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Thirteen appears to be a lucky number for Dave Mustaine

2012-01-10T03:28:00.000-08:00

Written By: Patrick Prince / Powerline

There’s quite a lot going on (or about to go on) in Megadethland. Of course, there’s the latest studio release of “Thirteen,” one of the finest metal albums in years, and then the December 10th jam of Dave Mustaine and Metallica, back on stage together again, playing old songs, for one of the 30th Anniversary Metallica shows at the Fillmore in San Francisco, California — a remarkable event that brought everyone from Jason Newsted, to Lloyd Grant and Ron McGovney out to celebrate. And soon will be the launch of Gigantour on January 26 in Camden, NJ — the mega-Megadeth tour with Motorhead, Volbeat and Lacuna Coil (all bands hand-picked by Dave Mustaine, of course).
The following is an interview with Dave Mustaine on December 13, 2011.

This new album sounds fresh and exciting. Do you think the reappearance of David Ellefson had something to do with that?

Dave Mustaine: Oh, he had everything to do with it. I sucked without him.

Well, I didn’t mean it that way, man (laughs).

Mustaine: (laughs) I know, I’m just playing with you. Yeah, Dave added an element of excitement and fun to the band. Every player who plays an instrument is gonna have their own way that they handle the neck and the strings and stuff like that. We could have had the last guy [James LoMenzo] who was playing before Dave do this record and play exactly what Dave played but it still wouldn’t have sounded the same.

Dave was in the studio while we were getting ready for the Rust In Peace tour and I said ‘Hey, you want to try and record on (the song) “Sudden Death”?’ And he did and we just knew it was gonna work out. So, yeah, I think he added a really great element but I think there are a couple other guys in the band [Chris Broderick on guitar and Shawn Drover on drums] that aren’t so bad either.

In all sincerity, I think Thirteen is one of the best metal albums in years. I’m a traditional metal guy and the thing about it is that it sounded a lot more like traditional metal … songs like “We the People” and “Deadly Nightshade” … Was it intentional to bring back some of that classic sound?

Mustaine: There was no intention of anything on this record. Honestly, we just went into it with the desire to make our last record for Roadrunner and to make a really great offering and who knows where this record goes because I hadn’t had my surgery yet [neck surgery] and I pretty much thought as soon as this record was turned in I was gonna crawl off into a retirement home somewhere because my neck and back were becoming such a problem. But the record turned out pretty well and the label’s done really good with it and I got the surgery and, man, everything is just going great right now.

And some of the songs were written years ago, right? “Black Swan,” “New World Order” …

Mustaine: “New World Order” was really, really old. We had never really officially recorded that and some people had said stuff about Nick [Menza, drummer 1989-1198, 2004] and, you know, yeah, he wasn’t a really busy writer but he did write a couple good things and “New World Order,” he had a hand in writing some of it, so it’s kind of cool. I don’t know what he’s doing right now but I do know that when he wrote that, it was very modern sounding. So when I came to do that song on this record, because we hadn’t done it officially, it was a no-brainer.

And it still seems to fit seamlessly on this new record, it’s hard to tell it was written way beforehand.

Mustaine: It was. (laughs)

Looking at the lyrics on Thirteen, you lay out your political and spiritual views and it doesn’t come off as preachy, at least not to me. Do you agree?

Mustaine: I’ve become more active in politics and more concerned in my fellow man because of my own discoveries and decision-making. I know if someone would have told me ‘You couldn’t do that,’ I would have said ‘Watch me.’ Because it’s just part of my nature. Not that I’m defiant just for the sake of being defiant because that would become kind of predictable, and there’s nothing cool about being predictable. It all just kind of goes back to what you want to do with your life.

And you still feel strongly that we’re headed towards a global government?

Mustaine: Yeah, I do. You hear China say that they are preparing to go to war with the U.S. — they said that on Fox yesterday — that’s not small potatoes, bro.

Don’t you think that the government sometimes seems like a puppet for banks and corporations?

Mustaine: Yeah, it is. It is the elite that are doing this. But I gotta tell you, the elite have been running the government and all this stuff for a long time. People with the IMF (International Monetary Fund) and with the Fed and it’s all the Rockefellers and the Rothschilds, they’re the ones that call the shots. I just think right now that the American people are getting screwed so bad and they just don’t know it. They cannot see the forest for the trees. Actually I think there’s lot of stuff that’s going on right now — I read a lot, I study a lot, I watch the news a lot because I’m a political writer. Not by choice. I started off writing about cars — “Mechanix” — and jumping into the fire. That had nothing to do with peace selling. …

You do say it best in the song “We The People”: “The devil’s henchmen in suit and tie.” That sums it up a bit.

Mustaine: Yeah, yeah, I think so. This whole nonsense … if you watch what’s going down with the super committee [on deficit reduction]. I called that before it even started — that it’s a joke and it’s not gonna work. And it didn’t work.

