Album round-up/ Summer of 2020 (part three)

Mini-reviews by Kimmo Toivonen

JESSICA WOLFF's third album "PARA DICE" (RRRR) is the kind of stuff that has potential for mainstream success. It's catchy melodic rock with a modern edge. I keep thinking that if Avril Lavigne, Pink or Katy Perry were raised on a healthy diet of hard rock and metal, they could sound like this... Top picks: "All The Right Things", "Strangers" and "Demons". 

CHAMPLIN WILLIAMS FRIESTEDT: "II" (RRRR) features a couple of westcoast/AOR legends, namely Chicago vocalist Bill Champlin and Toto's Joseph Williams. With Swedish guitarist Peter Friestedt, they've come up with a classy selection of Totoesque rock songs. There's the catchy opener "Runaway Dancer", co-written by Work Of Art's Robert Säll, a very classy ballad "10 Miles" by Friestedt & Randy Goodrum and "All That I Want"... a couple of these songs you have probably heard before, as they've chosen to re-make the Chicago hit "Look Away" and "Price Of Love", previously recorded by Baton Rouge and co-written by Tamara Champlin, Bill's wife. 

TOKYO MOTOR FIST's second album "LIONS" (RRRr) gets a great start with the anthemic "Youngblood" and "Monster In Me" and the album is closed with what I think is their finest track so far, "Winner Takes All". Unfortunately most of the songs in between fail to leave their mark. Still, when it's good it's really good, and the best songs will be a good addition to their live set. 

With the help of Mark Spiro, HOUSE OF LORDS' latest opus "New World - New Eyes" (RRRr) sees them moving away from the safe path of their latest couple of albums. I don't particulary care for the production, but there are some rather excellent songs on the album. "One More", "Better Off Broken" and "We're All That We Got" are among my favourites. However, the overall sound causes this album to be better when enjoyed in small portions than as a whole. 

I seem to have missed the first ROOM EXPERIENCE album, but I plan to look into that soon, as the band's second effort "Another Time And Place" (RRRR) is a good one. Italian musician Gianluca Firmo is the mastermind behind this experience, and several other Italian melodic rockers are also involved, including Alessadro Del Vecchio, Davide Barbieri and Pierpaolo Monti. Pink Cream 69-frontman is the band's lead vocalist, and his distinctive voice fits these AOR-type of songs really well. Top picks: "Hear Another Song" and "Shout" and "Strangers In The Night". 

LIONHEART released their first album "Hot Tonight" back in 1984, and then took a "short break". A one-off reunion at Rockingham festival in 2016 prompted the band to carry on, and their second album was released in 2017.  Now in 2020 they've really picked up the pace and released their third one "The Reality Of Miracles" (RRRR). It's a very good melodic rock album with a hard edge and plenty of massive harmonies. A few songs I want to mention - The Fortune/Harlan Cage-sounding "High Plains Drifter", "Widows" and the remake of "Behind The Wall", previously recorded by guitarist Steve Mann's previous band Ignore The Sign. All fine songs, and there's more for you to find!

This third part of Round-ups is the last one, normal reviews coming up... 

SIMON COLLINS: "Becoming Human"

Rating: RRRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Becoming Human? What's it all about? A little bit of rock, a little bit of prog, a little bit of pop, and a little bit of electronica. Oh, perhaps you were looking for a more deeper meaning and answer? Simon says (pun intended) that 'there's a truth beyond our lives and non existance". Or direct to the point and no messing around with silly words, according to Collins, all you need is love for becoming human. Bummer. All you truly loved pets out there (cats, dogs, pigs, whatever) better start running for the hills or you'll become humans too! Oh the horror, the horror! This world was such a prefect place in the beginning and then came the human... now we're all doomed (or trumped?).

Anyhow. It's Collins fourth solo album and the son of "Face Value" and "Hello I Must Be Going" go all out on singing, on the drums and work on producing and writing modern pop/rock/prog/industrial music that is definitely eclectic, electric, and ever so adventurous. It's dreamy, trippy, without being too heavy on the acid or out there in space 'ala the worst LSD acts of the hippie generation. It's very much the album effort and Collins is obviously sharing a strong connection and chemistry with keyboardist/programmer Robbie Bronnimann. The two are responsible for the majority of songwriting as well as production and sonic display. They are pushing all sorts of boundaries with quirky arrangements and overall nicely produced material. Anything seems possible to the two were so many others are simply going through the motion and turning songs into something cold and cliched. "No Love" is however a little bit too much Coldplay, especially since I'm kind of fed up with their so-so sound.

But let's be fair, there's more, much more to Collins than meets the eye, ehh, ear. The title track goes through several genres and styles and it's meaty riffs played on strange instruments with lots of different beats and programming. It's basically electronic groove and progressive arrangements which combines the soft and heavy perfectly throughout and it's overall a very strong album, if you don't mind the genre bending compositions. Have a go at this with an open mind and end up surprised by the next generation of Collins.

Simon Collins facebook

RISING STEEL: "Fight Them All"

Rating: RRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Rising Steel is an up and coming heavy metal band from Grenoble, France. They have power riffing and pounding drums in the tradition of Angel Dust, Annihilator, Nevermore and Vicious Rumors. They are right on the friggin' border, walking the thin white line, where classic Heavy Metal meets Thrash. It's kind of blunt and complete with dodgy Conan metal lyrics and killer lines such as and I quote, "Rotten in bloody flesh corpses are on the floor. Evil eye on the cross. Mask of the dead of the door", end quote. Yeah, baby! What's not to like?

But seriously. Dodgy lyrics, but I kind of like it? The riffs are soon flying across the room and the arrangements are powerful and kind of hook-y. It's all strangely impressive in a THORoughly odd kind of way. My mind is telling me it's too derranged and dumb to be messing around with. Yet my head is banging along to their savage melodies and the fists are pumping in the air. Hardly news to anyone, but "Fight Them All" is an album that will sound better when played loud and simply let your mind go to the awaiting moshpit.

