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Deep Purple - Purpendicular
Sunday, 29 December, 1996
Deep Purple - Purpendicular
Another twist in the Purple saga was the departure, yet again, of Ritchie Blackmore. Steve Vai filled in during the tour. Steve Morse, ex Dixie Dregs, is the new 'permanent' member. After the pathetic effort last time out (The Battle Rages On, which rates as one of the worst CDs in my collection), I thought that it was time for Purple to finally rest in peace.
To my surprise, the reviews were actually good. The most interesting point made in the reviews was that Jon Lord was back on form. So I went out and bought the album, not really expecting too much from it.
I'm amazed. Purple are back on form. I'm not sure if this is a result of Ritchie's departure, a need to prove that they could hack it without him or the influence Steve Morse has had on the rest of the band. I suspect it's a combination of all of these.
The first thing that strikes you about the album is that Jon Lord and Steve Morse get more or less equal billing. This gives the album a similar feel to the earlier Purple albums. Jon Lord and the Hammond organ sound were always the features, to my ears, which made Purple standout from the crowd. The band have rediscovered that almost jazzy sound which they had in their heyday
There are a few songs which aren't in the classic Purple vein. It's clear Steve Morse in no mere session guitarist bought in the do Blackmore impersonations. Songs like 'The Aviator' & 'A Touch Away' are a departure and the songs which show the influence Steve Morse has had on the rest of the band.
In the grunge filled Nineties, it's good to know that a bunch of old timers like Purple can still deliver the goods and show the Pearl Jam wannabies at trick or two about making decent music. Some people have been going over the top saying this is the best album Purple have ever made. I'm not sure that I'd go that far, but it is the best album they've made in a very long time. Purple Rainbow are dead, long live Deep Purple !
Rating : 9
Def Leppard - Slang
Sunday, 29 December, 1996
Def Leppard - Slang
My interest in rock music started roughly around the time of the NWOBHM (New Wave Of British Heavy Metal) which spawned both Iron Maiden and Def Leppard. So I've grown up (maybe I mean old ?) along with Def Leppard, through all the ups and downs in the band.
The last studio album (Adrenalize) was a major disappointment. It was a band sticking to a formula, trying to recreate past glories. The lack of Mutt Lange at the controls and the speed (by Def Leppard standards) with which the new album appeared suggested the band knew it was time for a change. Stories that Leppard had attempted to go grunge and a couple of quick listens to the 'Slang' single on the radio almost stopped me buying this. However, my collection wouldn't feel complete without the latest Leppard album, so I eventually parted with my cash and bought the 6th studio album.
The first couple of tracks justify the Eastern influence in the back cover artwork. Maybe the lads have been listening to Plant and Page ? The current single 'Slang' is the first memorable song. It is best described as a party song, along the lines of 'Let's Get Rocked' off the last album. I've seen some reviews where it has been described as the worst song on the album. I think that title should be reserved for the last song on the album 'Pearl Of Euphoria', which is meant to be the big epic at the end, but which is simply too long.
The rest of the songs fall either into the 'rockers' or 'ballads' categories. The copyright Mutt Lange drums sound is gone and so is the slick production. The rockers sound like Leppard returning to their roots, as I'm reminded of the less sophisticated sound of the first and second albums.
It's the ballads that work best for me. Latter day Leppard ballads have been similar sounding i.e. When Love and Hate Collide and Two Steps Behind. All the ones on 'Slang' owe more to these than say 'Love Bites' from Hysteria.
Although I've written this review of the album, I'm not sure that I've reached a final decision about this one. Yes, it is a welcome departure from the formula. At the moment some of it I like, some I don't. I think I'll have to live with it for a while before I decide.
The version I bought of the album had a bonus CD included. This contains live acoustic versions of some Def Leppard favorites. I found this much more entertaining than 'Slang'. 'Pour Some Sugar On Me' and 'Animal' translate surprisingly well to the acoustic format. The only downside is that Joe's vocals are less than perfect on some tracks. If you're a fan then this CD alone almost justifies spending your money.
Rating : 6
Ten - Ten
Sunday, 29 December, 1996
Ten - Ten
The Now & Then hype machine kicks into action once again. Gary Hughes is Now & Then's favorite son. This time he has been paired up with Vinny Burns (ex Dare) on guitar. Comparisons were made to Giant, Whitesnake and Harem Scarem. The additional hype feature is that the album is produced by Mike Stone (Journey, Foreigner etc.).
Having had my fingers burnt a couple of times in the past by the Now & Then hype machine (Shotgun Symphony and to a lesser extent Crown Of Thorns) I was wary of this album. However, a few listens to the song on the Frontiers CD suggested that perhaps there was more to Ten than the Thunder soundalikes I was expecting.
The first song on the album kicks off with a instrumental passage which starts with guitar, adds a string section, before we arrive at the main part of the song. The start of the song reminds me of the start of 'I'm A Believer' from Giant's 'Last Of The Runaways' album. The Giant comparisons are equally valid for the rest of the song.
The next batch of songs are rather good, but there a no obvious comparisons. Then we arrive at a trio of songs which are surprising poppy and all rather excellent. 'Close Your Eyes And Dream' is vaguely reminiscent of a rockier version of Deacon Blue. 'Eyes Of A Child' is the poppiest song on the album. 'Can't Slow Down' is slightly more uptempo and 80s AOR sounding
'Lamb To The Slaughter' is the heaviest song on the album and the most obvious reference point is latter day Whitesnake. The last song is a 10 minute epic ballad called 'The Loneliest Place In The World'. This one reminds me of pomp rockers turned AORsters Magnum. As is the case with one of the earlier songs ('Stay With Me'), this song is saved by an acoustic guitar being used to good effect in the middle of the song.
I have to admit to being pleasantly surprised by this album. For some reason I was expecting something heavier. Some of the songs ('Close Your Eyes And Dream' and 'Eyes Of A Child') have real hit potential if they were marketed properly. I have this idea that if the guitars were turned down, then a 'band' such as That Take/Boyzone could have a number one hit with these songs (in the UK charts). Unfortunately, I think it's a safe bet to say that Ten aren't going to have a hit with either of these songs.
Megastars or yet another second division UK rock band ? Another album would be needed before I could decide, and if the rumors are true we might not have to wait that long.
Rating : 8
Mark Spiro - Now is Then, Then Is Now
Sunday, 29 December, 1996
Mark Spiro - Now is Then, Then Is Now
The name Mark Spiro is one you might not be familiar with. He is best known as a songwriter. For example, on the first Giant album, which just happens to one of my favorites, he is co-writer on most of the songs. He has also worked with Bad English. It's therefore no surprise that both Dan Huff and John Waite appear as co-writers on one track each.
Songwriters making their own albums can be a bit a disaster, for example Jim Steinman. This is not the case here. Mark Spiro's voice is excellent and musically things are ticking along nicely as well. The overall sound of the album could be described as sophisticated lightweight rock. A combination of Bad English and Giant's 'Last Of The Runaways'.
