Phil Vincent - Circular Logic

CD 1

1. Rise Up
2. Time Out-Time In
3. Tupelo Drive
4. Outside Looking In
5. Long Hard Look
6. Hit & Run
7. If....
8. Too Far Gone
9. Second Chance
10. If You Ever Want Me

CD 2

1. Take It Away
2. Torn
3. Shining Through
4. In The Balance
5. Doin' My Best
6. Heart Of Stone
7. Undertow
8. Almost Home
9. Another Hit & Run
10. 3:45 am
    

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Total Playing Time:  CD 1 - 63:39 m:s
CD 2  - 56:33 m:s

Review date:22/11/2001

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The CD starts off with an uptempo tracked called "Rise Up" which is a little more of a rock out than you might expect from Phil. "Time Out - Time In" is prime time 80s keyboard driven AOR in the vein of Balance and their contemporaries. "Tupelo Drive" starts off with lots of blips, tweets etc in a very 'spacey'/ELO vibe before mutating into a catchy tune that makes me think of a keyboard driven Bon Jovi. "Outside Looking In" is a slow plodding track where the piano lacks the necessary emotion. "Long Hard Look" takes us back into more familiar 'parping' keyboards at the start and develops into acceptable slice of melodic hard AOR.

The slow start to "Hit & Run" makes you think you're in for another epic ballad, but it turns out to be a slow tune with an AOR chorus that reminds me of rockers Axe. "If..." has an intro that seems to have little to do with the track itself. "Too Far Gone" is another mid to uptempo AOR tune with an increased catchiness factor and another 'detached' instrumental section. Phil has more work to do to get the ballads quite right as proved by the mundane "Second Chance". This CD ends with more typical 80s uptempo AOR on "If You Ever Want Me" which is the area where Phil excels.

CD2

The second CD starts as the first with an uptempo rocker, "Take It Away", but this time it isn't quite so impressive. "Torn" is a slow to mid pace tune that has a good chorus and features plenty of good guitar work. The next batch of tunes are OK, but with nothing much to distinguish between them, other than to say that "In The Balance" again reminds me of Balance (what a surprise!) and that the chorus on "Doin' My Best" is rather catchy. "Another Hit & Run" is an instrumental with a gentile intro and outro. The final track is an epic lasting 10 minutes. The spacey feel at the start means that this epic/prog AOR tune floats onto your speakers. Maybe I'm thinking too much of prog metal merchants Dream Theater who write tracks of similar length, but I would have liked a few more tempo or mood changes to justify the track's length.

On this album Phil credits a drummer, bass player and a few song writers for co-writing credits. This greater collaboration with other musicians has obviously paid dividends as overall this represents his most complete work to date. Despite this I'm giving it the same score as his previous album. The reason is that I feel there is a lack of conciseness on the album. Some of the intros and outros don't add significantly to the songs. Also,a little more callousness in the editing process could have resulted in a single album with more impact.

Mungrel Junction - It is what it is, 'til it ain't - demo cd

1. Sorrow
2. Money Money II
3. Running From Reality
4. I Agree, I Disagree

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Total Playing Time: 23:53 m:s

Review date: 20/11/2001

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"Money Money II" is a good time uptempo rocker which is catchy enough but is more standard hard rock fare. "Running From Reality" continues in the same fashion. On "I Agree, I Disagree" the catchiness factor is increased and this is a good stadium rocking anthem.

The whole affair is a little rough about the edges and the programmed drums intrude slightly on "Money Money II". Still the demo serves it purpose and brings the capabilities of the band to our attention. The 3 more traditional tracks are OK in my book, but not what would make me want to go out and buy an album by Mungrel junction. However, in a break with tradition, it is the more forward looking opening track that grabbed my imagination and it is tracks like this I'd like to see the band develop further.

Robin Brock - Hidden Power

1. I'm Doin' Fine (without you)
2. These Walls
3. (I wish you could) Read My Mind
4. Don't
5. The Game
6. You Let Me
7. I Surrender
8. In This Skin
9. After The Storm
10. Naked
11. Goddess OF Rock 'n' Roll
12. That Scares Me

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Total Playing Time: 47:57 m:s

Review date: 05/11/2001

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If you’re unfamiliar with the debut, you’ll want to know what Robin sounds like. Heart & Pat Benetar are still the two names that spring to mind. Given the success of female artists, such as Shania Twain & Faith Hill, in the country field, I might have expected a move in that direction, but Robin, as the title of the one of the songs says, Robin still sees herself as the "Goddess Of Rock and Roll".

Robin displays a feisty nature on the uptempo opener as she declares "I’m Doin’ Fine (Without You)". On slower tracks like "These Walls" I get the feeling that the pace isn’t quite right – unnaturally slow. When the chorus kicks in or the guitarist does his bit, I’m happy, but the rest of the song just seems to be treading water. "(I Wish I Could) Read Your Mind" reiterates the point. On "Don’t" Robin’s voice displays plenty of emotion on this jangly affair.

Robin’s rocks out on "The Game", which displays a street-wise funk vibe during the verses. On the slower tracks Robin sounds a lot like Anne Wilson and this is true on "You Let Me". Unlike elsewhere, the pace seems the suit the song and the results are much more acceptable. The guitars are much more to the fore on "I Surrender". This fine slice of rock has a suitably cool chorus and the guitars seem to crank up at just the right moments.