Do you agree with the Occupy Wall Street movement?

Mustaine: I think that the intent was very misguided. I believe that people going out into the streets to demand change — they went to the wrong address. They needed to go to 1600 Pennsylvania Avenue. You don’t go out and tell a bunch of guys who are working on Wall Street that you want change. You go to the President.

Or Congress.

Mustaine: Well, Congress is pretty much completely gridlocked right now. And the President is insulting them every chance he gets. So, I think the Occupy Wall Street people, if they really really want to see this happen, they need to go (to 1600 Pennsylvania Avenue), instead of going to the ports and shutting down commerce ,which is hurting people like the truck drivers and longshoremen and all the people on the boats. It’s just ultimately hurting us because that’s just gonna raise the price of food and stuff. And there’s that old saying: He who controls the water and controls the food, controls the people. Well, these guys are handing our control over to the elite by taking the food off of the shelves. If you’re gonna have anything to do with these guys, somebody smart has to tell them what to do.

Recently in an interview you called yourself a survivalist — and the song “13″ expresses that — but if this were a reality show like Survivor you’d probably be the finalist.

Mustaine: (laughs) Maybe.

And it looks like you’ve had a guardian angel over the years.

Mustaine: That I have. I still have it.

And good luck comes into play, too. And maybe 13 isn’t such an unlucky number after all.

Mustaine: Well, it wasn’t on the day I was born. The number 13 was bad for the Templar Knights — the knights who helped Solomon’s temple — those dudes were all rounded up on Friday the 13th and burned at the stake or something like that. I think people don’t know about that and they kind of just connotate the number 13 with marijuana and that it’s bad, you know. I was born on the 13th, I started playing guitar when I was 13 and this record’s my 13th record.

As far as spirituality in the lyrics, as a born again Christian, the less challenging creative road would have been to write songs like Stryper. But you do a pretty good job at being provocative.

Mustaine: Music is something that we listen to give us a change in our mood, to help us get out of a bad mood or continue to perpetuate a good mood. And I think if you put on music and someone’s condemning you and making you sad or making you cry … that ain’t my gig. Somebody else can give that. You know, I like listening to stuff that’s sentimental and emotional and stuff, too, but I don’t want to be the guy who does that. I’m good at beating my guitar until it throws up and I think people got a good look at that this weekend when I went up and played with Metallica again. That was really fun. I know a lot of people were really surprised because they never saw me play with the band.

It must have been a great feeling going up there onstage again with them.

Mustaine: I had some mood swings. There was some ups and downs and stuff. And, you know, got excited, and kind of got impatient, ‘Let’s go. I’m okay. Well, lets go!’ and this kind of thing and that’s just the artist in me. I’m just squirrely like that.

Playing some of those old Metallica songs — did you have favorites or are there still favorites now?

Mustaine: You know, it felt fun to play them. I wish I would have had a little bit more opportunity to get prepared with the band. You know, because I’m a perfectionist. I would have liked to have had my sound just so and make sure when I did the solos they would jump up the volume and stuff like that that I’m used to, but we were at a club and playing at a club and playing like a club band. It was fun to take off all the rules and regulations and stuff and kind of shoot from the hip.

I was surprised you didn’t play “The Four Horsemen.”

Mustaine: I think there’s a reason for that. I think I know why we didn’t play that song but I’m not going to go out on a limb on it. I think one of the things was because we recorded “Mechanix” and they recorded the other way, there’s not really a need to do that. There were several other songs that were really important — like “Jump in the Fire” was the first song I brought those guys. And “Phantom Lord” and “Metal Militia” were songs that I brought to them, too, and the only other song was “Mechanix” which later changed to “Four Horsemen.” And the rest of those songs were written by James (Hetfield) or by Hugh Tanner or Lloyd Grant and that’s why those guys were there .. and a little weird for me, too, you know, standing onstage. I thought it was cool to be just with Metallica but Ron McGovney’s up there and Lloyd Grant’s up there. I was kind of like ‘Alright, well, I’ll bite the bullet. I’ll be cool. This is not so terrible.’ I got up there and, you know what, I didn’t even notice them. I was having so much fun they weren’t even there.

Well, you mentioned mood swings. You should have had flashbacks with McGovney ….

Mustaine: Actually, you know what. I didn’t even see him the whole time I was up there. It was cool that he was there. He was pretty nervous, too. Ron’s a good guy. I was locked into Lars’ playing and James’ playing. Me and James, we were like the the Toxic Twins back when we played together and we were a very very dangerous duo. And for a moment I think I stirred some of those old feelings up. I saw one of the videos and it looked like he was having fun. I know I was having fun. I had a smile that I went to bed with.

Do you remember the very first Metallica gig? I think it was in Anaheim, 1982.