The longer I listen to this album to more I like it. There is enough variety to keep me interested on repeated listens. It's difficult to select the highlights, because my opinion tends to shift with each repeated listen. If I were to select a favorite song on each listen, then eventually I would have selected, at some point, virtually every song on the album.
If you are reading this review, then you've probably got a few Mark Spiro songs lurking in you collection already. If you like the ones you've got already, then you definitely won't be disappointed with this collection performed by the man himself.
Rating : 9
Bon Jovi - These Days (Special Edition)
Sunday, 29 December, 1996
Bon Jovi - These Days (Special Edition)
It's very easy to get caught up buying the latest import CD or trying to discover the rising stars of the rock world, whilst ignoring the mega release that's been in the charts for an eternity and has spawned a string of hit singles. The release of this special edition of 'These Days' prompted me to part with my cash and finally check out the latest offering from BJ.
Bon Jovi have been producing fairly consistent quality CDs for a while and are probably the biggest rock band on the planet. You've all heard the singles so you know what to expect. The previous release, 'Keep The Faith', saw BJ taking notice of their critics and trying to experiment a little. This time out BJ seem happier with the sound they have evolved. BJ have matured. The album contains the expected mixture of rockers and ballads, no surprises, just consistently good quality rock songs.
Clocking in at 75 mins long, it takes quite an effort to actually sit down and listen to this all the way through. I'm not such that I can identify any particular songs as fillers, but perhaps the album would have been easier to listen to with a little more editing. A mini-album during the 3/4 year break that look likely, might have been a better way of using the songs.
The bonus CD features demos & live material. The version of 'I Thank You' doesn't do much for me. I prefer the ZZ Top version. The live version of 'I Don't Like Mondays' features Saint Bob himself on vocals. The cover of 'Mrs. Robinson' which BJ did on the Chris Evans show (TFI Friday on Channel 4) is surprisingly good, as I'm not normally a fan of Simon & Garfunkel material.
Of the two demo songs, the slow blues of 'Let's Make It Baby' gets my vote.
The remainder of the songs feature the other members of BJ on lead vocals, karaoke style. Richie Sambora fares the best, but on this evidence I won't be rushing out to buy his solo LP, perhaps he improves with the help of a studio environment.
Nothing on the bonus CD could be described as essential listening, apart from 'Mrs. Robinson'. I would therefore recommend getting the standard album and giving the special edition as miss.
Rating : 8
Ghost - The Other Side
Sunday, 29 December, 1996
Ghost - The Other Side
This is the debut album by Ghost, who are another group of AOR hopefuls that have been picked up by the Now & Then label.
Ghost start off proceedings extremely well with the uptempo 'Can't Stop' which has shades of FM about it. Next Up is 'Brand New Start' which evokes comparisons with the mighty The Storm (maybe more circa first album). This is the standout track on the album.
After such a good start, the blues tinged 'Country Boy' is disappointing.
On the next track 'Ten Years' we finally find out who has had the biggest influence on Ghost - Bad Company. This influence is continued on the tracks 'Should Have Been Me' (which is rather good), and 'Rescue Me'. I'm reminded of a band called Wildilfe (who evolved in FM) who's album was produced by a couple of the guys from Bad Company.
Mid - life Whitesnake are the influence for 'Get On The Bus'. This song is spoilt by the lyrics, which remind me of another song I can't remember the title of.
The two ballads, 'Send Me Somebody' and 'He'll Let You Down', sound like Journey (circa Raised On Radio) and Celine Dion.
The final and title track is an atmospheric affair with Celtic influences.
You probably guessed by the number of influences that I was able to detect that there's nothing earth shatteringly original on this. The initial impact of the first two songs isn't sustained throughout the album. Having said all that, I do enjoy listening to this & it's good to see a band adding a blues flavor to AOR again. The singer is excellent and with more effort on song writing and establishing their own sound, then the next album should be something to look forward to.
Rating : 6/7
Tommy Denander - Less Is More
Sunday, 29 December, 1996
Tommy Denander - Less Is More
This is an unusual item in my collection, as I generally steer clear of instrumental guitar albums. Maybe you have to be a guitarist yourself to appreciate them fully. The other albums of this genre that I have in my collection are Marty Friedman (If ever there was a man who should give up his day job (Megadeth), it's Marty) and Al Di Meola.
The most obvious comparisons I can think of are the couple of instrumentals that appear on Journey's 'Time' boxed set.
I remember Tommy sending me Email a while back about tapes/trades etc. From this, it was clear that he is a big Toto fan and indeed the guys from Toto are present on this album. They co-wrote & play on the track '5492' and I think may have helped out in other areas. I'm afraid that my knowledge of Toto doesn't extend much beyond their IV album which spawned the hit singles Rosanna, Africa etc. However, I do detect Toto-isms throughout this album.
What I like about this album is that the other instruments haven't been totally forgotten about and used to provide an bland background for the guitar work. The songs have structure and melody, rather than being flourishes, at great speed, up and down the fretboard which some guitar albums seems to be. The title 'Less Is More' is appropriate, because this album is free from the excesses that spoil most guitar albums.
The tracks are all fairly similar sounding. Maybe this can be forgiven because, as far as I am aware, this is the first in a series of albums which will feature a variety of styles. The second album was released at the same time as this and reportedly features some Dream Theater sounding material.
The best track is '5492', featuring Toto members, which has slinky jazz/blues feel to it (kinda like Stevie Ray Vaughan meets Toto). This is the longest (10 mins) and last track on the album. It's an appropriate grand finale. Cooler people than me might say 'this one really shreds !'.
If I had a separate rating system for instrumentals then this would get a '9' rating (simply because of '5492'). But I don't, so, judged against albums featuring vocals, it gets one point deduced to make it '8'.
Rating : 8
The Posies - Amazing Disgrace
Sunday, 29 December, 1996
The Posies - Amazing Disgrace
So what do a bunch of trendy kids who look as if they just crawled out of Seattle have to offer the world of AOR/Melodic Rock ? Buying this album was an attempt to bring my collection kicking and screaming into the nineties.
The style of this album is power pop, which seems to one of happening trends at the moment. The best description would be 'The Rembrants with attitude'. Imagine what The Rembrants would sound like if they were really pissed off. Like most young rock band these days, the influence of Nirvana can be detected. Look even further and a little bit of Cheap Trick is probably floating around in there somewhere.
This is a departure from my usual listening material. It certainly wasn't love at first listen. However, repeated listens and an attempt to approach it with an open mind, did produce better results.
The highlights are when they put their 'angry young men' attitudes back in the box and concentrate of entertaining us with simple melodic tunes. My favorite track is 'Terrorized' which occurs as a bonus track on the international version of the CD. The boys were obviously listening to their old Blue Oyster Cult records before writing this one. 'Don't Fear The Reaper' style harmonies abound.
Maybe this is just to radical a departure for me. It is good to have, to add a bit of variety to my collection, but I couldn't honestly recommend it to anyone.