The style serves them well as the Grenoble geezers tips it collective viking helmet to the metal kings of the past. "Steel Hammer" will get yer blood boiling and "Malefice" is enough to have the AOR fan running to the hills. The more memorabale moments are the creepier, sickening ones, where the corpses are on the floor and it's devastation and pain to its fullest mark. A couple of truly pathetic titles as well as tracks could scare away the potential fan though. Remove them and work harder on the lyrics next time and we're in for a new metal sensation. For now, simply turn it up loud and count to ten...

Rising Steel facebook

DEEP PURPLE: "Whoosh"

Rating: RR
Label: EAR Music 2020
Review by: Urban "Wally" Wallstrom

Whoosh? A little softer, a little mellower, a little typical gone older and country?? Not quite, however, Bob Ezrin convinced the geezers to come down or up or whatever? Anyhow, he invited the band to Nashville to write and record the songs for their 21st album and it sounds like an old REO Speedwagon cast off and is decent enough without being totally 70's Purple. Now, it doesn't include twang guitars and country, but it's ever so middle of the road Purple.

Some may say it's a more than reasonable effort and some brilliant bass playing (Roger Glover) to be discovered through out the record. Indeed. But on the other hand. It's a huge let down and perhaps not quite enough to make it the classic it could have been? The smooth and nearly strange music is enough to cast you back to any one of Smokie's best album (hint, there's no such thing) as well as being a little remeniscent of bits from Gillan's worst solo albums of the eighties. However. The album highlights how Gillan's voice is nearly just as good as it once was. Sure, you may notice tiny cracks and rougher edges, but what else to expect from a man in his seventies plus. Like the the odd couple of tracks or three, but it's all very much a case of being everything from an okay listen to ever so boring, but seldom more than okay or darn right meh.

Opener, "Throw My Bones" clocks in at barely 3:30 and there's no proper solo or interlude whatsoever. It's very much Purple gone radio mainstream, but I can't say that I hate it or find it uninteresting. It's still 'nice' enough and the same goes with the following number of "Drop The Weapon". Steve Morse and Don Airey does the nice interlude and duel solos and the song is a minute longer this time. The bridge is however better than the refrain and that's not the ultimate solution. "All The Same In The Dark" is unfortunately the zzz moment and no good at all. "Nothing At All" sounds more like Smokie vs. Manfred Manns Earthband. Very soft-rock-y. "No Need To Shout", one of the songs without a proper refrain or hook. "Step By Step", purple gone boyband? I don't get it at all? "What The What", I'll have to agree with the title? What the fudge? This must be one of their worst moments ever. They're actually singing and I quote, 'So bad, we were so bad, we've been so bad' and you can merely nod and agree. Honky-tonk-bar-band crap tune. "The Power of the Moon", interesting and something different.

Final veredict: But truth be told, Whoosh really lacks so much of Purple's energy and sparkle that I believe it's time to try and convince Blackmore to reunite for one last farewell album and tour.

LIONVILLE: "Magic Is Alive"

Rating: RRRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

'Magic Is Alive' according to the Italo lads of Lionville and that's 80's Magic, people. Indeed. They are raving and singing about the 80's scene, hanging out the Rainbow (the most famous bar at the sunset strip) at the same time as they proudly proclaim that 'We can rise' and that 80's music plays on the radio. It's no doubt the overall good-great feeling and having Lars Säfsund from Work Of Art on vocals turned out to be a massive game changer.

Indeed. They mix powerhouse vox with fragments of 'Luke' guitardom, stabbing keyboards, poppy AOR, and the odd splash of yacht and westcoast rock. They explore some interesting corners on their 4th album and tend to plunder their influences (Toto, Richard Marx, Journey, Bad English, Survivor, Foreigner, Signal, etc.) with little or no shame. Only lacking the depth and timeless legency of their heores, this album is a lot of fun, showing a keen AOR sensibility and ear for clinical sonic effects and smoothing surprises. Opener "Nothing Without You" may also display the magical touch of the one and only Signal album.

Stefano Lionetti, their main songwriter and guitarist from Genova, Italy, now display a knack for coming up with the goodies and it's got that flashy mid/late eighties vibe going on at eleven. Instantly recognizable AOR yet insanely catchy and richly layered through Lionetti's fine combination of guitar-driven hi-tech production and power-pop, it may come as a mild surprise to realise just how happy-poppy there are. Simply check out the smoothly stuff of "Runaway" and try telling me it's not catchy/poppy AOR??? Truth be told. Lars does it better than any Italo born vocalist (that I'm aware of) and I may sound like a hater (which I'm not), but it's difficult to find a more impressive AOR singer in the land of pizza and pasta.

Final verdict: Lionville has recorded an wonderful little album in/of true eighties vibe and style. Play it loud, play it proud. It's one of those albums that will instantly put a happy face of yer sad and lonely figure. Recommended!

Lionville facebook

ARCTIC RAIN: "The One"

Rating: RRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Arctic Rain from Sweden? One quick glance at the track listing and you already know what to expect really. Seriously. Titles such as 'Love Of My Life, Night After Night, Give Me All Of Your Love, Breakout, Madeleine, Take Me To Your Heart', etc. It's like reading the same old story all over again. It came from the 80's - the paint by numbers AOR book that gave all the kiddies plenty of blank moments and crayon smeared fingers. That's a bit harsh, especially since it's a rather catchy and innocent little platter.