Mustaine: You know, I remember a lot of those shows but not which one was the first one. One of them, when we played there .. this is funny, I was just saying this to somebody the other day, and I don’t even know if James will remember this. He used to go partying with me and we used to go out drinking all the time and we found out that when we were up there, there was a contest, a battle of the bands and the winner got to open up for this new band from Ireland — a band that had just come on MTV and had this song “I Will Follow.” I told James: ‘These guys are gonna be huge, dude. You watch.’ It was U2, when they came over and if we had entered the battle of the bands we probably would have gotten to open up for them which would have been pretty interesting. You know, there’s been a lot of firsts for Metallica but I don’t think that they’ve opened up for U2 yet.

Lastly, Gigantour. Are you glad you picked bands like Lacuna Coil for Gigantour?

Mustaine: Yeah, I ‘m glad I picked Motorhead and Volbeat, too. I think that all the bands that are on Gigantour this year are gonna be great. They all have a certain type of cool factor. Motorhead has that straight-forward, ‘I’m gonna kill you’ kind of music, and Volbeat is that kind of dangerous kind of music — kind of like Elvis metal — and listening to Lacuna Coil with the two singers, it’s very dynamic and they’ve got good guitar players in there. It’s also cool that at one point we had Christina (Scabbia) sing a song with us. We haven’t discussed having her come up and sing “À Tout le Monde” with us each night. We probably should but we haven’t talked about that yet.

Megadeth Official Site

Vintage Megadeth Posters

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CD Review: Paul Rodgers & Friends - Live at Montreux 1994

2012-01-10T02:51:00.000-08:00

CD Review: Paul Rodgers & Friends - Live at Montreux 1994
Eagle Records
All Access Review: A-

In 1993, Paul Rodgers was a free man. The Firm had dissolved, the legendary front man was above and beyond The Law, Bad Company had become a distant, but still treasured, memory and the revered Free was long gone. Left with nothing to do, the singer with the brawny, torn-and-frayed pipes and expressive, denim-clad delivery looked again to the blues, his one true love, for inspiration. He found it in the music of Muddy Waters.

Keen to pay homage to the great man, Rodgers didn’t break character. Muddy Water Blues: A Tribute to Muddy Waters may have contained the spark of the Chicago-style electric blues that Waters once perfected, but it was powered by the blues-rock combustion of Rodgers’ work with Bad Company and Free. Not all of the tracks on Muddy Water Blues, the second of Rodgers’ solo albums, were Waters covers, but his spirit haunts the record, inhabiting its grooves and inspiring Rodgers and his collaborators. In 1994, a year after Muddy Water Blues’ arrival, Rodgers brought much of that record to life in a blustery, sweaty concert at Montreux, where he was joined onstage by the likes of Journey guitarist Neal Schon, drummer Jason Bonham, guitarist Ian Hatton and bassist John Smithson, as well as several guests, including Queen’s Brian May, Toto’s Steve Lukather and blues veterans Luther Allison, Eddie Kirkland, Sherman Robertson, Robert Lucas and Kenny Neal.

Though a star-studded affair, Live at Montreux 1994 has more of a blue-collar feel. This is a workingman’s record, with dirt under its fingernails and calluses on its hands. Sprinkled with plenty of songs that Rodgers made famous with Free and Bad Company, Live at Montreux 1994 also finds Rodgers digging his hands into the earthy soil of blues classics like Waters’ “Louisiana Blues,” which simmers with menace and pure nastiness on the stove here, letting all the rich flavors – including a particularly tasty guitar solo – sink into its meaty textures. In a surprising turn, May gets down and dirty on the Sonny Boy Williamson number “Good Morning Little School Girl,” his distorted guitar becoming a careening crop duster that dives and climbs with all the daring of pilot with a death wish. The highlight of a sensational set, “Good Morning Little School Girl” is simply mean, burning with intensity and passionate playing. To finish off the night, Rodger and crew slam into Robert Johnson’s “Crossroads” and the closer, “Hoochie Coochie Man” by Willie Dixon, with all the force of a hurricane. The guitars sound like switchblades on and cut deeply with every note on “Crossroads,” as the rhythm section works up a mean, mean thirst crawling through the gutter on “Hoochie Coochie Man.”

Three of the songs Dixon wrote for Waters, including 1954’s “Hoochie Coochie Man” and “I’m Ready” and 1961’s “Let Me Love You Baby,” are included here and performed with all the righteous fervor of a tent revival ministry, as is Booker T. & the MGs’ “The Hunter.” Just as propulsive and muscular are the Rodgers’ classics “All Right Now,” the old Free hit, and rust-covered Bad Company diamonds “Can’t Get Enough (of Your Love)” and “Feel Like Making Love.” Ever the professional, Rodgers’ nuanced vocals add richness and depth to each track, while his handpicked group of hired guns plays the daylights out of this material almost all the way through, with the exception of the rare uninspired moment. The recording quality is pretty sound and world-class music writer Malcolm Dome does the show justice with well-written, informative liner notes. All of this makes you wonder if, or when, Rodgers will delve even deeper into the blues down the road.

