That's a major downer in my opinion. So what if they decided to pick the best tracks out of two nights? they could at least keep the crowd noise going since it's a huge and dare I say essential part of any live experience. I can't imagine that any fan would be especially pleased with this decision?

Symphonic emotional packed metal tunes, the majority of which are pretty interchangeable but carried off with such intergrity and belief by the impressive vocalist that they achive near worship like admiration. Queen Tarja sits nicely on the throne of Scandinavia and Turunen is easily the most successful female metal vocalist ever to come from the North. Not that we are all that interested in refering to performers by using the lame, old, stereotype of male vs female, since it's all about quality and not gender. I do feel, however, that Tarja at times might come across a tad cold? Perhaps not to everybodys likeing but then again who is?

My single (promo) DVD copy contain excerpt of the double release and kicks off with the classic black/white photos of the band backstage and the constantly smiling singer. The see-through curtain stays down as Tarja enters the stage like a proper diva in a fancy black dress and matching hair. The demon mask and her entire stage persona for that matter -like something out of the Opera. Watch her go through at least three different dresses and find out exacly how important the odd figure of Max Lilja (cello) is to their live sound.

To get the charm and strength of Tarja Turunen - get your hands on the DVD release. The full on drama, bombastic, excellent new single and ballad, "Into The Sun", definitely among the highlights along with the likes of "I Walk Alone", "Until My Last Breath" and "Little Lies (even though it sounds like "Needle Lies"). The (too) long drum-solo and the following jam-session had me reaching for the remote control (skip). I haven't been listening to many of Tarja's solo tunes prior to this and ended up quite pleased by the material. I never felt the urge before after hearing the (shocking) covers of classic rock tunes such as "Still Of The Night" (Whitesnake).

Here's the thing with most if not all the operatic, soprano singers, they and certainly Tarja are darn good at adding their distinctive touch and stamp to their own material, but should never be allowed to perform any metal covers whatsoever. Ehem, that's a bit harsh. I can live with "Over The Hills and Far Away" (Gary Moore) and the short medley of "Where Were You Last Night" (Ankie Bagger), "Heaven is a Place On Earth" (Belinda Carlisle) and "Livin' On a Prayer" (Bon Jovi). But seriously... the cover that really hits the head of the nail, "Phantom Of The Opera", hardly surprising considering my rant. Hey, I did this without typing Nightwish.... ehh... nevermind.
www.tarjaturunen.com

JON LORD: "Concerto For Group and Orchestra"

Rating: RR
Label: earMUSIC/Edel 2012
Review by: Urban "Wally" Wallstrom

Concerto for Group and Orchestra?? The Deep Purple album from 1970 that passed quietly before the following breakthrough and absolutely epic record of "In Rock"? Are we refering to the white elephant? The on paper fantastic conceptual live duel between Purple and Royal Philharmonic Orchestra and on record later condemned as the tragic event and sheer accident by the band? Appearantly not so bad according to Jon Lord? since it's now available for the first time ever on CD in a different shape and colour.

Recorded at Abbey Road Studios and not live this time, the three "movements" are conducted by Paul Mann and feature guest musicians such as Joe Bonamassa, Steve Morse, Bruce Dickinson, Darin Vasilve, Brett Morgan, Kaisa Laska, Steve Balsamo and of course Royal Liverpool Philharmonica Orchestra. Yeah, there's a certain kind of movement going on alright. We first decided to take a cat/power nap, followed by two kettle of tea, five mugs of Cola, and by now any other beverage we could get our hands on to keep us from falling a sleep.

Mainly intended as the classical music album with the occasional rock? 80% instrumental and several sections could no doubt work as filmscore music. Groundbreaking meeting of rock and classical music, not always the same as top-notch music. The ebony/ivory work on the other hand, wow, and it's nice to hear Maiden's Bruce copy the air-siren aka Gillan. But to be honest, it's below average as any form, style, or genre. Die-hard fans are well aware of this matter as Jon Lord recorded a bunch of undistinguised solo albums and projects over the years (Ashton/Lord's First Of The Bands, Gemini Suite, etc).

The heritage of Purple dates all the way back to 1967 when former Searchers drummer Chris Curtis enlisted Blackmore and the great and late Jon "The Walrus" Lord. The Lord died on July 16. 2012 but the unique Hammond sound so integral to Purple lives on forever. We'll always remember him as Mr. Hammond (R.I.P.). Release date: October 1st.
www.jonlord.org