The very definition of Scandi-Rock and somewhere down the same road as Bad Habit, Creye, Crystal Blue, Dalton, and Glory (the first album). Innocence would be the keyword here and they're almost too caught up in their own interpretation of not sounding too sinister or dangerous. Believe me, you won't find anything too loud, scary or out of the box on 'The One'. It's safer than your safest safe, which hold your most cuddly duddly fuddly wuddly teddybears and overall kid friendly AOR. Bassist Gert Daun is the experience musician with a background playing with Horizon, Andromeda, Falcon, etc. and vocalist Tobias Jonsson certainly have the pipes and stamina for singing the blues... ehh, AOR.

Keyboardist Pete Alpenborg has an track record of working with acts such as Revolution Saints, House Of Lords, Issa, Toby Hitchcock, Sunstorm, Kee Of Hearts and many more. In fact. Take on third each of Bad Habit, Glory, Treat, and you'd end up with 'Madeleine' and 'Take Me To Your Heart'. It's weird though. The two best tracks on the record are both stuck at the very end of the album? What's up with that?? They both have more stamina and energy than the rest of the album, which is still a nice but frankly a bit too sterile effort. But seriously. This is the kind of Scandi-rock we prefer and opener "Love of My Life" wouldn't sound out of place on the Dalton or Bad Habit album of the eighties. Perhaps it's nitpicking since I can't find anything to really complain about. Then again. I've heard it all before... oh feck... it's catchy, fun, and just a tad too predictible. Yet close to 4R's... go figure. https://www.facebook.com/arcticrainband

DUKES OF THE ORIENT: "Freakshow"

Rating: RRRR
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

The Dukes of Hazzard? Nah. The Dukes Of The Orient is a collaboration between vocalist John Payne (ex-Asia, GPS) and keyboardist Erik Norlander (Last In Line, Lana Lane, Rocket Scientists) and it's apperantly a Freakshow??? They proudly proclaim on their opening number and I quote that "The Dukes Return" after years away on foreign lands and seas, we thought this day would never come! And now we're back, tell all who believed", end quote. Blimey. Is that really John Payne behind the microphone? The voice is certainly rougher and tougher than in the past. Still as good or nearly so, but not quite as high-pitched or baby-clean as we knew him on all those old albums.

What to expect soundwise on the record? Supertramp, quite a lot of saxophones, Soft Machine, King Crimson, Paice Ashton Lord, and obviously the odd Asia moment. The opening three songs "The Dukes Return", "The Ice Is Thin", "Freakshow" are more about the early 70's sound and more in the vein of Soft Machine, King Crimson, Paice Ashton Lord. I like it though. It's moodier, more complex and challenging than expected. Lots of Lord and Ashton moments to be found in the keys and arrangements. Track four "The Monitors" is more like ASIA and soft AOR and more direct and to the point. Darn catchy. "Man of Machine" goes through several different layers of Asia and symphonic, nearly Purple-ish rock.

"The Last Time Traveller" and "A Quest For Knowledge" are legitimate successors of John Payne's Asia. Classic synthesizers and keyboards are plenty and they do everything with a compelling sense of knowledge and know-how. It lays down the agenda for the album and the Dukes are no schmucks or hazzards for that matter. The instrumental "The Great Brass Stream Engine" give a nice tribute to acts such as Tangerine Dream, ELP, Soft Machine, and Ashton/Lord. Final verdict: professional done and executed. Kind of strange that you can still find these kind of albums in the year of 2020.

https://dukesoftheorient.net https://www.facebook.com/Dukes.of.the.Orient

FORTUNE: "The Gun's Still Smokin Live" DVD

Rating: Live
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Mr. Greene, Mr. Rat, Mr. Nilan, and the two Fortune brothers. Blimey. It sounds more like your average children's story than a rock concert? Ricky Rat (bass) is no doubt the animated character and quite the attention seeking little animal. The man of thousand faces and just as many fun and wacky moves I may add and that's always a big plus in my books. There's nothing more boring than watching a DVD with a band from the past with none or little activity on stage. The guys are blasting hot lead and silver bullets all over the place and will send the werewolfs' packing for a trip around the moon. Where's the howling at???

Lo and behold. The DVD is more pleasing to the ear/eye than expected and that's entirelly down to sheer joy of the musicians. They're actually having a ball up there and really seem to appreciate the chance of performing their cult classic AOR infront of the audience at Frontiers Rock Festival. It's been professional filmed and dirrected by Moviedel/Maurizio Del Piccolo and the vision is darn right pure AOR in mind. Fair enough. A couple of strange moments (angle-wise). The last thing I need is yet another close-up of LA Greene's armpit! Yuk!!

The least impressive member of the band would have to be Mick Fortune. The kit is spare and bare and he's more or less a statue behind the drums. Only the arms are (barely) moving and you can't really tell if he's having a stoke or playing the drums? Would it hurt crack up a smile or display any emotion for that matter? It's Mick "Stoneface" Fortune from now on. I don't quite get the audience either for that matter. The musicians are doing good, the music is good. The people should be up and dancing the tables but are clearly too afraid to show some effection? It's not cool to move?

Opening up the show with their best, "Thrill Of It All", still commands the crowd reaction and sends shivers down the spine with its typical mid-eighties sound. It's a nice blend of the 1985 material and II from the year of 2019. "Don't Say You Love Me" sits nicely in with the likes of "Deep In The Heart Of The Night" and "The Heart Is A Lonely Hunter". There's also "Through The Fire" from Top Gun and Mr Greene is a strong frontman and I'm impressed by the moves and licks of Richard Fortune. The somewhat underrated guitarist in my humble opinion. You'll get a bit of SAGA vibe on several tracks. Make no mistake. These AOR geezers are rather fun to watch and The Gun's Still Smokin'... highly recommended! Buy or die (or whatever).