- Peter Lindblad

Purchase CD: Artist Link

Collectible Vintage Posters:

Bad Company
Queen

CD Review: Riot - Immortal Soul

2012-01-10T02:40:00.000-08:00

CD Review: Riot - Immortal Soul
SPV
All Access Review: B+

More an indictment of apathy towards war in foreign lands than a desperate plea for attention, “Riot,” the incendiary opener off Riot’s latest album, Immortal Soul, asks a pertinent question: “What’s it going to take to make you riot?” What, indeed, is it going to take for people to wake up and take notice of a grossly under appreciated cult band that’s been around since 1975 and tossed a few exquisitely explosive heavy metal Molotov cocktails into the fray between 1977 and 1981 with the albums Rock City, Narita and the quintessential Riot classic Fire Down Under?

When the New Wave of British Heavy Metal threatened to drown us all in spiraling twin guitar leads, screaming vocals and stampeding rhythms, Riot, the pet project of guitarist and lone remaining founding member MarkReale, a man who understands the capricious nature of rock and roll all too well, seemed poised to become America’s answer to English cousins Iron Maiden, Def Leppard, the Tygers of Pan Tang and Saxon, among others. Riot was cut from the same cloth, from the blazing guitar duels ignited by Reale’s ambitious fretwork to pulse-pounding rhythms and wailing vocals that could fill up the most spacious of arenas. The pace of their songs was blistering, and they didn’t opt for the clichéd fretwork and grooves so many lesser bands take when confronted with a fork in the road, musically speaking. At the very least, while opening for the likes of Sammy Hagar, Black Sabbath and KISS, Riot’s ballistic live performances should have spurred a groundswell of support that would eventually lead to massive record sales and sold-out stadiums. Alas, it wasn’t to be.

The usual suspects are to blame, of course. Too many lineup changes, record label treachery, seismic shifts in musical trends and the occasional lukewarm effort all conspired to keep a good man like Reale down. Word has it he was even living out of his car in Los Angeles at one point. And yet, through it all, Reale kept Riot alive, tenaciously holding on to the belief that his time was coming. Occasionally, he’s been able to recapture that old magic that made them one of metal’s top title contenders in the late ‘70s, as Riot did near the end of the ‘80s. The faithful always held a special reverence for the lineup that recorded 1988’s Thundersteel and 1990’s The Privilege of Power, and Reale has reassembled the crew of Tony Moore (vocals), Don Van Stavern (bass), and Bobby Jarzombek (drums), along with live collaborator and guitarist Mike Flyntz for another tour of duty.

The band’s rebirth is nothing short of remarkable. After a recent scorched-earth tour of Japan and a triumphant Sweden Rock Festival outing, Riot unleashed Immortal Soul in late 2011, and it is a beast. Out of the gate, the blinding speed and white-hot fury of “Riot” – a ballsy title considering it’s also the name of the band – outraces many of Riot’s thrash-metal brethren, with Moore’s squealing vocals adding urgency and excitement. “Sins of the Father” is just as scintillating, traveling as fast as a bullet from point A to point B and not forgetting to plant a series of hooks that claw flesh. “Crawling” is something altogether different. With an undeniably exotic Middle Eastern feel, courtesy of serpentine, hookah-smoking guitars, the undulating “Crawling” is a seductive and hypnotic siren’s call that listeners must repeatedly heed. Even more melodic is the soaring epic “Fall Before Me,” which artfully contrasts meaty, grinding riffs with angelic harmonies, while the title track is stylish and dark, a not-so-subtle nod to Queensryche’s Operation: Mindcrime.

Blessed with an impressive vocal range that easily reaches high notes other singers would have to stand on a chair to tough, Moore is impossible to ignore. He can sound tough and tender, as he redeems an otherwise lackluster “Whiskey Man,” or he can fill a room the size of a football field with his volume and high-pitched screams, as he does on “Insanity.” While Reale and Flyntz pound away at dynamic, thundering riffs and construct intricate helixes of notes that amaze and awe, as they do in the high-flying “Believe,” Moore’s presence is just as powerful. And don’t sleep on Jarzombek’s drumming, with its crispness and propulsive momentum, augmented by Van Stavern’s flexible bass work.

Not the edgiest album to ever see the light of day, Immortal Soul is, nevertheless, a classic-sounding heavy metal record, with strong songwriting and interesting diversity that mostly goes for the throat and takes daring risks. At times, it sounds almost reeks of desperation – not a bad thing for a band that’s been around this long – as if Reale and company are willing to try and do anything to catch your attention. More often than not, Immortal Soul does just that.