Rating : 4
Metallica - Load
Sunday, 29 December, 1996
Metallica - Load
If Bon Jovi are the biggest rock band on the planet, then Metallica must surely be the biggest metal band. This makes them hard to ignore, even for those of us who generally prefer our music on the more melodic end of the spectrum.
Metallica have their roots in the speed/ thrash metal genre. Most of this type of music leaves me cold, but Metallica do stand out from the crowd. The 'black' album seen Metallica producing material with a wider appeal than previously. This album takes things a step further.
The pre-release press talked out the band adopting a more 'trad metal' sound. This new direction, plus the makeup and the 'country' song, have created much discussion amongst their fans. The newsgroups were full of heated debate. The metalhead fans seem to have taken exception to the change in direction. All this criticism has led the band to make public that another album's worth of heavier material is already in the can for later release.
So much for the background, what does the album have to offer AOR/Melodic Rock fans ? The answer is not as much as perhaps the controversy would have you believe. Underneath the subtle changes in style, it's still the same old Metallica circa the 'black' album.
The album does improve as it goes along. This corresponds to the slight experimentation with different styles. Yes, the album does feature a slightly (and I do mean slightly) softer/melodic side of the band. I suspect that only the diehard metalheads would have any objections to this and that most people will have difficulty spotting the difference.
The highlights include the two 'trad metal' style numbers - 'Poor Twisted Me' & 'Ronnie', the familiar Metallica of 'Thorn Within' and the 10 min final track 'The Outlaw Torn'. 'Mama Said', the country song, provides a moment of relative peace amid the aural barrage. This is more a Metallica ballad with country flavoring, rather than out and out country. Garth Brooks can rest easy, Metallica aren't about to steal all his fans.
I have to admit that I like a bit of heaviness occasionally, but there's nothing here that would persuade me to abandon Dream Theater as my favorite purveyors of the heavier side of my collection. Based solely as a 'Melodic Rock' album this one should get a low mark, but I'm actually going to give it a 5 ( maybe I'm a bit of closet headbanger).
Rating : 5
Harlan Cage - Harlan Cage
Sunday, 29 December, 1996
Harlan Cage - Harlan Cage
First the history lesson. The guys from Harlan Cage used to be in a band called Fortune. I'm not familiar with their work, but if you are then I'm informed that this is the guys continuing on from where Fortune left off.
The album has received favorable reviews from Frontiers, AOR Basement and SFK . They mostly talked out glorious mid-80's AOR being born again. It was therefore hard to ignore.
The sound is mid-80's keyboard driven AOR. Influences such as Balance, Touch and Survivor can all be detected. Highlights include Pay The Devil His Due (Aria period Asia), 98 In The Shade (a reworking of a Fortune song, complete with Final Countdown style keyboards), One Naked Kiss (shades of Mark Manigold) , Destiny (shades of Balance) and Run Rebel Run.
OK, I can see what people are getting excited about. It's like taking a step back in time to days of the mid-80's when AOR was in it's prime. No-one else seems to doing this style of music anymore. I had expected to like this album more than I actually do. Harlan Cage prefer their songs in the 3 to 4 min category. I prefer them in the 5 min variety. The best songs are when they make it, only just, over the 4 min mark. For example, Run Rebel Run is spoilt by an early fade on the playout.
Rating : 7
Ten - The Name Of The Rose
Sunday, 29 December, 1996
Ten - The Name Of The Rose
Hot on the heals of the debut Ten have released their second album. The version I'm reviewing was actually bought as a Japanese import direct from Now & Then (the record label). Due to requests from sister company MTM, Now & Then will now be releasing this version in the UK.
You will find the debut album reviewed elsewhere in these pages. I gave It a positive review, but I did say that I'd reserve judgment on Ten until I'd heard more material. I guess now I'll have to make up my mind.
The first album showed a number of influences and a variety of styles. This time out Ten do a better job of forging their own identity. It's now possible to tell that Ten have a style of their own. The album fits together better as a unit. If I had to do a comparison, then the closest that I can come is the sadly defunct AOR/Pomp rockers Magnum. This is British hard rock with intelligent use of keyboards and rich melodic vocals. I'm actually loath to use the Magnum comparison because Magnum slogged their guts out for years and never really got the recognition they deserved.
First up is the title track. After a relatively sedate start, the guitars kick in and you realize that Ten were holding back on the debut. 8.5 mins of pure 'Magnum' style rock. This is followed by the excellent Asia style mid-tempo 'Wildest Dreams' and the straightforward 'Don't Cry'.
I never thought that I would ever mention the like of That That or Boyzone in these pages. They crept into the review to Ten's debut and on 'Turn Around' they are a reference point yet again. The vocal harmonies on this track are ones the aforementioned would kill for. Thankfully the guitars turn up eventually to prove that this is a rock song.
The next songs reveal the pomp overtones in Ten's music. 'The Pharaohs Prelude' has a spoken passage over some synths and eventually merges into the surprising simply 'Wait For You'. For the next track a Tangerine Dream style synth sound is used for the intro to this brooding 8min number.
'The Rainbow' is a AOR meets hard rock. 'Goodnight Saigon' is straight ahead rock with the expected samples of battlefield comms and helicopters. They move up a gear on 'Wings Of A Storm'. 'Standing In Your Light' was originally meant to be the final track and so it's a power ballad. This is followed by the first bonus track 'The Quest'. The second bonus track , 'You're My Religion', sees Ten adopt a more 'metal' style and this one feels out of place compared to the rest of the album.
On this album Ten begin to define their own style - hard rock meets AOR with Pomp tendencies. Closest comparison would be Magnum - partly due to the Pomp bits and partly due to the vocals.. I find this slightly heavier style, compared to the debut, more satisfying. I've already given the debut a 9 rating. This one also gets a 9, but I'd chose this one over the debut.
Rating : 9
Journey - Trial By Fire
Sunday, 29 December, 1996
Journey - Trial By Fire
The ultimate AOR band are back in town. After a decade of doing their own thing, with varying degrees of success, the boys have got together again. Ever since the reunion was announced expectations have been high. There were stories of the album being shelved by the record company to await a more AOR friendly environment.
There have been many changes on the rock music scene since Journey released the 'Raised On Radio' album. Grunge dominates the rock music scene. In fact, many rock bands have adopted a 90's sound, including my beloved Harem Scarem. I'm glad to report that Journey have ignored all this and stuck to what they do best (apart from the bonus track).
Reviewing this is a bit of a waste of time because if you're reading 'Mood Swings', then either you've got the album already or you're going to buy the album anyway no matter what I have to say about it.
The first song 'Message Of Love' kicks in. An uptempo start to the album. You realize just how good it is to hear some new Journey material. I was also a bit surprised. I'd forgotten that there was more to Journey than all the wimpy ballads that made the charts. Other rocking moments include 'One More' and 'Castles'.
Another chunk of the album could be described as mid-tempo. These are sort of songs that Journey have made all their own. You could just imagine this lot churning out these by the bucket load and still maintaining the quality. Examples are 'If I Should Break Your Heart', 'Forever In Blue', 'Still She Cries' and 'Colors Of The Spirit'. Some other song could be described as semi-ballads. Example being 'Easy To Fall' and 'Its Just The Rain'.