BLACK ROSE MAZE: "S/T"

Rating: RRr
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Black Rose Maze is french/Canadian singer Rosa Laricchiuta's all-female hard rock project. This Rose/Rosa is a songwriter and performer from Montreal, Quebec and rather famous over there afer spending precious time on the third season (2015) of La Voix, Quebec's version of the popular TV show The Voice. She released one album in the Quebec market and released her first English language album "Free", in 2017. Not sure why Laricchiuta decided to release this platter via frontiers but hey, what ever floats the boat or whatever.

Opening number "In The Dark" is like a massive flashback attack of the early 2000's. It's Anastacia vs. Evanescence rock and that's including the dark production and lyric that goes on about the destructive and controlling freak. I really enjoy the song "Free", written by Rosa and originally on the 2017 album? It's a nice little semi-ballad that reminds us of Alannah Myles. Another Laricchiuta' original is "Look At Me Now" that speaks about pain and suffering and I quote, 'Who died and made you King? Your words counts for nothing'. Once again, like the slightly heavier/darker version of Anastacia? I hope you recall Anastacia? Left Outside Alone? Massive voice, massive success in the early 2000's. Rosa is like a distant hard rock cousin singer-wise and the proper belter I may add.

Unfortunately. There's too many generic moments inbetween the nuggets and something like "Let Me Go" is sadly poor. "Only You", written by Cliff Magness and not one of his best compositions, sounds again like Anastacia vs. Evanescence. "Earth Calling" is plodding at its best/worst and we've heard it all before. The shocking poor piano ballad "Call Me Now" should never have been allowed to enter the studio in the first place. Geez. Many ups and downs on their debut and not quite the 5 R's and rating that we expected. Final verdict: Great singer, kudos to the all-female band, but not really the strong material in the end. Ciao Rosa! No wait... that's not the correct language... then again... I'm pretty sure it is...

RAMOS: "My Many Sides"

Rating: Rr
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

12 sides to every story? Twelve tracks on the record and not a hit-single in sight. Nevertheless. Josh Ramos is a classy six-string bender and forever connected with or rather to some big selling records in the world of AOR. Big sounding records anyhow and especially The Storm albums (S/T 1991. Eye of the storm 1995) are must have to any serious collector of the genre. This on the other hand, not as much. There's no actual production to be found on the entire album! The sound quality of your below average tape and everything is worse than your daft neighbours garage band's demo. It's like if it's been recorded through some sort of crap system that would make your 80's ghetto blaster sound like a million bucks.

It's overall a rather bluesy effort and not the catchy-happy stuff that made the Storm albums essentials. Tiresome blues hard rock I may add and it's no good when your material, though original is stuffed full of second rate Great White melodies. Note that I'm not really a big fan of the mentioned act. Guest vocalists such as Eric Martin (Mr. Big), Danny Vaughn (Tyketto), Harry Hess (Harem Scarem), Terry Ilous (XYZ), Tony Harnell (TNT), Tony Mills (Shy, TNT), should make for a great listening but what good are vocalists without proper song material? It's a shame really and especially since "My Many Sides" feature the last recorded performance from the late Mills (RIP).

Final verdict: the album simply lacks the essential elements that makes any type of music work - decent song material and ditto production. Back to the drawing board or in this case computer? My Many Sides and they're all rubbish? The story of my life.

BLUE ÖYSTER CULT: "45th Anniversary Live In London"

Rating: Live
Label: Frontiers 2020
Review by: Urban "Wally" Wallstrom

Blue Öyster Cult and some kind of anniversary? The 45th to be exact and that's way back in 2017. Yes. Three years ago and we're talking about their debut album which yours truly haven't been listening to prior to this live DVD/CD. Sure. A couple of tracks here and there, but this is a first time. Live at O2 INDIGO, London, UK at the Stone Free Festival on June 17th 2017, the band are playing the first album in its entirety! To be frank or bloom or buck dharma for that matter. I've been desperately trying to find any or some thing to type down, on a positive note, regarding their debut effort from the ancient old year of 1972. Alas, no such luck and it's frankly just a very dire, dull, and out-dated effort with hardly any high-notes or high-lights. Perhaps it's a generation thing and a matter of being too young to appreciate the BÖC debut? But I find it remarkably straight-forward and flat without the standard ups and downs by the band? Blimey. I would most likely mark it down as the 1 and a half R's out of 5 possible. It's going nowhere fast really and the melodies are low-key and dare I say very forgettable? "Stairway To The Stars" could send you on a trip across the sky, but it's quickly back down to earth with an awful crash and bang. You probably need to be the stark raving mad, long-time member of the cult to truly appreciate the hippie arrangements of their debut. They go through that first album like zombies is search of brains. Way too trippy and definitely not holding up well after five decades or so. I have to give them credit for sounding fine and I do enjoy some of their bigger hits towards the end of the disc. The early BÖC albums are not my cup of tea though and they recorded better albums later on in the 70s and 80s. Behind the scenes moments are neat and that's about it really.

Album round-up/ Summer of 2020 (part two)

 Mini-reviews by Kimmo Toivonen

Okay, let's continue the rounding up of the recent releases! SAPPHIRE EYES' "Magic Moments" (RRRR) took a whole lot of spins before it made it to my "Top Albums of 2020" list. The first impression was a bit "AOR by numbers", enjoyable but nothing earth-shattering. A couple of more spins and some of the songs found their target - I caught myself humming those melodies! Sneaky Swedish b**tards! Seriously though, this is a solid album, with superb vocals from Kimmo "Finland's Steve Perry" Blom.  If you check out just one song from this, "Just Leave Me" would be the one I'd pick. 

There's no getting away from the Swedes, CAPTAIN BLACK BEARD are the next band in spotlight. Their sound is somewhere between The Nightflight Orchestra and H.E.A.T., which itself is already a recommendation. Their songwriting isn't necessary on the same level as those masters of their craft, but they're getting there and I like their energy. Although this is the first time I hear their music, "Sonic Forces" (RRRR) is actually their fourth album. I guess I'll have some investigating to do.