The good work is continued on "In This Skin". Remember what I said right at the start about country, well the next track, "After The Storm", proves that Robin has been paying attention too. However, I’m reminded most of Jamie Kyle, who always manages to keep on the rock side of the rock/country boundary. Despite the provocative title, "Naked" is all about not wanting to expose her soul rather than her body. On the next track Robin arrogantly declares herself to be the "Goddess Of Rock and Roll". I’d be more inclined to believe her if it were a decent song. After that faux pas, Robin exits on a high note with the catchy "That Scares Me".

Robin puts in a fine vocal performance and is backed up by some excellent playing and production. Yet, it takes more than that to make a really compelling album. With this impressive foundation, I want some killer songs to knock me out and give me a killer album. What we get here is a set of OK songs that occasionally tease you, but never quite satisfy you. Can the performances compensate for the shortfall in the song writing department? Well, yes, because a final score of 79% is very respectable.

Million - Detonator

1. I'm Your Blood
2. I Know Your Name
3. Stronger Than Ever
4. Shadow Of The Cross
5. Showstopper
6. Even The Sun
7. Standing Proud
8. Bonebreaker
9. Ready For The Man
10. Race With The Devil
11. In Your Dreams
12. No Place Like Hell

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Total Playing Time: 52:45 m:s

Review date: 05/11/2001

Email: band@million.o.se 

Kenny McGee - KMD

1. Drive
2. Marie
3. Pick Me Up
4. Sinner/Saint
5. Can't Go On This Way
6. Diablo
7. Comfort Me
8. Your Love Is Strange
9. I Know U Know
10. Any Other Way

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Total Playing Time: 39:54 m:s

Review date: 01/11/2001

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Keith LuBrant - Face In The Crowd

1. All I Want To Be
2. Better Days
3. Lonely Sunday
4. The Girl Next Door
5. Face In The Crowd
6. Misunderstood
7. If You See Mary
8. Fades Away
9. Midnight Once Again
10. Hear Me
11. Where You Gonna Go
12. Feelin Alright
13. Madam Butterfly
14. Real Life

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Total Playing Time: 55:44 m:s

Review date: 31/10/2001

Email: keith@keithlubrant.com 

Keith recorded this CD's worth of material originally as demo material. The feedback he received was so good that he decided to release the CD independently. The album was recorded in Keith's own studio. He is joined by John LeCompe on bass and Joe Perez on drums. Keith handles vocals, guitar and keyboards. Keith's musical influences include Glen Burtnick, Jon Bon Jovi, Mike Viola, Andy Taylor, Gin Blossoms, and anybody else who writes a good hook!

Keith describes his music as Pop Rock or Alternative Rock. In fact, Keith plays feel good pop tunes that have a rock basis. That Alt-Rock tag is also applicable, as quite a few of the songs sport some 'alt' tendencies.

The first batch of songs are all best described as 'jangly power pop'. For me the album takes a few tracks to get going. On the first couple of tracks the sound is reminds me of early Joe Jackson. By 'Lonely Sunday' the hooks are getting more noticeable and this is continued on 'The Girl Next Door'.

The title track is a slower semi-acoustic track that has more of a rock-vibe (Bon Jovi) to it compared to the pop that has gone before. The hooks keep building with the again semi-acoustic, but this time upbeat 'Misunderstood'. With 'If You See Mary' Keith get things just right. It is an extremely catchy tune in a radio friendly format.

By this stage the album seems to have settled down and the next few tracks all do their job more than adequately. 'Where You Gonna Go?' is another highlight that rivals 'If You See Mary' for top billing, emphasizing that the album has hit it's stride by this stage.

On the closing trio the more modern influences come to the fore again. A heavy funk bassline & electric guitars herald the lightweight funk of 'Madam Butterfly'. The closer is a riff orientated track where the lead guitar is let loose.

With the list of influences that Keith quotes, he could have played it safe in two ways - either going for a straight forward traditional rock album or going for an alt-rock album and ignoring those more traditional roots. Instead, Keith has, I think, stayed true to himself and combined these to create the type of album which moves AOR/MR forward into the 21st century. I have to admit that it is still the tracks where the more traditional approach gains the upper hand that I prefer (No surprise there for regular Mood Swings readers).

Keith has created an album of upbeat modern pop rock tunes that should have widespread appeal. In 'If You See Mary' & 'Where You Gonna Go?' he has a couple of tracks that would make you sit up & listen if you heard them on the radio and if they can do that, then they've got hit potential.

Bon Jovi - Crush

1. It's My Life
2. Say It Isn't So
3. Thank You For Loving Me
4. Two Story Town
5. Next 100 Years
6. Just Older
7. Mystery Train
8. Save The World
9. Captain Crash & The Beauty Queen From Mars
10. She's A Mystery
11. I Got The Girl
12. One Wild Night
13. I Could Make A Living Out Of Loving You

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Total Playing Time: 62:36 m:s

Review date: 10/08/2001

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Bon Jovi took a break after "These Days". This album was released amidst a sea hype last year that proclaimed it to be a return to the heady days and style of "Slippery When Wet". Much of this was based on the fact that the first single was a sequel to "Livin' On A Prayer".

Like Journey, I wouldn't claim to be a huge BJ fan, but I do have "Slippery When Wet", "Keep The Faith" & the aforementioned "These Days".