Of course, no Journey album would be complete without it's fair share of ballads. 'When You Love A Woman', 'Don't Be Down On Me Baby' and 'When I Think Of You'.
All the above songs are of the quality you would expect from the Godfathers Of AOR. The attempt to pick up the pace towards the end of the album in the form of 'Can't Tame The Lion' doesn't work for me. This brings me to the 'hidden' track. Journey start doing Bob Marley impersonations. Interesting - maybe for the novelty value. A mistake - yes.
One criticism that could be leveled at the album is that the quota of slow and mellow numbers is rather high. I don't really have a problem with this, but some people might. How does it compare to the previous albums ? I'll have to cop out on this one. Ask me again in a couple of years time. At the moment lets leave it at - it's a great album and it's good to have the boys back together again.
Rating : 8/9
Kiss - Greatest Kiss
Sunday, 29 December, 1996
Kiss - Greatest Kiss
Just what the world needs - another Kiss compilation. As well as the original albums, most of these songs are available either on the live albums or on the previous compilations.
I bought Double Platinum sometime in the early 80s. It featured re-mixes of many of the songs featured here. At the time I thought I had finally discovered a band combining rock music and infectious choruses, with some decent vocals. Of course, because Double Platinum already featured most of their best moments, there was little incentive to check out any of the other albums. My vinyl copy of Double Platinum is getting worn out and after the convenience of CDs who can be bothered changing sides on a LP every 15 - 20 mins. So I bought this album, which features digitally remastered versions of some of their greatest hits. With the reunion of the classic Kiss lineup I suppose we should have expected a cash in.
How do I go about reviewing this ? It's virtually impossible to select highlights because there are so many. This album features some of the great rock singles. The down side is that it concentrates on their earlier material, maybe all the songs are all by the classic lineup, I'm not enough of a Kiss fan to know. I would like to have seen a greatest hit album featuring some of the later material, like Crazy,Crazy Nights, on here as well. Perhaps some new material as well. It suited me to buy this one, but if you're a fan then I suspect that you'll give this one a miss. For these reasons the rating is a bit lower than expected. Great songs, but a disappointing choice of material.
Rating : 6
Van Halen - Best Of Volume 1
Sunday, 29 December, 1996
Van Halen - Best Of Volume 1
The early Roth years seemed to pass me by. At the time, I thought Van Halen were just some bubblegum US rock band. By the time I took notice of Van Halen, Diamond Dave was just about to leave and Sammy about to join. So I don't own any Roth era albums. I have bought a couple of Hagar era albums (OU812 and Balance), but I thought they were patchy and disappointing.
However, unless I was deaf I couldn't help hearing the majority of the singles featured in this compilation. There were a couple of VH songs I've always wanted in my collection - Running With The Devil and Jump. This compilation, therefore, represented the perfect opportunity to pick up the selected highlights from their 20 year career.
I'm sure that most of you are already familiar (and probably more familiar than me) with the vast majority of material on this album, so I won't go into details.
At the risk of getting caught up in the whole Dave vs Sammy debate, I have to say that if I had to choose between them, then I generally prefer the earlier Roth era material. However, the best material is featured mid-album - Jump, Panama, When It's Love and Dreams. These feature both vocalists. Some of the later material such as Poundcake is fairly forgettable.
Human Being is the new song featuring Sammy Hagar. Sounds fairly typical of latter day VH album material and doesn't do much for me. On the two new songs featuring David Lee Roth VH sort of rediscover an almost funky groove kinda like something from DLR's solo albums. Again nothing to get really excited about.
With the disappointing new material on offer, perhaps this album is best suited to the occasional fan, like myself, who wants 'the' Van Halen album for his/her collection.
If they can revitalize themselves with Gary Cherone on vocals and get the drummer to stop using those dammed cymbals so much, then I might just be tempted to buy another VH album before Best Of Volume 2 comes out.
Rating : 7
Jars Of Clay - Jars Of Clay
Sunday, 29 December, 1996
Jars Of Clay - Jars Of Clay
Before buying this CD I didn't actually know that much about JOC, but they seemed to be the hot band on the Christian music newsgoup whenever this was released in the States. People were enthusing about the album, but very few people seemed able to describe what it sounded like. A while ago I happened to see a video for one of the singles on the world music section of TOTP 2. I liked what I heard. I was amazed to find an import copy of this in one of the local record stores, so I bought it having heard a total of about 3 mins of JOC. I think it is about to get a UK release with a couple of extra tracks sometime soon.
Now I know why people had such a hard time describing the sound. Hootie And The Blowfish are a reference point. The band feature mostly acoustic instruments, with the occasional synth/organ used to fill out the sound. The best description of their sound that I can think of is - a rock band playing acoustic instruments with elements of folk/traditional music thrown in. At times you can hear elements of traditional Irish music, such as on 'Like A Child'.
Even though JOC are Christians, I never really get the impression that I'm being preached at. If you sit down and listen to the lyrics, then there is a message in there, but it's not overpowering.
This isn't typical of the type of music I would normally listen to. I'm not even sure that you could call it Melodic Rock. Melodic - yes, Rock - maybe not.
This one isn't going to have universal appeal to all the readers of Mood Swings. I have to admit that sometimes I get bored listening to traditional AOR/Melodic Rock music. It's at times like that this album gets played. In fact, it gets played surprisingly often. Highlights include Liquid, Flood (both produced by Adrian Belew), Like A Child and Love Song For A Savior.
Rating : 7
Dante Fox - Under Suspicion
Sunday, 29 December, 1996
Dante Fox - Under Suspicion
I first heard Dante Fox on one of the Frontiers CDs. I was fairly impressed by what I heard. It wasn't a surprise when I heard shortly afterward that they had signed a record deal. Now & Then on the ball again.
The UK is not known for producing classy female fronted rock acts, apart from Romeo's Daughter. Dante Fox occupy territory similar to Heart, Cher and the aforementioned Romeo's Daughter. This style of AOR/pop rock seems to be losing out in today's musical market place. Acts like Celine Dion seem to have to rely on big ballads to make it into the charts. Still, Roxette have been sucessful at the poppier end of the rock spectrum, so maybe there's hope for Dante Fox.
Vocalist Sue Willets is undoubtedly the jewel in Dante Fox's crown. She has a great voice which suits this type of music. I'd love to be able to switch on the radio and hear Dante Fox blasting from the speakers. They specialise in catchy pop rock songs with an infectious chorus. This type of music has to grab your attention the first time you hear it. Most of the songs on here do, highlights being I Can't Sleep, Still Remember Love, How Do We Learn About Love ? and Lonely.
Initially I thought this album was a bit one paced. Having listened to it a few more times, there is just about enough variety to keep me interested. Considering that the playing time is only 41 mins, I would have like to have seen at least one extra number to find out what Sue sounds like performing slower numbers/ballads.