Enough of these Scandinavian bands, let's check a band from southern Europe: WILD SOULS from Greece. Their third album "Queen Of My Heart" (RRRr) is a bit of a hit-or-miss affair. They're very good at AOR-type of stuff, as the likes of "Nothing But Loving You", "Love Ain't No Lie" and "I Remember You" prove, but they also dabble in sleazy hair metal type of stuff, wh. "Night Groove" and "Sexcellent" (yeah, seriously...) could've been left off the album and the fourth "r" would have been a stronger one.

Back in 1987, MAD MAX were probably one of my top five favourite bands, and I still consider "Night Of Passion" one of my favourite albums. The band has already kind of revisited that album with "Another Night Of Passion", and now they are kind of continuing the story of "Stormchild", their third album from the mid-eighties. "Stormchild Rising" (RRR) is the name of their latest effort. I really don't hear that many echoes of the original "Stormchild" album musically though. It's still decent enough melodic hard rock or even metal at times, but somehow I can't really get into it. "Talk To The Moon", "Eyes Of Love" and "Kingdom Fall" are good songs, but are they "Best Of Mad Max" material? Not necessarily. The jury's still out.

After the great "Heart Of The Hurricane", I had really high expectations for the new BEYOND THE BLACK album "Horizons" (RRRr). It didn't quite meet them, but it's not as disappointing as I first thought it was. The first three tracks still leave me a bit cold, but starting with "Some Kind Of Monster" the band shape up and sharpen their hooks. With 13 tracks, this album might have benefitted of leaving one of the tracks as a "Japanese bonustrack" and maybe the sequecing could've been better too. Recommended for fans of Within Temptation and that sort of stuff. 

"Storm In Paradise" (RRRR) from TANNA is basically a continuation of the band PRAYER, main man Tapani Tikkanen just went back to using his old band name from the eighties. Tanna was a fairly big name back then, scoring some hits with their songs sung in Finnish. It remains to be seen whether the old fans of Tanna will discover this english-sung material. I hope they do because this is good stuff. Tapani's vocals are instantly recognizable, and that's a good thing when so many bands in this genre sound quite alike. The biggest "hits" for me are the title track, the "Thin Lizzy goes AOR" of "Silhouettes", "This Town Ain't Big Enough" and "Mysterious Fire". 

Next one on my list is DEVICIOUS with "Phase Three" (RRRR). Devicious is a German band with an Italian singer Antonio Calanna, who was recruited soon after the release of their previous album. "Phase Three" is a real throwback to the late eighties, and doesn't really contain many modern influences. For some reason I can only think of German bands when trying to find comparisons - Bonfire, Domain, Axxis, early Pink Cream 69. Nothing wrong with that of course! If you've got albums from those bands in your collection, you should check this album out. 

The overall consensus seems to be that GIRISH & THE CHRONICLES from India are just about the best new hard rock band in years. I simply cannot really understand what the fuss is all about. "Rock The Highway"(RRR) isn't bad, the band certainly has enough drive and attitude, but none of the songs really do it for me. Girish himself sounds like combination of speeded-up Sammy Hagar, Axl Rose and Sebastian Bach - very over-the-top and maybe a bit too "screechy" for my taste. All in all, this album sounds like it could have been released in the tail-end of the "golden era of hair metal", 1992 and thereabouts. Song to check out: "Indentity Crisis".  As the title suggests, not really representative of the album, but has some cool semi-progressive elements and hooks.

 

 

 

 

Album round-up/ Summer of 2020 (part one)

Mini-reviews by Kimmo Toivonen

Since I haven’t had the chance to write too many reviews this summer, I thought I’d do a ”round-up” of some of the recent releases which have impressed me (and the others haven't reviewed). 

Let’s start with UK’s COLLATERAL and their self-titled debut album (rating: RRRR). One of the most exciting debuts of the year, Collateral deliver us a big-sounding album with touches of Bon Jovi, Def Leppard and Gotthard, while occasionally taking a left turn to a country and western direction! Highlights include ”Mr. Big Shot”, ”In It For Love” and ”Midnight Queen”. 

Finnish AMBERIAN DAWN converted me with their previous album ”Darkness Of Eternity”. Before that I had kind of mislabeled them as one of the numerous Goth Metal bands here, and never really given them the time of day. Wrong, very wrong! With their last few albums the band has created a genre of their own, ”Abba-metal”. And I like it! Big melodies, plenty of keyboards, lovely vocals from Capri and a bit of Nightwish’y touches. ”Looking For You” is their latest album, and it deserves a RRRRr rating. My favourite tracks include the catchy title track, ”Go For A Ride” and ”Eternal Fire Burning”, to name a few.

Another Finnish band THE RAGGED SAINTS released their second album ”Sonic Playground Revisited”, and it ended also on my ”2020 Top Albums” playlist. Recommended for fans of Brother Firetribe, although the Saints are maybe a bit darker and rougher-edged. But plenty of strong hooks, check out ”Take Me With You” and ”Always Forever” for example. RRRR.

THE NIGHT FLIGHT ORCHESTRA have released solid albums, but their previous one ”Sometimes The World Ain’t Enough” tore the roof off and was one of my favourites of 2018. ”AEROMANTIC” (RRRR) isn’t as good, but not a disappointment either. The band’s curious late 70s/early 80’s retro-sound is very vintage sounding. On this album they take a couple of steps towards the late eighties - ”Golden Swansdown” sound uncannily like ”Vigilante”-era Magnum! Not to mention ”Divinyls” which borrows heavily from Roxette’s ”Good Karma”. Maybe it’s a Swedish thing, the origins of both songs might be in some Swedish golden oldie I’m just not aware of!