- Peter Lindblad

Metal Evolution - "Thrash"

2012-01-05T02:45:00.000-08:00

Metal Evolution: "Thrash" - Episode 106
Sam Dunn
VH1 Classic

All Access Review: A-

Squaring off against everything that ‘80s glam metal represented, the soldiers of thrash – glam’s uglier, angrier cousin – wanted to eradicate every trace of makeup, lipstick and hairspray from heavy metal’s dark underworld. Or, as Megadeth’s Dave Mustaine puts it in the “Thrash” installment of Sam Dunn’s “Metal Evolution” documentary series, the androgynous purveyors of glam metal, many of whom looked almost as pretty as the girls they were bedding, were “fleas on the balls of a camel” and thrash “was a flea bomb.”

The strongest of pesticides, thrash almost killed glam metal dead. Grunge would finish the job in the ‘90s. Obviously a fan of one of metal’s most extreme sub-genres, Dunn, author of the acclaimed “Metal A Headbanger’s Journey” documentary, explores the fiery origins and virus-like developments of thrash metal in the latest chapter of “Metal Evolution,” which appeared over New Year’s Eve weekend on VH-1 Classic. Up to this point, Dunn has done a fine job detailing with great care the genealogy of heavy metal. Every piece is rife with riveting interview material, classic live footage and historical fact. With the exuberant enthusiasm of a fan and the intellectual curiosity of an anthropologist, which is what he is, Dunn has dissected the body of and probed into every nook and cranny of that most reviled of all musical forms.

So far, “Metal Evolution” has taken viewers on a loud, crazed journey through all the mayhem and madness metal has produced over the years. Yes, it’s a history lesson, but the scope of Dunn’s work is wide-ranging, studying the influence of classical and jazz on metal, while also investigating the connection between the gritty, early ‘70s Detroit proto-punk sound of The Stooges and the MC5 and confronting the strained relations between English punk and the New Wave of British Heavy Metal. And that’s just a small sampling of Dunn’s exhaustive, but never tedious, testimony.

“Thrash” is another winner. Starting off at its birthplace, Soundwave Studios in California’s Bay Area, where Testament is running through a fiery rehearsal, Dunn, through content-rich talks with Mustaine, Slayer’s Dave Lombardo, Testament’s Alex Skolnick and Metallica’s Lars Ulrich, finds the merging streams of hardcore punk and NWOBHM flowing electricity into thrash’s roiling sea. Taking the energy and spirit of punk and the melodic aggression of bands like Iron Maiden and Judas Priest, thrash’s innovators, like Slayer and Exodus, upped the ante.

As Skolnick relates in “Thrash,” musicians like him loved punk’s songs and its undeniable vitality; however, what was missing was musicianship, and they wanted desperately to create something that would challenge their chops. Thrash was it. Heavy and punishing, the riffs raged, flying at unheard-of speeds. And the guttural vocals screamed and growled, spitting out graphically violent lyrical imagery that occasionally touched on war and social issues but more often told stories of serial killers and gruesome deaths. Using this symbiotic relationship as a jumping-off point, Dunn segues into how thundering, high-velocity double-kick drums became the driving force behind Trash. Ulrich and Testament’s Paul Bostaph give all the credit to Motorhead’s Phil Taylor for bringing the double-kick drums into fashion, and Thrash’s young vanguard of drummers took Taylor’s style and gave it a shot of adrenaline. Taylor is one of the surprising stars of Dunn’s “Thrash,” a metal veteran telling his war stories and explaining his absolutely vital contribution to metal, with Dunn hanging on every word.

When the conversation turns to Metallica, Jon Zazula, founder of Megaforce Records, and his wife reveal how their mom-and-pop metal label served as the launching pad for the band that would become Thrash’s version of The Beatles. Metallica’s tale serves as the lynchpin for “Thrash,” as Dunn follows the band from its lowly beginnings on through the explosion of San Francisco’s underground metal scene and into the controversial, MTV-courting “Black” album, which some in the Thrash community saw a betrayal of its values. Dunn and Lombardo make no bones about how they felt. It was treason, but to Dunn’s credit, he shares his feelings with Ulrich, who offers Metallica’s side of things. Ulrich feels that “betrayal” is such an ugly word and that if Metallica had done a rehashing of … And Justice for All, that would have been Metallica selling out. They needed to do the “Black” album to expand their horizons and grow artistically, as Ulrich explains. His reasoning makes perfect sense.