The aforementioned "It's My Life" is indeed a decent tune which conjures up a few memories, but doesn't quite have the magic of "Livin' On A Prayer". "Say It Isn't So" is an up-tempo rocker with a Beatle-esque qualities to the chorus. After listening to "Thank You For Loving Me" you might be thinking that the mature attitude from "These Days" hasn't been retired completely. I find this type of BJ tune very predictable and subsequently tedious after a few listens.

"Two Story Town" is much better. It swaggers onto your speakers and demands your full attention. Forget about that opening track which attracted all the hype, this is BJ on top form. The urban cowboy is on the loose again with the predictable "Next 100 Years". If BJ did attract stick for the last album's mature attitude, then this song, "Just Older", is maybe a better reflection of where the band are at these days :( Not old, just older. Yeah, we can all identify with that one.

"Mystery Train" is best described as gentle rather than slow. When writing the review I really couldn't remember what "Save The World" sounded like, which says it all really. You're going to remember "Captain Crash & The Beauty Queen From Mars" for the name, if nothing else. It is a rousing mid-tempo good-time tune that gets your foot a-tappin'. The band try their hand at another gentle rather than slow ballad on "She's A Mystery" & it actually work well and keeps the listener engaged throughout.

Next up is a slice of uptempo jangly pop called "I Got The Girl". "One Wild Night" has at least got a bit of energy about it and could easily have been from their earlier lives a young rockers rather than middle aged musicians amusing themselves. "I Could Make A Living Out Of Loving You" is a bluesy/soul influenced slice of rocking.

Whereas the Journey album has returned to my CD player piles of times since I bought it, then same can't be said of this album. Sure I listened to it quite a bit after I got it, but it ain't been there much since. And that really sums it up. An OK album. The guys are just too comfortable to create another "Slippery When Wet". The band seem to be getting more Springsteen like with every album. It has it's moments, but unlike Journey who had the impetus of a new member to get them off their fat asses and rediscovering their music, BJ have tried to do it on their own and the truth these guys aren't 'hungry' enough anymore. This is their youth looked at with half hearted eyes.

Journey - Arrival

1. Higher Place
2. All The Way
3. Signs Of Life
4. All The Things
5. Loved By You
6. Livin' To Do
7. World Gone Wild
8. I Got A Reason
9. With Your Love
10. Lifetime Of Dreams
11. Live And Breathe
12. Nothin' Comes Close
13. To Be Alive Again
14. Kiss Me Softly
15. We Will Meet Again

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Total Playing Time: 73:58 m:s

Review date: 10/08/2001

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I'm sure you all know the story behind this album - a release in Japan where it was again blasted for being ballad heavy, the album finding it's way onto Napster, the blasting of the Japanese release giving Neal Schon the ammunition he needed to record a couple more rockin' tunes for this US/Europe release of the album. Oh yeah, did I mention that Steve Perry is out and in comes Steve Augeri on vocals. Steve Augeri may be known to AOR fans for his work with Tall Stories & Tyketto. I thought that Hugo, Terry Brock or Kevin Chalfant would get the gig.

Steve's arrival seems to have to given the band a new lease of life. Thinking back, the problem with Trial By Fire wasn't the songs or the playing, it was simply that it was a band going through the motions for a few dollars more. This time there is a bit of an edge and enthusiasm to music. Hard to put your finger on it , but it is just a vibe you get. I wouldn't say that Steve Augeri was a direct replacement for Steve Perry, but those that haven't followed the recent history of the band could be forgiven if they didn't notice the difference. Steve Augeri happens to sound like Steve Perry, but doesn't go out of his way to do so, if you know what I mean.

"Higher Place" starts the album off in an uptempo mood which is what I think the band needed to do on this album, if we weren't all to consider them to be a bunch of geriatrics. First thing you'll notice is that the Journey sound is intact - the change of singer hasn't made a difference. "All The Way" is a semi-ballad - a style Journey seem to have made all their own. "Signs Of Life" strikes up like something off Escape (Don't Stop Believin'). This is precisely the type of track that has sealed Journey's in the AOR history books

"All The Things" has a beefier riff & Journey are determined to prove that they haven't forgotten how to rock on this album. On "Loved By You" it is ballad time again - but this time Steve Augeri's presence gives tracks like these the edge they need to stop them becoming schmaltzy. Having said that, the bluesy balladry of "Livin' To Do" is tedious.

"World Gone Wild" builds things up to a more rockin' mode, but it takes the chorus to save it from becoming just another rock mode filler. "I Got A Reason" is a mid-tempo AOR rocker that charms. "With Your Love" is more piano led balladry. What can you say about Journey tracks like these - the vocals soar and the music sweeps you along on a tide of emotion. Maybe not classic single material, but a good album track. When this followed by another ballad called "Lifetime Of Dreams" you can hear why the Japanese release got blasted as being snooze-worthy.

The band build things up gradually again with "Live And Breathe", which floats on a bassline and vocals. I never thought that I'd be comparing Journey to Little Caesar, but when "Nothin' Comes Close" kicks off all I can think of the LC tune Cajun Panther. We're on another rock workout by the band. The rock mode continues with the Escape-era sounding "To Be Alive Again", which could have been hit single material in another era.

And so the mood cools again with the relaxed & excellent "Kiss Me Softly".  And so the band finish the album off with a mid-tempo AOR track called "We Will Meet Again". At least the album doesn't finish on a whimper.

So there you are, we've made it through all 74 mins. That is a lot of music to digest. This album has been a fairly frequent visitor to my CD player since I bought it. That certainly indicates it is an improvement over Trial By Fire. So many bands have tried to copy these guys over the years, it is good to see them back in the saddle again and this time enjoying themselves, rather than simply going through the motions.