DYNAZTY have grown from a somewhat average hard rock band to a first class modern melodic metal band, and ”The Dark Delight” (RRRRr) is possibly their finest hour so far. It’s full of massive, gigantic hooks. Try to get the likes of ”Heartless Madness”  or ”The Black” out of your head after hearing them just once… no chance! Vocalist Nils Molin might be more well known as one of the vocalists of Amaranthe these days, but frankly, Dynazty has better songs…

A third Swedish band in a row… GATHERING OF KINGS released an absolutely stunning first album last year, and this year it was time for the ”difficult second album” syndrome… while ”Discovery” (RRRR) is a good album, its’ highlights do not reach the dizzying heights of those of the first album. 

The debut ONE DESIRE album got a lot of spins in our household in 2017, and after 3 long years, the guys finally released their second effort ”Midnight Empire” (RRRRr). It’s well worth the wait, and it showcases new sides of the band. The opener ”Shadowman” is heavy yet melodic, while the pop hooks of ”Godsent Exstasy” and ”Rio” are hard to resist. A special mention to ”Through The Fire”, an epic ballad, sung by guitarist Jimmy Westerlund. ”Giant meets Whitesnake in a Kingdom of Desire”. Having said that, the other ballad ”Only When I Breathe” doesn’t work for me at all, the chorus is painful!

DENNIS DEYOUNG - "26 EAST VOLUME 1"

RATING: RRRR
LABEL: FRONTIERS
REVIEW BY: ALAN HOLLOWAY

It's interesting that I'm covering this, as I'm not exatly a Styx fan of old. Sure, I'm partial to a bit of "Paradise Theatre" and can almost hit the notes to "Babe"on karaoke, but I've never followed them, only getting interested when Larry Gowan joined, something that resulted in 2017s superb "The Mission". DeYoung himself hasn't released a solo album for over a dcade, and I was apprehensive, more worried about being bored than entertained.

As you can tell by the plethora of Rs above, boredom was not a thing with "26 East Volume 1". Straight away DeYoung goes for the throat with "East Of Midnight" and "With All Due Respect", both of which are bouncy tracks with crunching riffs. "A Kingdom Ablaze" tones things down a little but still shoves in an aggressive refrain, with "You My Love" going into full on ballad territory and doing it just right, as it's a beautiful song that still has enough bite to grab listeners. "Run For The Roses" really sounds like something from a stage musical, and is a good, catchy track, with "Damn that Dream" having more of a pompy bounce that will delight Styx fans. Elsewhere there's a piano led duet with Julian Lennon, "To The Good Old Days" that could be the closing song of a musical and will certainly be the set closer if he ever tours. It's nice enough with emotional lyrics, a bit wet for my tastes but even so I don't skip it. The emotion stays in "The Promise Of This Land", which is a love letter to 'Murca, and how AWESOME it used to be (Wooooo!). It's a full on Styx type track and once it gets going it rattles along brilliantly, full of pomp and energy. Woo indeed.

Although only nine full tracks long (plus a one minute closer), "26 East Volume 1" still provides over 40 minutes of music, with every track hovering between four and six minutes and none outstaying their welcome. Very well crafted ballads, catchy balls out rockers and a healthy amount of pomp for the fans, it's wormed it's way into my brain over the last month and it's an album I keep coming back to for the sheer enjoyment of listening to it. So for me, as a casual Styx fan at best, it's a greart album, because I was never going to be disappointed that it's not "Paradise Theatre" part two. Personally, I'm looking forward to Volume 2, hopefully with a cover that doesn't look like it was made with 1972 TV technology...

Christian SHIELDS: "This Is Rock'N'Roll"

Rating: RRR
Label: Shields Records
Review by Kimmo Toivonen

Mr. Shields kicks the door open with "Not This Time", a track modelled after Aldo Nova classic "Fantasy". This is indeed Rock'n Roll, not EDM, rap or anything else you're likely to hear on the radio these days. And for that I applaud this artist.

Apart from the Aldo Nova influence, We're talking about vintage 80ies sounds with a touch of the quirkiness of The Darkness thrown in. "Rock And Roll" and the bluesy "Here Comes The Man" have a Cinderella vibe, the semi-ballad "By The Strings" borrows a bit from Danger Danger, "Can't Get Enough" is straightforward rock, Accadacca meets KIX, the ballad "Without You" is a hybrid of Bon Jovi and Guns'n Roses...

The album's biggest downfall might just be what I wrote above: apart from Shields' rather unique vocals there isn't much here that I haven't heard before. I know, it's hard to re-invent the wheel and come up with something totally new, and I don't expect that. Shields could very well be on his way to finding his own style, but with this debut solo album, he's not there yet. Still, the is a decent good-time hard rock album, and I might add a couple of these songs to my summertime rock playlist.

http://www.christianshieldsrocks.com

FM: “Synchronized”

RATING: RRRRr

Label: Frontiers
Review by Alan Holloway

British rock legends FM have now released more albums since their reformation ten or so years ago than they did in their original form, and it's testament to their individual and collective talents that the quality shows no signs of dipping. “Synchronized” sees them carrying on from where “Heroes & Villains” left off, so nothing groundbreaking, but that's what fans want anyway.

The two advance tracks, the title track and “Superstar” kick things off, with the first continuing a recent trend of starting with a stomping track, and the latter smooth as silk with a horrendously catchy chorus. Let's be honest, it wouldn't be FM without a ton of catchy choruses, and “Synchronized” doesn't disappoint. I think my favourite is actually the closing track “Ready For Me”, which really lets the album finish with a melodic explosion. They do slow things down, of course, but there's no out and out soppy ballads – no frozen tarts on this album! “Ghosts Of You And I” is the slowest here, but it's no surprise that Steve Overland's soaring vocals mean it never gets dull, and is quite a beautiful song. “Change For The Better” is another first class straightforward AOR track, whilst “Pray” turns everything up to eleven and let's Overland really let rip vocally.