So does Nunn’s storytelling. In less capable hands, “Thrash” could have been a jumbled mess, but he sticks to the philosophy of “Metal Evolution,” and that is to follow each stage of metal’s growth and development to the wherever the story leads. Slayer’s Reign in Blood is treated with awe and respect, and the story behind landmark show at the Roseland Ballroom in New York City that led to major-label deals for Raven, Metallica and, eventually, Anthrax is told with an insider’s perspective. By the end of “Thrash,” Nunn has traversed Sweden to investigate Thrash’s unlikely revival in the land of ice, snow and Lutherans – the Gothenburg sound, which, after Thrash’s mid-‘90s swoon, which married melody and harmonies with blinding speed and crushing heaviness in bands like In Flames – and Richmond, Va.’s burgeoning scene, which roared to life because of Lamb of God. Though previous segments of “Metal Evolution” – including a surprisingly sincere look at “Glam,” strategically shown the week before “Thrash,” the juxtaposition probably being no accident – were strong statements of purpose, “Thrash” is the best of the lot. Next week, it’s “Grunge,” as Dunn goes to Seattle to take on the movement that many say destroyed the careers of bands like Warrant and Ratt, among others. Let’s hope Dunn treats the subject matter with just as much care as he does with Thrash.

- Peter Lindblad

Episode Summary - Arguably metal's most popular and passionate genre, Sam journeys to Northern California to trace the roots of Thrash by interviewing the architects of this hugely popular genre. Sam interviews Metallica, Megadeth, Anthrax, Slayer, Testament, Exodus, and many more Thrash Metal legends.

Click here for more information on VH1's Metal Evolution

Collectible Heavy Metal Posters:

Anthrax
Megadeth
Metallica
Slayer

Joe Satriani: Class is in Session

2011-12-29T01:45:00.000-08:00

An interview with one of the greatest guitar players ever

By Peter Lindblad

Some of the greatest rock guitarists of this generation have been taught by Joe Satriani, and with 1987’s Surfing with the Alien, he defied the conventional wisdom that said an instrumental album could never be a commercial and critical hit. Satriani, who has won multiple Grammys for his work, has certainly taken the road less travelled to fame and fortune as a musician.

Lesser known projects, like his revolving-door touring trio G3, have satisfied his thirst for musical adventure and exploration, while his 1988 stint as lead guitarist on Mick Jagger’s first solo tour provided a showcase for his technically flawless and emotionally transcendent guitar playing. Many feel that Satriani is the greatest guitar player ever, and even though some may argue that Eddie Van Halen has established himself as the pre-eminent shredder of his generation, a strong case can be made that Satriani has passed him by.

Nowadays, Satriani is plying his trade with the supergroup Chickenfoot, which includes veteran singer Sammy Hagar, ex-Van Halen bassist Michael Anthony and Red Hot Chili Peppers’ drummer Chad Smith. Not only is Satriani sparking the group’s dynamic musicianship with his mind-blowing fretwork, but also, Satriani is lending a hand with the writing. Chickenfoot III, the band’s second LP, has been out for a while now, and the band has been on the road with Kenny Aronoff serving as a replacement for Smith. In this interview, Satriani shares his experiences with Chickenfoot and his memories of playing with Jagger and how he was completely dumbfounded by the success of Surfing with the Alien.

Just from initial impressions, Chickenfoot III seems like a heavier album, maybe ‘70s inspired. Was that something you were going for?

Joe Satriani: I think we recognized that that’s what was happening as we were doing it. We never really plan things out. We record ourselves sort of bouncing off each other. That’s kind of like the way we operate, and every time somebody picks up on something like that, you just laugh and smile and say, “Oh, ’72 … you know.” (laughs) That’s just the way we are. That’s part of why stuck together, because we thought it was exciting but curious that we didn’t do like “Satch Boogie,” “Give It Away Now,” and a whole series of Van Halen songs put together. We just sort of … we make this other thing, and so we’ve respected it by not sort of analyzing it. We just let it happen.

From the beginning of Chickenfoot, it being a supergroup, everybody was wondering how the different styles would mesh. Was that a concern when you began?

JS: I’m sure that those guys … you know, Sammy, Mike and Chad were probably thinking about that for a while, because as the last guy to join the unit, I hadn’t spent any time with them, when they, for six months, were jamming down at the Cabo club, and they had a number of guitar players join them onstage. I don’t know at what point it got into their minds that they wanted to make a record, but at some point, they called me and they must have thought, “Boy, that guy’s weird, but maybe it’ll work.” (laughs) So, I’m just happy that they did call me because it turns out I just had a lot of music in my background that was perfect for this band. It’s so natural for me because it was like I was 14 years old again in my high school band. This is exactly the kind of music I dreamt about playing. It didn’t take any extra effort, it was just … I was just so excited I just wanted to make sure we had enough time to devote to the project with our crazy schedules.

I was going to ask you if Chickenfoot allowed you to come full circle in your career, because you started out really loving that music of the ’70s?