Spaced Out - Eponymus II

1. Sever The Seven
2. The Lost Train
3. Infinite Ammo
4. For The Trees Too
5. Trophallaxie
6. Sever The Seven - Revisited
7. The Alarm
8. Glassosphere - Part II
9. Jamosphere

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Total Playing Time:  53:25 m:s

Review date: 10/08/2001

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Whilst it would be easy for me to say that this is merely more of the same, as it turns out I seem to be more receptive to this offering. Spaced Out play Jazz Fusion instrumentals, which is a form of music where I generally find the concept appealing enough, but my enthusiasm fades when I listen to the actual music.

As before Spaced Out have produced a set of Jazz Fusion instrumental on which the musicianship is excellent. What is more under scrutiny is the ability to write memorable tunes. In fact, tunes may not be the correct phrase - pieces of music or even soundscapes is a better description. Being a non-musician, I can be amazed by the actual musicianship for a short while (about 30 seconds), then I want the album to entertain me.

On listening to first track, "Sever The Seven", you will indeed be amazed by the skill on display and it is a veritable Jazz Fusion feast, with just about every trick in the book thrown in. "The Lost Train" has a King Crimson like start and indeed throughout strikes me as a mixture of KC doing a Jazz Fusion tune. On "For Infinite Ammo" the Jazz bits get toned down and the Hammond Organ comes out giving the music a Deep Purple feel - I'm reminded of Deep Purple's rendition of "Space Truckin" on "Live In Japan".

"For The Trees Too" is more Jazz Fusion doodlings that adopt a mode laid back late night feel in the middle. Apart from some gentle sci-fi string synth on the opening of "Trophallixie", the Jazz Fusion theme continues on the next batch of tunes.

On "The Alarm" there are a few other things going on but this is basically a drum solo with a few space invaders thrown in for good measure. I personally welcome this, but true Fusion-heads may think otherwise.

"The Glassosphere - part II" is a continuation from the previous album. It contains some hypnotic King Crimson style fretless bass work and plays on repeated sequences quite a bit. The album closes with "Jamosphere" which is another long Jazz Fusion feast.

Maybe the previous album laid down the ground work, but I was slightly more receptive to this album. Spaced Out and Jazz Fusion fans will love it, but the rest of us may well be content with having one Spaced Out album in our collection. In that case, this one just pips the debut as the one to have.

Phil Vincent - Thunder In the East
Phil Vincent - Tragic

Thunder In The East

1. Friend or Foe
2. When Love Is Gone
3. Guilty
4. Eye To Eye
5. Keeping The Faith
6. Trying To Lose You
7. Fooling Yourself
8. Into Temptation
9. Keeping Distance
10. Forever and a Day
11. Falling from Grace

Tragic

1. Stand or Fall
2. Where Do We Go From Here?
3. Cruel
4. Illusion
5. So Sad
6. The Hard Way
7. Life Is A Game
8. Matter Of Time
9. My Life
10. Long Night
11. Changing Faces
12. Hard To Say Goodbye

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Total Playing Time: 51:33 & 56:53 m:s

Review date: 03/08/2001

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Thunder In The East: 80 %
Tragic: 85 %

Phil Vincent's influences include Dokken, Harem Scarem, Survivor and Boston.

Thunder In The East

"Friend or Foe" starts the album off with an 80s style keyboard driven mid to up-tempo tune. This style of music is one that usually finds favor with me. The album then builds up through "When The Love Is Gone" and "Guilty", which are both in a similar vein to the opener. They are good, but the next tune, "Eye To Eye", is the one that grabs your attention on the first couple of listens. Style wise I think Rick Springfield is a useful reference point. "Keeping The Faith" continues the favorable impression, but in a crunchier mode with both the pace and the guitars turned up.

So far, we're about half way through the album and the pace has remained fairly constant. "Trying To Lose You" has a slower start and develops into what is best described as a power ballad. Then it is back to up-tempo AOR with those 'parping' keyboards and this time a beefier guitar sound for "Fooling Yourself". A melancholy piano starts "Into Temptation" and the melancholy mood continues throughout. The downturn continues with the somewhat average "Keeping Distance". "Forever and a Day" is a slowie that builds nicely and get the album back on track. Just when you're expecting another slowie to wrap things up, the vocal harmonies give way to the full works and instead we close with a mid-tempo AOR rocker. 

A good 80s AOR album. My only minor criticism is that it is a little even paced and needs more variety.

Tragic

The first thing that strikes you when you play "Thunder In The East" and "Tragic" back to back is the fact that "Tragic" sounds so much louder. In fact, the production/mixing of Tragic sounds much better to these untrained ears, immediately creating a better impression.

"Stand or Fall" starts of the album off with a catchy up-tempo AOR tune that does the job of an opener very well. This could lead you into thinking that we're simply in for more of the same on Tragic. However, "Where Do We Go From Here?", with it's slow beginning and the piano leading the way as it builds to a power ballad that reminds me of Dakota, shows that Phil has made a conscious effort to add the variety that was missing on "Thunder In The East". For "Cruel" that variety comes in the form of some cranked up guitars and it is good to feel a little bit more energy in the music. The song could be described as AOR meets melodic hard rock with the chorus revealing Phil's AOR roots. "Illusion" starts with piano, then a regimented structure with guitars, before ending up a power ballad. It is another example of more thought going into the song writing.