Rating : 8
Jamie Kyle - Back From Hollywood
Sunday, 29 December, 1996
Jamie Kyle - Back From Hollywood
Jamie Kyle's debut (The Passionate Kind) was released in 1992. It was an album balanced on a knife edge between AOR and New Country. The album has some great songs, but somehow they didn't come together to give a really great album.
A break of almost Boston/Def Leppard proportions lead to the follow up not being released until late 1996. Judging from the updates Peter Sims, of record label Now & Then, was posting, I thought this might be a 1997 release rather than 1996. This was partly due distribution problems and then due to Jamie doing a few last minute alterations to create an album she was happier with.
The period between albums has seen Jamie's songs covered by Faith Hill (Wild One, a Country No 1), Jo Dee Messina and Heart (Stranded). Of course, singer/songwriters sometimes have trouble translating the sucess of their songs into their own singing careers.
Style wise, little has changed from the first album. Maybe it's the move to Now & Then, but this album finds Jamie leaning marginally closer to the rock/AOR end of things. The truth is that it's pretty difficult to determine exactly where AOR ends and New Country beings these days. Whenever you are reviewing an album or artist it's convenient to put them in a pigeonhole as being a particular type of music. With Jamie that's not possible.
I could have done without the reworking of Bed Of Roses from the debut, simply because there isn't a drastic difference.There isn't anything as stark or beautiful as 'No Sad Goodbyes' from the debut, but this is compensated for by the more consistent quality of the songwriting compared to the debut. This makes selecting highlights difficult, but some of my favorities include Everything But Love, Is There Still Time and Back From Hollywood.
Now & Then are to be praised for picking up on this one. To be honest I expected Jamie to be picked up as a New Country artist following the debut and to head off in that direction (Isn't there a feature on CMT called Rebel Country which plays rock/country crossover acts ? Jamie should be a regular on this slot). I'm glad to see she decided to stay with the AOR/New Country mix. This has the potential to be Now & Then's biggest album to date, simply because it should appeal to a wider audience than of their other releases.
Rating : 9
CITA - Heat Of Emotion
Sunday, 29 December, 1996
CITA - Heat Of Emotion
Tracks :- Far Behind Heat Of Emotion Life Goes On Endless Summer Livin 4 Somebody Else Fly Angel Fly Miles Away Say A Prayer Can't We Make It I'll Cry No More Find My Way Cold Sweat Total Playing Time : 56:41 mins:secs Producer : Bobby Barth Label : MTM Music Year : 1996
Something a bit spooky happened when I ordered this. On a Saturday I phoned up to order this CD. In the afternoon, I downloaded my email to find a message from Bobby Barth saying that he had stumbled across Mood Swings and giving me some information on the new Axe record. I get a bit nervous about what I say in reviews when I think that someone involved in the project is likely to read it.
This is the second album by CITA, or Caught In The Act as they used to be known. The first listen made me think of bands like Fair Warning, Eyes etc. It's hard not to like this. The combination of melody and controlled power is faultlessly executed.
Most of the uptempo numbers work very well. The high quality of the songs is fairly well maintained throughout. Highlight for me are :- Far Behind, Heat Of Emotion, Livin 4 Somebody Else, Fly Angel Fly & Cold Sweat. Fly Angel Fly has a JLT era Rainbow feel to it.
If the title 'Cold Sweat' seems familiar to some of you, that's because it's a cover of the Thin Lizzy song. Hmmm, cover versions aren't what I like to see on albums, but here it is the 'bonus track'. Another reason why it's acceptable in this case is that it finishes the album on a rocking note. If it wasn't for this track it would have finished on a power ballad, which I always think is a bit lame, unless it is a very strong song.
This brings me onto the ballads. Miles Away, for example. It's a decent enough power ballad, it's just not that original. In my opinion a good album is has been let down by the slower numbers.
I have the feeling that I should like this album more than I actually do. This album would be a worthy addition to any melodic hard rock collection. Maybe I'm getting a bit jaded, I just find it hard to get enthusiastic about it. In my book it's competent, rather than awe-inspiring. So you might like to add an extra point in the rating, to compensate for my personal reaction which I'm sure isn't typical.
Rating : 7
Glenn Hughes - Greatest Hits (The Voice Of Rock)
Sunday, 29 December, 1996
Glenn Hughes - Greatest Hits (The Voice Of Rock)
Tracks :- Burn (previously unreleased) Still The Night (Phenomena) The Look In Your Eye (Hughes/Thrall) Surrender (Phenomena 2) So Much Love To Give (LA Blues Authority Vol. 2) The Only One (Glenn Hughes) Face The Truth (John Norum) Crying For Love (Billy Liesegang) You Keep On Moving (previously unreleased) King Of The Western World (Billy Liesegang) Phoenix Rising (Phenomena) Make My Day (Manfred Ehlert's Amen) Lay My Body Down (Glenn Hughes) In Your Eyes (John Norum) I Got Your Number (Hughes/Thrall) Kiss Of Fire (Phenomena) Total Playing Time : 72:55 mins:secs Producer : various Label : Empire Records Year : 1996
Apart from his time with Deep Purple and his collaboration with Pat Thrall on the classic and inventively named Hughes/Thrall album, The Voice Of Rock's various projects have never really caught my attention. This isn't surprising, given the patchy nature of his appearances throughout the years. According to the liner notes Glenn became a Christian in 1993 and has pulled himself out of the hole of drugs and drink that he had dug for himself. I came close to buying the recent 'Feel' album, but once I discovered that there was a greatest hits album coming out I decided to hold out for it.
I know that greatest hits and best of collections might not be considered essential purchases for dedicated fans of the acts involved, but they do serve a useful purpose as the perfect introduction to an artist and can provide 'the' album by a particular artist for the casual listener.
Some of the other reviews I have read of this album have a problem with it because large chunks of his career are missing - no actual Deep Purple, Black Sabbath or Gary Moore, for example. To be fair the Purple era is 'covered'. In a recent interview in Frontiers Glenn made his views on this album clear - "I'll tell you one thing, it's not my idea of the best of my work, it's just some fucking record company's idea of a good cash in. I wish it wasn't coming out that's for sure. There's maybe one or two tracks that would have made my Best Of."
The album starts with Glenn's own previously unreleased version of the Purple classic Burn. What can I say apart from it's storming start to the album. Previously unreleased tracks are the Purple tracks Burn and You Keep On Moving.
A variety of styles are on offer from hard rock to blues. I'm not sure I would have picked "The Look In Your Eye'" from the Hughes/Thrall album. "Muscle And Blood" would have been the second track from this album I would have picked. This makes me wonder about the choice of material from the other albums, but seeing as I don't have any of them I can't comment.
I remember having great trouble coming up with ratings for the Kiss and Van Halen compilations last year. This time it's even harder because so much of the material is new to me.