Overall, this is a very solid, tight album. As with recent releases FM have found that sweet spot between AOR and the blues influence that Jim Kirkpatrick brought in when he joined a decade ago. It's all tied together by one of the best melodic rock vocalists of the last forty years, and once more the band have knocked it out of the park. Not perfect, not quite up there with the new Vega album, but there is nothing that should stop fans buying and enjoying this gem.

OFFICIAL WEBSITE 

Mike TRAMP: "Second Time Around"

Rating: RRRr
Label: Target Records
Review by Kimmo Toivonen

White Lion were one of my absolute favourite bands back in the day. When the band broke up, I kept following vocalist Mike Tramp's career with Freak Of Nature and later as a solo artist, all the way to the questionable White Lion rebirth. Somehow I've lost track of his solo stuff after that. I've been vaguely aware that he's released several solo albums during the last ten years, but I haven't really tracked any of them down. So, although all songs on this album have been previously recorded on the "Rock'n Roll Circuz" album, they're all new to me.

Mike Tramp the solo artist doesn't sound like White Lion or Freak Of Nature, both products of their time. Tramp's solo material could be described as timeless guitar-driven melodic rock. These songs could have been recorded anytime during the last 40 years, there aren't any real telltale signs of when they were written or recorded. What's more, the years have been kind to Tramp's voice and he sings with passion. The heavy metal wails may be history but instead we get a Springsteen'ish storyteller.

There are some highlights I want to mention. The opener "All Of My Life" is an excellent uptempo pop-rock track which reminds me of vintage Bryan Adams, while "Back To You" goes back to the 70'ies or early 80'ies. The same goes for "Between Good And Bad" which mixes The Who with Thin Lizzy. There's even a touch of White Lion in the chorus, I think. The duo of road songs, "Highway" and "The Road", both have a bit of a Springsteen vibe, the latter especially. Someone cynical might say that Tramp has tried to re-write White Lion's biggest hit "When The Children Cry" when it comes to the album's ballad "When She Cries", but despite the title and the song's acoustic nature, it is a more personal story, and a very touching one at that.

A few somewhat average songs bring down the rating a notch, but still, it's nice to get reacquainted with one of my heroes from the past.

www.miketramp.dk

FALLEN ARISE: "Enigma"

Rating: RRR
Label: ROAR! Rock Of Angels Records
Review by Kimmo Toivonen

Fallen Arise are from Greece, and they're labelled as symphonic metal. "Enigma" is their third album, and apparently they wanted to refresh their musical style with it. I haven't heard the previous albums so I can't comment on that.

I've played the album a few times, and while it's quite enjoyable as it is, it clearly misses the standout tracks and perhaps something that could be described as "their own thing". Now the band sounds like rough-edged Within Temptation from a few years ago, with some growled male vocals thrown in. The symphonic, bombastic elements aren't particulary dominant, and while the press release states that "pop music is a huge influence on the band's compositions", the hooks aren't pop-catchy.

The stronger tracks and sharpest hooks are on the first half of the album. My favourite tracks are the title track and "Forsaken". The acoustic "Horizon" is a nice breather among the heavier tracks, it has a certain kind of a relaxing vibe and Fiona Creaby's vocals are really good.

If you think that Within Temptation has moved too far from their roots, you might want to check out this album.

https://www.fallenariseofficial.com

Frank VESTRY: "My Collection"

Rating: - (compilation)
Label: Lions Pride Music
Review by Kimmo Toivonen

Frank Vestry may not be a household name, but he does have a long history. This album is collection (no surprise!) of songs from his career, starting with Jack Starr's Burning Starr album "Rock The American Way". It also features songs from the bands Laneslide, Last Temptation, The Pack and Devias. One third of the album's songs originate from the highly-rated Marcello-Vestry album (2008), on which he collaborated with Danger Danger members Rob Marcello and Bruno Ravel.

Despite being from various songs, the album sounds rather cohesive. The production quality  varies, but the musical style stays pretty much the same. Depending of the era they were originally recorded, the songs come with typical stylings of the time, but in the end, it's AOR, melodic hard rock all the way.

Mr. Vestry has a great voice for this kind of material, sounding to my ears like a relaxed Mike Reno (Loverboy). Yeah, I like this... so much that I need to get my hands on the original releases these songs came from.

VEGA: "Grit Your Teeth"

RATING: RRRRR

LABEL: FRONTIERS

REVIEW BY: ALAN HOLLOWAY

It's that time again, as British would be rock legends Vega release their sixth album, continuing a trend that has seen them get better and better with every one. For those not in the know (where have you been? North Korea?), Vega specialize in ultra melodic hard rock music with catchy choruses, short guitar solos and soaring vocals. 

 

'Grit Your Teeth' kicks off, as do all Vega albums, with a banging track. 'Blind' is a bass heavy stomper that allows vocalist Nick Workman to show off his range nicely. It's definitely the heavier side of Vega, as is the fantastic fourth track 'Man On A Mission', which has an even bigger sound and an even better chorus, more bluesy but still unmistakably melodic rock. The recent single (I Don't Need) Perfection' is a perfect Vega track, a pure piece of upbeat melody with a solid guitar sound and a chorus that just won't quit. Go have a listen on YouTube and if you like it then there's zero doubts you will love this album. The main problem is picking highlights, as there's so much awesomeness here. It's all about the choruses, really, and that's what Vega do best. 'Consequence Of Having A Heart' skates perilously close to Tears For Fears' 'Mad World', but I am assured that any legal challenge would fall flat! The slowest track is 'Battles Ain't A War', and it's a great tune that doesn't get in the way of the faster tracks in any way. The quality continues all the way to the end, as 'Done With Me' closes the album with a real dollop of pure melody and, naturally, a killer chorus backed with a little 'Hey! Hey! Hey!' for the live shows.