"So Sad" is a strange on. It starts off with piano and what sounds like a wobble board (at least that is what I think Rolf Harris calls it), but could well be a heartbeat, in the background. When the full 'band' kicks in the wobble board sound becomes less noticeable and it reminds me of an Axe-style ballad. There is a Beatle-esque feel to "The Hard Way" on which the cranked up guitars in the instrumental section save the day.

A more straightforward rock approach on display with those 'parping' keyboards getting another outlining for "Life Is A Game". If you were waiting for one tune from the album to really jump out and do the business for you then my guess is that this is the one. Guitars definitely seem to be more to the fore on this album. A buzzy lead guitar dominates the mid-tempo rocker called "Matter Of Time". Guitars and keyboards both get a look in on "My Life" which is a power ballad. By this stage I'm thinking that the album has hit it's stride. The rockin' mood continues on "Long Night" which turns out to be a bit of a filler. If the last tune was weak, then "Changing Faces" gives it a run for it's money. Even the chorus is so low key that it goes past you and you'd not even notice. The title of the closing track may be touch cliched, but if you're expecting a ballad, then you're in for a pleasant surprise, as we get a mid-tempo rocker instead that finishes off the album in style.

On this album Phil adds the variety that it could be argued was missing from Thunder In The East. The result is an album that feels more complete and more balanced, resulting in a more satisfying listening experience.

Overall

When I first listened to these albums back to back, I've got to say that "Thunder In The East" was the one that made the best impression. In terms of quota of catchy tunes it has the edge. However, when I was sitting down writing comments on each song for this review, the strengths of "Tragic" began to make themselves known. It does show progression and is the more rounded album. Choosing between them is difficult, the truth is that either would make worthy additions to your record collection.

Basement 69 - Torn, Worn & Full Of Holes EP
The Bitchen Nogs - Just Need Your Love EP
Young Grasshopper - High Street Deluxe EP

Basement 69 EP:

1. Mother Nature
2. Naked To You
3. Junky
4. Superstar

The Bitchen Hogs EP:

1. Just Need Your Love
2. Runaway
3. The Bitchen Hogs Theme

Young Grasshopper EP:

1. Just Can't Wait
2. What Can I Say
3. In My Face
   
   

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Total Playing Times:  14:41, 9:08 ,9:20 m:s

Review date: 03/08/2001

Email: venuseye@aol.com

Basement 69

Basement 69 is the main project & is described as a rocket-fuelled, southern fried, psychedelicizied 6 piece band. A studio album was recorded in 1999 and the band formed later as a result of positive feedback on the album. To date the band have recorded two albums and this EP. The material is available via the website - www.superlava.com.

"Mother Nature" kicks things off with a modern raw retro-rock feel. There is a bit of a contradiction going on in that last sentence, but think Kula Shaker and you'll get the idea. Spacey garage rock. "Naked To You" continues in a similar high-octane style. After all that racket, "Junky" cools things down at the start, but cranks it back up for the chorus. Once again the 60s influence is there. "Superstar" is a little different, with a retro-pop feel rather than retro-rock. Once again the chorus is almost shouted until the vocals become distorted.

The Bitchen Hogs

CDs make you listen for all sorts of reasons and with a name like The Bitchen Hogs you just gotta investigate. The Bitchen Hogs is a collaboration between Mike & Californian mate Charlie Vartanian (a.k.a. Chaz Skinbanger) who flies into London for a few days a year to record Mike's more garagey/surfy/offbeat tunes. The songs are played at Mike's psychedelic 60s club - Super Elastic Bubble Plastic.

The music is slightly more 'rock' orientated than the Basement 69 stuff with the guitars more to the fore. Most memorable tune is "The Bitchen Hogs Theme", which is a 60's psychedelic instrumental romp that I'm sure you could do all sorts on manic 60s dances to.

Young Grasshopper

Young Grasshopper is Mike's powerpop project based around his punk tunes paying homage to The Ramones, The Jesus & Mary Chain, The Pixies... 

"What Can I Say" is a good slice of jingly powerpop. "Just Can't Wait" continues with energetic New Wave meets powerpop. On "In My Face" I'm reminded of say Stiff Little Fingers.

On the Young Grasshopper Mike finds a formula that comes closest to matching my musical tastes. There seems to be more melody going on and it is more 'my era'.

Overall

If I was to pick up one of these EPs it would have to be the Young Grasshopper's blasts of Powerpop.

Vick Le Car's Blue Moon - s/t

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Total Playing Time: 46:58 m:s

Review date: 12/06/2001

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"Between Heaven & Hell" is yet another mid to up tempo blues rocker. Ed Terry's vocal are impressive throughout the album, coming across as a mixture of Joe Lynn Turner and David Coverdale. In fact, this track is precisely the sort of music I can imagine JLT putting on one of his albums - I'm reminded of his Holy Man album. "Take My Hand" is a change of pace with a slow bluesy ballad. "Run Like A River" is a bluesy workout from the start before it moves up a gear into Deep Purple meets Bad Co meets early Whitesnake. The vocalist does a good job of fitting in with the music.