Listening to the album I can just about see where the 'The Voice Of Rock' tag comes from. I'm not sure I agree. One of the voices of rock, rather than The voice. If you're looking for an introduction to his work or you've missed out on some of these albums then this might be worth checking out. To be perfectly honest my favourite tracks are the covers of the Purple tracks. After listening to this album, I'd be tempted to add to my Purple collection, but I can't see myself rushing out to add any of the other albums represented here to my collection.
Rating : 7
P.S. The liner notes claim that the two Purple tracks are previously unreleased. In fact, these two tracks are not previously unreleased. They were released as bonus tracks on the Japanese version of Glenn's album "From Now On..." released in 1994. Both tracks are featured on the recent US release of the album as well. BURN was also an extra track on the PICKIN' UP THE PIECES CD single released in 1994. Thanks to Lennart Hedenstrom of the Glenn Hughes web page (http://madpiper.atii.com/gh/) for pointing out the error on the CD notes.
SPYS - SPYS/Behind Enemy Lines
Sunday, 29 December, 1996
SPYS - SPYS/Behind Enemy Lines
Tracks :- SPYS : Don't Run My Life She Can't Wait Ice Age Danger Over Her Desiree Don't Say Goodbye Into The Night Hold On (When You Feel You're Falling) No Harm Done Producer : Neil Kernon Behind Enemy Lines : Rescue Me Midnight Fantasy Behind Enemy Lines Sheep Don't Talk Back Reaction Heartache Race Against Time Younger Days Can't Stop Us Now Producers : Al Greenwood & Ed Gagliardi Total Time : 79:45 m:s Label : Renaissance Records (Originally EMI) Year : 1996 (Originally 1982,1983)
I first heard about these albums a good number of years ago. I was never able to get my hands on a copy until now. The self-titled debut is widely regarded as an AOR classic. After waiting so long, my expectations were high.
SPYS were formed by Al Greenwood & Ed Gagliardi, who had previously been in Foreigner. The sound is typical of many 80's AOR acts. Clearly the time with Foreigner has had an impact. Other comparisons might be Balance and Touch. The sounds harks back to a time when synths were still relatively new and quite of few of the songs feature them heavily. If you are new to this type of music and wonder where Harlan Cage get their inspiration, then look no further.
The first album features an approach that was fairly typical of bands of the time, from what I remember. This album is the more consistent of the two. Don't Run My Life starts off the album is style and the quality is maintained more or less throughout the album. Other highlights include Ice Age (reminds me of Balance), Don't Say Goodbye, Into The Night and the ballad Hold On.
The second album sees the band trying to experiment a little. The charts in the early 80's were dominated by synth bands and it's into this territory that SPYS start to stray on this album. Midnight Fantasy sees the band doing the type of lightweight material that wouldn't have been out of place on a dance floor at the time, but it's one of the better tracks on offer. The title track features some quirky Russian style chants and the singer sounding very Duran Duran on the chorus. Oddly enough I quite like this one.
OK. This brings me to Sheep Don't Talk Back. A drum machine introduces this piece of chop laden synth pop. Either this was a desperate attempt to get a hit single or a total piss take. Whatever, it has no place on this album or any other album as far as I'm concerned.
This time the big ballad is called Younger Days, but it fails to impress.
Overall, I have to say that I'm a little disappointed by these albums. I've waited a long time to pick up these two and maybe my expectations were too high. I prefer the more traditional approach of the first album. To be honest if I had splashed out cash on the second album and discovered that they had wasted vinyl on Sheep Don't Talk Back I would have been extremely pissed off. Taking the two albums as a whole, there is enough good material to justify spending money on the 2on1 CD.
You know, the more I listen to this type of music (Harlan Cage, SPYS, Balance etc), I'm rapidly coming to the conclusion that this pomp synth AOR doesn't light my candle.
Rating : 6 (Spys : 8, Behind Enemy Lines : 5)
Dalbello - Whore
Sunday, 29 December, 1996
Dalbello - Whore
Tracks :- Heavy Boots Easy Whore Eleven Falling Down O Lil Boy Deep Dark Hole Yippie All That I Want Revenge Of Sleeping Beauty Total Playing Time : 47.14 m:s Producers : Dalbello & Richard G. Benoit Label : EMI Music Canada Year : 1996
This is the first album by Dalbello after quite lengthy absence from the world of music, apart from a few songwriting credits. This had received extremely favourable reviews in a couple of places, so when I seen this in the local record store I decided to take a risk and see what it was like. I don't have any of the earlier albums so I won't be able to compare this with her previous work.
This is one of those albums that if it clicks you love it, but if it doesn't then you'll probably loath it. This sports a contemporary sound. Both Alanis Morisette and Nine Inch Nails have been cited as reference points. I'll have to agree with these and to be honest there aren't any others that spring to mind.
I would guess that this album was constructed, rather than merely recorded in the studio. The songs have a lot going on and I imagine the producers spent long hours building up the layers of sound. I guess that's why some people have been using the word 'industrial' to describe it.
There are no instant fixes on offer here. Listening is demanding and I doubt anyone could fall in love with this on the first listen. Repeated listens are required to appreciate what's going on.
To these ears the highlights tend to be concentrated towards the end of the album. 'O Lil Boy' has a hint of the India. The funky rhythms of 'Deep Dark Hole' eventually give way to a grunge style workout, so it's a bit surprising that I like this one. 'Yippie' continues with yet more strained vocals.
The best song 'The Revenge Of Sleeping Beauty' is saved until the end. A Middle Eastern sound drives this along. The best way of describing this is 'a bastard son of Led Zep's Kashmir'.
Repeated listening to this might just turn it into an album that you rave about, but it'll be tough going before you reach that point. Approach with caution.
Rating : 5
Brett Walker And The Railbirds - Brett Walker And The Railbirds
Sunday, 29 December, 1996
Brett Walker And The Railbirds - Brett Walker And The Railbirds
Tracks :- Look A Little Closer Can’t Stay Too Long Tell Me Why What’s Still Left Drown In Your Ocean Rain Dance It’s A Good Thing Yesterday Has Gone Everything I Want I Could Be Wrong Take Me To The River American Dreamer Total playing time : 20:21 m:s Producer : Brett Walker Label : Westcoast Year : 1996
One of the first visitors to Mood Swings sent me a tape of samples from his record collection. The tape contained a couple of songs from Brett’s first solo outing called Nevertheless. So Brett’s work has been earmarked for further investigation for some time.
I decided to buy this album despite a mixed reaction in the music press. From the couple of songs I’ve heard and what I’ve read, Nevertheless could be described as pure AOR, possibly along the lines of Henry Lee Summer (I’m sure that if there’s better comparison then someone will let me know). For this album a more ‘rootsy’ approach has been adopted to give a ‘Mid-West’ style affair. It would appear that some members of the music press were looking of a follow up more along the lines of the first album.
First listen wasn’t that encouraging. My initial reaction was "Oh no ! Not another snoozeville Mid-West album’. I made a tape and put it in my car cassette player. After a while I realised that this album had sneaked up on me, I was playing it virtually non-stop in the car.