JS: It’s funny how that is. I mean, a lot of the music that I’m allowed to write, let’s say, or I’m inspired to write when I’m thinking about Sammy, me, Mike and Chad, I wouldn’t normally be able to pull it off in a solo situation. It would just be so difficult because that style of music is built around a singer being really expressive and charismatic. I mean, Sammy Hagar is just … he’s got an amazing voice. The sound quality of it is huge. He can literally dominate any mix that you bring his voice up in. Wow, it’s just a force of nature. And of course, that style of music really wants the singer to be slightly unusual, slightly dangerous, somewhere on the edge between making a point and just blurting out rock and roll-isms. I don’t know what that is about rock music, but sometimes you like it when they’re being vague, you know, and just sort of being who they are. It adds a certain quality to the music, and so, those are the kinds of things you can’t really do instrumentally. It sounds kind of corny. So I’ve always approached instrumental music that it’s got to be fully, 100 percent, totally inspired by something that means something to me, something that I’ve lived through, somebody that I know, and that’s my guide to making it totally truthful and from the heart. But it’s different when I’m writing, at least for Chickenfoot, I’m really thinking about trying to bring out those things that I’ve picked up on while touring with the band, which I think is why this record sounds just better than the first one we did, because it’s obvious we know each other a lot more. We’ve been able to bring more of our personalities out on this record.

And a heavier record, too.

JS: I think so. I think everybody had a couple of things they were trying to get out of each other. As you said, it’s sort of … it culminated in just a stronger sound. I know Sam kept wanting me to just let loose, and I wanted him to sing in a lower register. I thought it would be more powerful and more intimate at the same time. I definitely wanted to write grooves where Mike, Chad and myself would sound like one big Mack truck coming right at you at a hundred miles per hour because you can write songs where you tell the drummer and bass player to play something repetitive, and you can do crazy stuff on top of it. That would be almost like a solo record type of thing, when you’re trying to give that feeling that the guitars are free and doing all sorts of stuff. You need somebody in the band to be more disciplined. But I wasn’t interested in that with these guys. I wanted to be part of the band, and I wanted Sam to be the thing floating on top. So that means I had to write, specifically, things where we naturally would sync into a backbeat together and sound like one unit. I think that contributes greatly to the heaviness, so we can do those songs like “Big Foot” – that’s a perfect example.

Yeah, that’s one of my favorites. You alluded to approaching Sammy about trying something new. What was that conversation like? Was it a tough conversation to have? Or was it easy to say, “Maybe we should try something different with your voice?”

JS: Oh, I think he was totally into it because I related to him this experience I had a few months before we started really … or I started really writing for this record, and we were hanging out and I’d just come from another local studio, and I said, “Sam, they were working on a song that you sang on. It was Sammy and Neil Schon and Michael Walden, and other local musicians doing a Sly Stone song for a local film. And I was totally blown away listening to Sam’s vocal performance. He just sounded like a stone-cold R&B singer. And the register was lower and his vibrato was beautiful, his voice was the usual, a thousand feet wide. And so I was saying, “Sam, that was like the greatest vocal I’ve ever heard. Why aren’t we doing that?” So, he was definitely excited about it, because he remembered that session. And he had a good time doing it, and he started telling me about all the soul music that he loves and how he’d love to do it. So I kind of took that back with me, and during my writing period for the band last August, 12 months ago, I just focused on that a couple of times to make sure that I could sort of count on that. You know, that I could sort of inspire him in that direction, so that we could get some of those beautiful vocal stylings out of him. Still, I’d love to hear all of it. I mean, he added kind of spoken word, but he’s on the other side of it as well, where he’s screaming like the best of them on this record, too. So I just think he gives, on this record, more of himself than on the first record, which is really cool.

Like you mentioned he was asking something different of you, too. Are there points on the album where you can hear you taking his advice to heart about just trying to lose it in the moment?

JS: Yeah, yeah, absolutely – I took everybody’s suggestions. I’ve got to say, it’s a good thing when we get together. Everybody listens to everybody. Everybody tries everybody’s ideas out. Because we figure, you know, I guess basically, the other guy might be right, so let’s just do it. Why not, you know? So sometimes that means any one of us changing our part just to see if it makes the other guy feel more comfortable with his part or a suggestion of a song. You just never know. A perfect example … well, you mentioned before about letting loose. When we finally got in the studio to do “Three and a Half Letters,” by then a lot of things had happened. I mean, the record was pretty much done and we had just this one last piece of music that Sam and I had written. And our good friend, co-manager and Sam’s personal manager, John Carter, had gotten ill and passed away during the making of the record. And we were back in the studio after he had just passed doing sessions, and so all of that, together with Sam’s earlier request of letting go, was definitely something that I was feeling at that moment. And that I think allowed everybody to let go, and everybody did on that particular one. It was just a very emotionally charged afternoon in the studio. There was another moment where we were working on a song that I brought in that turned into “Different Devil.” And I’d written this acoustic piece thinking it would be a funny, little, odd acoustic song, but everybody else wanted to turn it into a more commercially viable piece of music and I was totally bumming out about that idea. But eventually Chad came back the next day, he had borrowed my acoustic guitar and while he was back at the hotel room, he came up with another chord sequence to inject into the song that Sammy felt he could sing a chorus over. And so we re-did the song that afternoon, with this new piece of music in it, and I started to … slowly I had to pull myself out of, you know, my negative view of something that I had written and realize what they were hearing and I’m glad I did because it turned into one of my favorite pieces. But it was a bit of a cathartic experience – sort of leaving the spot that you were certain about and jumping over into another spot where everyone else was certain about. But I think that’s about trust. I mean, that’s what it’s all about when you get a good band together, there’s an element of trust there. So we will follow one another if the other one suggests it.