Velocity - Activator

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Total Playing Time: 21:21 m:s

Review date: 12/06/2001

Email: www.acceleratorrecords.com 

And there you have it. Not what I had expected at all. If "Impact" was equivalent to Harem Scarem's debut album, then this sits somewhere between "Mood Swings" and "Voice Of Reason". The whys and wherefores of the change in style  (or the EP instead of LP length after such a long break) don't matter - this is what Velocity sound like in 2001. Approach this with an open mind and it will work. Go in there with lots of preconceptions and you'll be turned off.

Hamadryad - Conservation Of Mass

1. Eternal Loop
2. Amora Demons
3. Carved In Rust
4. Still They Laugh
5. The Second Round
6. Still They Laugh Pt2
7. Shades Of Blue
8. ...Action!
9. Nameless
10. The Second Coming
11. Watercourse Hymn
12. Supra Celestial Drops Of Water
    Tiny Ventures
    The Sea
    Beyond

    
    

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Total Playing Time: 57:56 m:s

Review date: 12/06/2001

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Hamadryad have created an intricate album that yields more with each listen. Dedicated prog fans will love it and no doubt it will be a 2001 Top 10 contender for many. Melodic rock fans who dip into prog occasionally. like myself, could buy this and be happy that their prog 'needs' have been well satisfied.

Avalon - Avalon II

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Total Playing Time: 36:57 m:s

Review date: 30/05/2001

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Myles Hunter moved to Toronto and began "Michael Fury", Robert Holtz joined "The Cooper Brothers", Brian Sim put together the avant-garde group "The Crucial Moments" with bass player Brian Redding of "Five Man Electrical Band" while Manfred Leidecker and Tullio Granata went on to perform with several bands one of which evolved into "Eight Seconds".

In today's musical climate, this album sounds dated. Depending upon your point of view, that can be either be a good thing or a bad thing. If your music collections includes the likes of Styx, Magnum, Kansas, Iron Maiden or Uriah Heep, or indeed that Avalon debut album, then this is one for further investigation. Those bands make appearances, albeit not large ones, in my collection which explains why this one gets a warm if not ecstatic welcome to my collection.

Savannah - Forever's Come & Gone

1. One More for the Road
2. All Or Nothing
3. Last To Know
4. Live To See Tomorrow
5. Forever's Come & Gone
6. Backs Against The Wall
7. Day After Day & Night
8. Make Time
9. Fight Your Way (Out Of Love)
10. The Questions
    

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Total Playing Time: 42:07 m:s

Review date: 19/04/2001

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With a backlog of review to complete, this one was tagged onto the end of a long reviewing session without the usual pre-review Mood Swings listening period. A quick run through and I think that a combination Journey and early Danger Danger is still be best way of describing how the band sound.

"One More for The Road" kicks off the album with a big sound and rocks out. It immediately rang alarm bells when I first heard the album because the more rocking tunes on the debut were the one's that didn't quite work for me. A rocking start, nothing more. The band continue to rock hard on "All Or Nothing", but pull one of their killer choruses out of the hat to save the day. "Last To Know" builds up gradually to develop a big stadium sound that combines riffs, melody and a big chorus. Although the band are still rocking hard on this tune, fears that they may have "toughened up their sound for the second album" begin to subside.

The D2-style "Live To See Tomorrow" finally sets my mind at rest. The title track is a big power ballad that Savannah carry off with ease. "Backs To The Wall" continues where "Live To See Tomorrow" left off - another big chorus rocker. "Day After Day & Night" is a mid-tempo Journey-esque number that curiously features a low key chorus.

An upbeat lighter mood is created on "Make Time" which features acoustic guitar and organ, before "Fight Your Way (Out Of Love" sees the band back on more familiar ground with another uptempo melodic rocker. The album closes with "The Questions", which is a refined piano-led ballad.

The band have successfully followed up the debut with an album that is equally impressive. For me it means that this batch of reviews have ended on a high note with the type of music that I love.

Reincarnation Volume One - NWOBHM Compilation

1. Ricochet - Midas Light
2. Ricochet - Downtown Rumble
3. Ricochet - Dreadnought
4. Quartz - Satan's Serenade
5. Quartz - Bloody Fool
6. Quartz - Mainline Rider
7. Demolition - Hooker Hater
8. Demolition - Hustlin' Around
9. Demolition - No
10. Razorback - Faith Healer
11. Razorback - Give 'Em Enough Rope
12. Razorback - The Game
13. Damien - Cold Fingers
14. Damien - No Return
15. Damien - Words
16. Handsome Beasts - No Kinda Lovin'

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Total Playing Time: 68:09 m:s

Review date: 19/04/2001

Email: info@heavyrock.co.uk 

Ricochet - The single, "Midas Light", is the band's claim to fame in the NWOBHM history books. It contains all the NWOBHM hallmarks and is a good example of the genre. The other two tunes fail to match up in comparison. The band enjoyed re-recording "Midas Light" so much that a complete album will follow later in the year.

Quartz - Not only a band that I remember but a couple of tunes - Satan's Serenade & Mainline Rider. The band were closely associated with fellow Brummie's Black Sabbath, with Tony Iommi producing their first album. The sound is NWOBHM meets Sabbath.

Demolition - Demolition's no-frills rocking is too basic and generic to do much for me.

Razorback - Razorback was a collaboration between members of Stray and Nightwing. The band cover "Faith Healer" in tribute to Alex Harvey who died in the arms of Razorback's singer. The best tune is "The Game" which plods along somewhat, but which does include a touch of melody in the chorus.

Damien - "The Finn" from Ricochet toured Germany and stayed to form this Anglo-Germany outfit. "Words" is the best tune on offer and is one the better songs on this compilation. A Damien album is being planned.