Eleven tracks stuffed in just over forty minutes after 'Blind' kicks in and it's over. I'll be honest, I've not yet been able to listen to this album just the once, as it's one of those that makes time really fly, and if you start listening to it you'll soon be wondering just where the afternoon went. Special mention must go to the production from the Graves Brothers, who have given Vega a more meaty sound that brings to live more how they are live and really works. Vega have really puled it off with 'Grit Your Teeth', and I have no doubt that this is their best album yet, in itself quite a feat. It sucks that everything gig wise has been put on hold, but hopefully there will plenty of locked down households getting Vegafied who will make the tour, when it happens, the best yet too.

OFFICIAL WEBSITE 

Lars Eric MATTSSON: "Hot And Able 1983-85"

Rating: RRR
Label: Lion Music
Review by Kimmo Toivonen

Lars Eric Mattsson has been around for what seems like forever. My first encounter with his music was on a Bailey Brothers' collection album in 1987 I think. He's now the head of Lion Music record company, who have released plenty of progressive, instrumental and neo-classical metal over the years, including the classic Seventh Wonder albums "Mercy Falls" and "The Great Escape".

These songs pre-date the first Lars Eric Mattsson solo album "Eternity" (1988) and his appearance on the aforementioned compilation album. They are from the archives of his first band JOE COOL, but re-recorded now. These songs truly sound like they were recorded in 1983-1985, but then again, maybe that was the intention. There's a certain charm in the sound, it reminds me a little bit of White Lion's debut album "Fight To Survive", but at times it's rather dated.

Most of the songs are rather straight-forward hard rock tracks, with fierce guitars from Mattsson. At times the songs venture into the Progland and never find their way back, take the aimlessly wandering "Enola Gay" for example. For my money, the uptempo, catchy rockers "Hot And Able" and "Run Tonight" are the best ones of the bunch. There are a few others I enjoy too, like "Don't Think It's Love" with its' Zeno-vibe and "Don't Throw Away" which has a strong hook.

With 16 tracks, there's maybe a few too many here, but I get it, this is an "anthology"-type of an album, celebrating the legacy of Joe Cool.

http://www.larsericmattsson.com
http://www.lionmusic.com

NASTY HIGH: "Where The River Runs"

Rating: RRRR
Label: Absorbing Recordings
Review by Kimmo Toivonen

Nasty High? To be honest, with a name like that I was expecting this to be yet another mediocre sleaze rock band, a Steel Panther tribute or something like that. Maybe a new Swedish band put together by former members of Nasty Idols and Aces High... but no, Nasty High are from Nottingham, UK and having supported Crazy Lixx (another "great" band name!) is their only connection to Sweden, as far as I know.

The first track "Make 'Em Pay" didn't do much to improve the band's position in my books, it was a fairly standard sleaze rocker with high-pitched vocals and a dull hook. It was energetic though, and I kept listening... "Renegade" sounded better, with a somewhat better hook and good backing vocals. And I kept listening... "Waiting To Fall" kicked off with a Poisonesque riff but morphed into something highly melodic. The chorus showcased the band's rather excellent vocal power.

The winning streak continued with the superb "Travelling In Time", "Catastrophe" and  "Don't Leave The Light On". All of them featured the "Nasty High Choir" in a starring role, and I threw away my prejudice. Nasty High had won me over.

The remaining four tracks included one gem, "Believe It". The other three weren't quite as strong. The title track, the big ballad of the album had the makings of another hit, but somehow it sounded a bit over-the-top, a more subtle approach might have been better for it.

And hey, extra points for the cover art, it's kinda cool and unusual.


http://www.nastyhighrocks.com
https://www.facebook.com/nastyhighrocks

CONFESS: "Burn 'Em All"

Rating: RRRR
Label: Street Symphonies / Burning Minds Music Group
Review by Kimmo Toivonen

Here's a band with a wide appeal... their songs range from no-frills sleazy hard rock to AOR'ish melodic rock. I think I'll take the one-by-one approach to this review, haven't done that for a while.

"So What" - no frills, and no thrills for me either. A straight-forward rocker, reminds me of Hardcore Superstar and Ratt.

"Malleus" - a single release, and rather catchy. John Elliot snarls with conviction and the guitar lick underneath the chorus sounds like tango. Bang Tango to be exact.

"Welcome Insanity" - is that a Scorpions riff? I like it! Cool backing vocals and a more melodic approach.

"A Beautiful Mind" - intro with sounds of thunder (not the band) and bells... dramatic... the chorus is good, but somehow the verses don't do it for me.

"Heresy" - L.A., 1988... again a more melodic approach and some keyboards. The lovers of the sleazy side of the band might not dig but I do.

"Burn 'em All" - It's a rush hour in L.A., 1983! "Live Wire" anyone? Frantic. The chorus isn't really there.

"Is It Love" - well, it might just be! This is something different, a mid-tempo melodic track. Think Crazy Lixx at their most AOR'ish, maybe H.E.A.T... yes, I love this one.

"My Vicious Way" - very good melodic sleaze, somewhere between the band's two extremes.

"509" - 2 minutes and 18 seconds of punky rock. No frills, but I kinda like it. Maybe it's the "whoah's".

"Prominence" - The opening riff has a Babylon A.D. vibe. Good hook. An extra point for the title, I confess (haha) that I had to look it up.

"One For The Road" - An anthemic song that sounds very familiar. It's not a cover according to the credits, but the chorus sounds like something that could be sung by the crowd in a football match. Hands in the air, all together now!

https://www.facebook.com/confessofsweden