From my description of my initial reaction you can tell that Mid-West isn’t a genre of music that I’ve investigated too heavily. Jude Cole’s Start The Car album is one of the few albums in my collection that I can think of which could be described as Mid-West. The opening duo of Look A Little Closer and Can’t Stay Too Long would easily sit alongside any of the songs on Start My Car.
Tell Me Why has a post-grunge acoustic feel to it as purveyed by bands like The Jayhawks and Hootie And The Blowfish. Several of the songs, such as What’s Still Left and Yesterday Has Gone, evoke thoughts of latter day Lynyrd Skynyrd. The Eagles as possibly the ultimate Mid-West act and Rain Dance shows this influence. The Eagles occur again as Could I Be Wrong reminds me of Joe Walsh’s solo stuff.
Highlights are Drown In Your Ocean, It’s A Good Thing (a killer chorus. Why doesn’t my local radio station have this on it’s playlist), Yesterday Has Gone, Everything I Want and tucked away at the end American Dreamer. Everything I Want is a re-recording of a song from the previous album. If you read my Amen review you’ll find out what I think about this practice. In this case, I haven’t got the original version and it’s a good song, so I’m not going to get excited and jump on my soapbox again.
It wasn’t until I started to write the review that I realised just how much I like this album. I don’t have the earlier album to colour my judgement. Based upon it’s own merits, I think it’s a good album.
Rating : 8/9
Model Citizens - Model Citizens
Sunday, 29 December, 1996
Model Citizens - Model Citizens
Tracks :- You’re So Great No Life, No Sex and No Beer Angel Seen That Scene Funk Moonlight Midnight Ridin’ Love’s Enough Tehanalea Big W Blue Witch Hunt Candy Taconic Park East Total playing time : 50:58 m:s Producers : Ted Hyland & George Goodwin Label : Rodell Records Year : 1996
The Model Citizens, in which 3 out of the 4 members are brothers, started out life as a covers band and eventually started writing their own material. If you check out their web page, you’ll discover that the band describe themselves as ‘kick ass New York rock and roll’ and quote influences such as Zeppelin, Sabbath and The Rolling Stones.
When you listen to first song ‘You’re So Great’, you can detect the Stones influence. But, if I listen to the likes of Hanoi Rocks I get a kinda Stones vibe from their music as well. The overall sound of the album reminds me of the NWOBHM. It's the sound rather than the style of music. Ren Hoek, who sent me the CD, described the music as 'dated classic rock sounding'. I can't think of a better description.
The singer is OK, but nothing more than that. His phrasing etc comes across as being just ‘too polite’. Somehow the singing just doesn’t sound natural enough for my tastes.
The acoustic guitars are brought out for the start of Angel, before the songs progresses into a more rocking playout. It’s the first song that made an impression on me. I have to wait until Ridin’ before I come across something else I enjoy listening to. This one has a good chorus.
It’s almost as if they’ve been keeping something in reserve for the end of the album. With ‘Witch Hunt’ the Sabbath influence shows itself. It crops up again on the last song ‘Taconic Park East’, but this time with touch of Manowar thrown in. It’s towards the end of this one that the guys rock out. Sandwiched between these two is the quirky Candy, which features some Henry Rollins style vocals on the chorus.
To be honest this ‘kick ass Rock and Roll’ didn’t kick my ass (so to speak). I’ve got a feeling some of the energy in the music got lost in the recording studio. I’m sure a bigger recording budget and some more experience in a recording studio would produce better results. Those last few songs mentioned in the previous paragraph would benefit from a beefier production.
I seem to have picked out all the non-typical songs as my highlights, I'm just not into the 'dated classic rock' style numbers that dominate the album.
Rating 5/6
P.S. If you’re interested in getting a copy of the this then check out their web site. You can get there from my Links page. It’s worth checking out for the animations alone.
Tower City - A Little Bit Of Fire
Sunday, 29 December, 1996
Tower City - A Little Bit Of Fire
Tracks :- Talking To Sarah Little Bit Of Fire Ain’t Nobody To Love I’ll Sleep Tonight Moonlight Surrender Closer To The Heart Stop Runnin’ When It All Falls Down Something About You Hooked On Hope Down All Night Love And Money Total playing time : 56:26 m:s Producers : Tower City (Mike Slamer on tracks 7 & 8) Label : MTM Music Year : 1996
This one was recorded quite a while before it got a release on MTM. In fact, the musicians concerned are still together, but are operating under the name Colorvine and are sporting a much more 90’s sound.
If you were disappointed at the direction Def Leppard adopted on their last outing, then this album could be for you. The first two songs scream prime-time Def Leppard at you.
Then Ain’t Nobody To Love gets heavy and I hear elements of Kiss in this bombastic effort. In amongst the other Def Leppard workouts, such as Surrender, quite a few of the songs remind me of hard rocking AOR bands like Honeymoon Suite and Talisman/Eyes, examples being Mr Moonlight and Closer To The Heart Most of the songs are worthy of a mention, but the quality drops at the end with Something About You, Down All Night and especially Love And Money all below par.
Before I started actually writing this review I had a higher rating in mind. Somehow the further analysis that the review required has altered my opinion slightly. It’s a case of the whole being less than it’s constituent parts, because listening to the majority of the songs on their own I start to wonder just why I can’t get more excited about the album as a whole. I know AOR/Melodic Rock isn’t exactly known for it’s innovation, this is just too generic for it’s own good. This is well executed melodic hard rock. A few touches of originality here and there and this might have gained an extra point. Disgruntled Def Leppard fans should keep an eye out for this one.
Rating : 7/8
Dakota - Mr Lucky
Sunday, 29 December, 1996
Dakota - Mr Lucky
Tracks: Remember Me Mr Lucky One For The Heart Heaven Or Hell Forever To Never Don't Stop Believin' Those Eyes Good Old Time The Next Time All Thru The Night Mr Lucky (Rocky version) Total Playing Time: 43:12 m:s Label: Escape Year: 1996 Producers: Jerry G Hludzik & Rick Manwiller
Yet again I'm catching up with 80's AOR cult heroes. This is Dakota's third album, which was previously released in 1987 under the title "The Lost Tracks". It sees the light of day once again thanks to Khalil Turk at Escape Music Ltd.
Based upon my experiences with previous 80's and retro sounding AOR releases such as Spys, Harlan Cage etc I didn't really expect to like this, but somehow I do. It's easy to sit down and float away in dreams of sunshine, fast cars and pretty girls when listening to this. When jotting down notes about each track I found myself mentioning Survivor, Chicago, Toto, labelmates Agent and Garth Brooks (?).
Remember Me starts off the proceedings. First thing that hits you is that the vocals are high in the mix. I hate it when the instruments crowd out the vocals, but this is taking things too far in the other direction. It's gives the whole album almost a 'demo' feel. Even without this prominence, the vocals would still be the stars of the show. Lead, and backing, vocals are all top notch.