Handsome Beasts  - The band are best know for their large vocalist. The band are currently re-recording their unreleased 3rd album. This is a taster. "No Kinda Lovin'" is a slow bluesy ballad.

Quartz and Handsome Beasts outclass the other contributors to the album. Ricochet and Damien hit the mark with one tune each. This is interesting as a trip down memory lane for me, but during future listening sessions I'll be being selective about the tracks I listen to.

Bruno Rock - Demo 2001

1. Save Your Love
2. Spread Your Wings
3. Let's Call It Blues
4. Silohette

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Total Playing Time: 15:03 m:s

Review date: 19/04/2001

Email: info@brunorock.com 

Bruno's music is modern AOR. Take the music of Bon Jovi circa Keep The Faith and bring it up to date with some modern pop influences such as Roxette and you've got Bruno Rock. Thinking of that combination of AOR and pop, isn't that what Rick Springfield gave us in the 80s? Bruno is performing a similar role in the new millennium. One of the elements giving the music a fresh modern sound is the drum machine. The use of up to date drum patterns actually helps on this occasion. These are modern rock tunes you could dance to!

All fours songs are a combination of good vocals, catchy tunes and a fresh sound. Picking highlights is difficult. "Spread Your Wings" is uptempo pop-rock with a great chorus that pounds it's way into you brain. "Silohette" has great strong vocals at the start and just keeps getting better as it mixes rock and pop to perfection.

Come on somebody, give this guy a recording contract! I'd really like hear what he'd do on a full length album.

Spaced Out - Spaced Out

1. Green Teeth
2. Toxix
3. A Freak Az
4. Magnetyzme
5. Delirium Tremens
6. The Fifth Dimension
7. Pensestuax
8. Futurosphere
9. Furax
10. Glassosphere
    

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Total Playing Time: 54:09 m:s

Review date: 19/04/2001

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A little less esoteric description of the music might be jazz-rock fusion. The band's music combines influences from rock, jazz and funk. The band serve up their mixture of rock and jazz, structure and improvisation, in 4 to 6 minute slices. I couldn't even attempt to find the words to distinguish individual tracks, maybe the musicians amongst you could. Suffice to say that most tracks comprise of funky rhythms, keyboards and guitar workouts. Of the first 6 tracks, "Magnetyzme" with it's dominant bassline, stands out. On the 7th track - Pensestuax - the pace is more relaxed. The band let the drummer dominate "Futurosphere". The album closes with the hypnotic "Glassosphere" where synths sit on top of the rumbling rhythm section giving it a Jean Michel Jarre quality.  

My opinion of this album varies from day to day. Sometimes it matches my mood and I think it is excellent. At other times, I find it annoying pretentious twaddle and it gets changed after a few minutes of the opening track. I'd have to say though, that jazz-rock isn't a genre of music I listen to very often.

If jazz-rock is one of the forms of music you like listening to, then check out the band at www.mp3.com/spacedout .

Mystery - At The Dawn Of A New Millennium

1. Destiny?
2. Theatre Of The Mind
3. Before The Dawn
4. In My Dreams
5. Black Roses
6. The Inner Journey - part II
7. Cinderella
8. The Mourning Man
9. Submerged
10. Shadow Of The Lake
    

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Total Playing Time: 70:31 m:s

Review date: 19/04/2001

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Mystery's music is a mixture of pomp and progressive elements - comparisons being Kansas, Styx and Saga. These are all top class acts in my book and Mystery are easily on a par with them.

Once we get over the slightly dubious start of "Destiny?", "Theatre Of The Mind" is a captivating Styx-like tune. By the time you've listened to "Before The Dawn" and "In My Dreams" you'll agree that the word that best sums up Gary's vocal is 'beautiful'.

"Black Roses" is an 8 min epic that takes a few twists and turns and at one point heads off into Jethro Tull territory which if fine with me. Around this point you'll notice that all the tracks have a slow start and build up gradually. My one criticism of the album is that after 6 or so tracks of this, it gets somewhat predictable and I certainly found myself looking for a different tact. Whilst not a full frontal attack, at least "Cinderella" does crank up the guitars in a brisk manner and it turns out to be one of the more rockin' numbers on offer.

The album closes with a trio of songs from the third album. A Styx-like beginning heralds the pomp-AOR of "The Mourning Man". Another slow start to "Submerged", before the band move up a gear and rock out a little. It is nice to see that the band have learnt a few tricks along the way as this is better than "Cinderella" from the first album. The band's progressive leanings reach fruition on the 15 min epic - "Shadow Of The Lake". Where would the world of progressive music be without Dream Theater? On this final track Mystery add a touch of DT to their sound, rather than merely plagiarizing it. The band tackle the epic format with ease and "Shadow Of The Lake" vies with "Theatre Of The Mind" to be my favorite track.

If you haven't checked out Mystery before, this compilation makes an excellent starting point.

Jaye Foucher - Contagious Grooves

1. What Comes Around
2. Angst
3. Zombieland
4. Surreality
5. Beginnings
6. Up Up & Insane
7. My Own Abyss
8. Transition
9. The Untamed
10. Hippo Groove
    

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Total Playing Time: 44:40 m:s

Review date: 19/04/2001

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The note that came with the album describes her style as instrumental hard rock (similar to Satriani & Vai). In fact, there are hints of Dream Theater's John Petrucci, so progressive hard-rock might be more appropriate.

As a non-musician, I can't really comment that much, but to these ears Jaye sounds like she has the technical side of things well under control. The overall impression is of a musician comfortable with a guitar and one who is forging her own identity. Although there are is variety in the tracks, the album as a whole sounds like 'Jaye Foucher' rather than a collection of influences forced together.

Rather than attempt to describe each track, I'll pick out the highlights. The Vai-like "Angst" is unpredictably, given it's title, fairly laid back. "Zombieland" kicks off with some big Dream Theater-like riffs over and this is the most progressive sounding track on the album. Of course, a good instrumental album is about painting with lots of colours and to counterbalance the screaming axe numbers there are semi-ballads like "My Own Abyss" I'd compare to my fave guitar instrumental album - Neil Zaza's Staring At The Sun. At the end of the album gets funky with "The Untamed" and more so with "Hippo Groove".

Kevin Russell - Trip To Heaven

1. Firing Line
2. Sinful Woman
3. Make Up Your Mind
4. Never Say Die
5. All I Ever Wanted
6. Cause and Effect
7. Pain
8. Rock 'n' Roller
9. Trip To Heaven
10. Don't Say You Love Me
11. Reprise

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Total Playing Time: 51:15 m:s

Review date: 19/04/2001

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707 were signed to Kiss' Casablanca label in the late 70s/early 80s and played FM Rock. The band at one time featured Kevin Chalfant (The Storm) on vocals. The band toured with REO, John Mellencamp, Rainbow, 38 Special, Ted Nugent, The Scorpions, Judas Priest, Quiet Riot and Loverboy. They disbanded in 1983. Kevin went to play with other rock acts, became a respected blues guitarist and a record producer for acts like Frank Marino & Glenn Hughes.

In the new millennium Kevin reformed 707 to return to his first love - rock music. He is joined by Don Bassey on bass and Denny Carmassi (Montrose, Sammy Hagar, Heart, Whitesnake etc) on drums.

"Trip To Heaven" is predominantly a blues rock album. Many of the early reviews of this album gave it a hard time because 707 were known for a more AOR style. I can't comment because I'm not familiar with 707's earlier work. Given this situation, I think the decision to relaunch the album as by Kevin Russell, rather than 707, was probably a wise one.

The majority of tunes on the first half of the album are bluesy rock tunes, some with a raw edge, such as "Cause and Effect" and some slower tunes, such as "Make Up You Mind" which reminds me of old slow hand - Eric Clapton.

"Pain" has a ZZ Top-style backbeat and rhythm to it. It is the first tune that really gets more than a passing glance from me. "Rock n Roller" follows up with a taste of bluesy boogie. The title track, "Trip To Heaven", in addition to the underlying blues rock, has a 70s-pop vibe. This trio of tracks are the highlights of the album.

Blues rock "ain't my thang" and apart from the trio of tracks mentioned above the rest of the album didn't do that much to titillate my personal taste buds. If you spot the album under the old moniker of 707 be careful - it is blues rock rather than AOR.

John Jorgenson - Emotional Savant

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Total Playing Time: 50:33 m:s

Review date: 19/04/2001

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This album sits in a zone which is somewhere between melodic rock and mainstream rock. The album is a pleasant listening experience, but for me anyway, never quite has that extra spark to get me really excited about it. I think that John is a talented guy and that the album is well executed. It is simply that the style of music on offer don't "light my candle", in the same way that John's early influences (Fab 4, Stones & Who), don't click with me either.

Oliver/Dawson Saxon - Re://Landed

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Promotion: Assassination Music Promotions

Total Playing Time: 60:37 m:s

Review date: 19/04/2001

 http://www.assassination.co.uk/ 
 

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As for the songs, well with classics like The Band Played On, 747 Strangers In The Night, Strong Arm Of The Law, Dallas 1pm and Wheels Of Steel on offer you can't find fault.

David Fesette - Demo CD

1. Misplaced
2. Remember Me
3. Tear Myself In Two

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Total Playing Time: 13:56 m:s

Review date: 07/02/2001

Email: davidfesette@aol.com 

I personally would use this music as a sound background while getting on with doing something else. Which means that I basically like it, but that it tends towards being a little too 'gentle' for my tastes. However, if you like Pink Floyd's quiet moments, then it is worth finding out more about David & his music.

Fatal Smile - Beyond Reality 2000 (demo)

1. The Saviour
2. Beyond Reality
3. Love Has Mysterious Ways

The band:

Total Playing Time: 13:03 m:s

Review date: 07/02/2001

Email: yuksel.unutmaz@swipnet.se 

The band play dark melodic metal that has it's roots in hard rock. The result is a style of music that despite being of the heavier variety has also got a sense of melody running through it and the vocals are an important element of the overall sound.

The opening track, "The Saviour", crunches in on top of you and the listener quickly gets an idea of where Fatal Smile are coming from. The title track improves upon the opener. It is again a riff-laden assault, but tempo changes and quieter moments and an arabesque solo section all add to the dynamics of the the tune. The pace picks up for "Love Has Mysterious Ways" and the band veer towards hard rock instead of metal this time.

Fatal Smile play a style of music that maybe fits in between two camps - hard rock and metal. I just hope that in doing so they don't fall in between two set of fans. They are too good to be ignored. I'm sure a record deal can't be that far away. Indeed, they may well have been signed in the long gap between my receiving the demo and this review going online.