There's a fairly consistent quality to the songs and I don't remember hitting the 'next track' button on the remote when listening to this. Personal favourites include the uptempo Heaven Or Hell, the Survivor style ballad Forever To Never, the relaxed Good Old Time and the Garth Brooks sounding All Thru' The Night. I'm sure the guys might not thank me for GB comparisons, but All Thru' The Night sounds like GB doing one of his AOR tinged ballads.
Westcoast meets AOR is not my usual listening material. There are some great songs on here and I am generally impressed. However, the production side of things lets the side down slightly. The vocals are too upfront to suit my tastes. It doesn't sound like a natural balance. Despite this, it's been getting more than its fair share spins in my CD player. I know Dakota are in the studio recording a new album. It will be interesting to see what difference the 10 years makes. I'm hoping for the same standard (or better) of songs, but with an improvement in the production.
Rating: 8
Storming Heaven - Life In Paradise
Sunday, 29 December, 1996
Storming Heaven - Life In Paradise
Tracks: Razor Farm Wanda Wire Crossing My Heart Jesse's Journey a) Cross The Line b) Red Knight c) The Passage (Instr.) d) Dream House Time Machine Don't Find It Amusin' She Wolf Life In Paradise Producer: Storming Heaven Label: MTM Music Year: 1996 Total Playing Time: 50 mins
This has been around for a while and has received a mixed set of reviews. The term 'Progressive AOR' keeps appearing in the reviews. Curiosity finally got the better of me and I went out and bought this one.
The first 3 tracks don't throw any surprises with a sound that's a combination of CITA and Survivor.
Then we get to the 4th track and a glance at the track time remaining display of your CD player starts off at 18:44 m:s. Rub your eyes and look again. It now at 18:37m:s. An AOR song lasting almost 20 mins !!! Don't AOR always last somewhere around the 4:20 m:s mark ? The real question is do they manage to keep your interest during this Magnus Opus. Cross The Line has quite a few progressive trademarks such as a spoken section. With Red Knight, the band hit us with a blast of Westcoast style groove. Having got the listener grooving along, the instrumental passage (groan…..) slows it all down by having swirling and tinkling synthesisers that wouldn't be out of place on a Tangerine Dream or Jean Michel Jarre album. The final part features a drum pattern that has your thinking Peter Gabriel, or even something more dance orientated. Breathless and almost whispered vocals are used in the build up of this song. With about 1:30 m:s left the band get up to speed and semi 'rock-out' until the end of the track.
On Don't Find It Amusin' the band have a go a bar-room boogie/rock 'n' roll number, but it sounds to clinical to be effective.
The spoken vocals are back out for the start of She Wolf that has the band in their most rocking vein. In the middle of it all, the keyboard player gets over excited and the progressive tag applies again.
The final track comes on like a heavier version of Survivor.
With that long track stuck smack bang in the middle, this album really limits it's appeal. I admire the band for having the balls to experiment with the AOR formula. If I'm in suitably relaxed mood then, I listen to it and think 'I like this, it's different'. At other times I find myself thinking, and probably screaming at the hi-fi, 'I wish they'd just get on with it and stop all this messing about'. The Crossing My Heart ballad and the two closing heavier numbers work best for me. An interesting diversion, rather than an essential purchase.
Rating: 6/7
Talisman - Life
Monday, 29 April, 1996
Talisman - Life
I've been a fan of Jeff Scott Soto ever since I heard the self titled album by a band called Eyes. JSS likes to spread himself about a bit. This is another project in which he is involved, in fact, it may well be his main one. The other main man in Talisman is bassist Marcel Jacob.
The Talisman sound is dominated by the rhythm section, which maybe isn't surprising given the influence of Marcel Jacob. The sound is driven by the bass guitar, giving some the songs a slightly funky feel at times. The guitar and vocals ride on top of this. The songs tend to be a combination of melody and power. If you like your music on the slightly heavier side of AOR then this should suit you.
The main surprise of the album is the decision to cover the Seal song 'Crazy'. Cover versions seldom improve upon the originals and rock bands giving pop songs the 'rock treatment' can come across as being a desperate bid to have a hit single. Having said that, Talisman manage to add a new dimension to song which makes it more appealing to rock fans.
Compared to the other Talisman album ('Genesis') that I own, this one is an improvement. There is more variety and individual songs are more memorable. Yet another worthwhile release by the Now & Then label.
Rating : 7
Heartland - Heartland III
Monday, 29 April, 1996
Heartland - Heartland III
Heartland have been on the go for some time. This is their third album. The CD that comes with the AOR fanzine 'Frontiers' had a track on it listed as being by Chris Ousey called 'Voodoo Eyes'. On the basis of that track I decided to check out the Heartland album. The track is actually on the album. My first impression was that the album felt very lightweight and I still feel that the production could be better. The album contains slow numbers with some more uptempo ones. If you like your albums to rock hard, then this definitely isn't the album for you. The standout tracks are the 'Ready To Receive.', 'Don't Say Goodbye' and 'When Angels Call'. These are all slower numbers. On the more uptempo, rockier numbers they fail to impress.
Before I purchased this album I had always thought of Heartland as fitting in the same category as FM. A competent band who write some good songs and will have moderate success. However, you know that they're never going to make it into the big time. After listening to this album, I haven't changed my mind. I hope I'm wrong, because I would really like to see the UK produce a top notch AOR band.
Rating : 7
The Storm - Eye Of The Storm
Monday, 29 April, 1996
The Storm - Eye Of The Storm
I bought this CD shortly after it was released without having read any of the reviews before hand. I have the first CD by The Storm. I remember playing it constantly after I got it. I haven't played it for a long time. It's well produced and you can't fault the quality of the playing. There a few really good songs on it. Yet, whenever I play it, I keep reaching for the remote control to skip the occasional track. There are a few too many 'AOR by numbers' type tracks.
With some CDs, you put them on, listen to them through once and you're not that impressed. Then, after a few more listens, they start to grow on you and may even end up being your favorites. Well , The Storm CD isn't like this. The first time I put on this CD it had a very familiar feel to it. I liked it straight away. It felt that this CD had been in my collection for years. It didn't have that new feel to it. Sound wise, nothing much has changed from the first album i.e. you can still hear the Journey connection.
A few more listens and I started to notice that the quality of the songwritng was better on this album. There's not a weak track on it. The first two songs are killers. If you're ever feeling a bit depressed, then put on the first track (Don't Give Up) and I guarantee that you'll be cured by the end of this track. Another cure for the blues comes later on it the form of 'Soul Of A Man'.
There are a few songs which have their reference points in the first album. Such as 'Livin It Up', which is similar to 'In The Raw'. On the slower numbers, such as 'Love Isn't Easy' & 'To Have And To Hold', the Journey connection is particularly strong.
One of the surprises of the album, which brings a bit of a smile to your lips, is 'What Ya Doing Tonight ?'. The piano is a blatant rip off of 'Right Here Waiting' by Richard Marx. No points deducted for that.
Overall I have to recommend this album. We've all been waiting for it for a long time. I don't think anyone will be disappointed. All we have to do now, is to wait and see if the reformed Journey can top this.
Rating : 9