I suppose that stems from everybody’s previous successes. Maybe you’re more willing to listen to the other guys because you know they’ve experienced a lot of success on their own?

JS: You’re absolutely right. Yeah, I mean those guys have sold some records based on really good, commercially minded songs, and so, yeah, I’m going to listen (laughs) if Chad, or Mike, or Sammy says, “Hey, we can trim this, and the song would really pop.” I go, “Yeah, you probably know a lot more about that than I do.” (laughs) Get this, this is funny. I just got a text from Chad. That is funny. He’s in Rio, and he’s just saying that he is loving the podcasts. We’ve been putting out these podcasts on every song every day leading up to the release of the album.

That’s a new marketing tool for you. Are you enjoying doing that?

JS: Yeah, I think when I finally see them … of course, I can’t stand looking at myself, and I’m always explaining they’re using the wrong camera angle (laughs). I’m not necessarily ready for primetime, probably will never be, but yeah, after a while, I realized this is a very cool thing, and I wish that all the other artists that I like would do it, because I’d be eating it up, you know.

What kinds of artists do you like these days? You’ve worked with so many and taught so many.

JS: I think the last couple of things I’ve been getting into are not necessarily that new. I mean, I’m thinking about … whew, here’s a weird one. Animals As Leaders. Have you ever heard of them? Tosin Abasi, the guitar player, is just completely … it’s the craziest way of playing guitar that I’ve ever heard in my life. He’s really great. Believe it or not, I have been listening to a lot of Black Keys. I’ve always been into listening to the stuff that Jack White does. I like when guitar players go all the way, whether they’re forging brand new territory or they’re doing revival, throwback stuff, I do really love it. And I find it just stimulating to the heart I guess. I’m always picking up; if somebody finds me a new bootleg of an old James Gang thing, I’ll listen to that (laughs). I’m always looking for more stuff. You know, probably the next thing I’ll get is that new Hendrix compilation of live stuff. That just came out. I still just listen to Hendrix all the time.

Do you still teach?

JS: No, I recently had to put a lot of this into words because I gave a commencement speech at Musicians Institute down in L.A., and I had to remind myself the last time I taught an official lesson was actually Kirk Hammett, and it was back in January of ’88. And he was the last student I gave a lesson to. He was just about to start recording … And Justice for All, and I was just about to go out on my very first tour as a solo artist for the Surfing … record. That’s how long ago it was. Our lives have changed so dramatically since then, but yeah, it’s been a while.

Do you miss it at all?

JS: No. Teaching is very hard. It’s very hard to sit in a small room, and I was teaching privately, so that meant I was teaching over 40 hours a week. I had 60-plus students, all individual lessons, an hour and half hour. That’s intense. That was my day job. What I was really doing was playing in a rock band at night, and so … yeah, that was pretty tough.

In that way, your career and that of Randy Rhoades had parallels. I know he taught as well.

JS: I don’t know too many players out there who teach. I mean, it’s a good gig to have, because the guitar is in your hand all day long. You have the opportunity to continually think about technique, and it is nice to hang out with other guitar players, rather than … I don’t know, if you worked at the post office or something, driving yourself crazy. The danger is you’ve got the guitar in your hand too many hours a day. You have to be careful of over playing and repetitive stress, and probably mentally, you don’t want to get bitter about music by having to teach kids and professionals. Even though I had students like Charlie Hunter, Larry LaLonde and Kirk Hammett and Alex Skolnick, I also had people who were grammar school teachers, lawyers, doctors, race car drivers, cable car operators, and I had kids who used to bring in action figures and put them on the amp and then pick up the guitar (laughs). I had a diverse group of young and old, men and women, and when you’re a teacher, you have a job to do, which is to get them to play the music they want to play. It’s not about turning them into rock stars, unless they specifically asked you to. Unless they were your average 18-year-old kid who comes in and says, “Make me the greatest guitar player in the world. I’ll do whatever you say, you know.” But it’s not for the faint of heart as far as musicians go. For some people, it would rub them the wrong way with their creative mind, you know. They would rather be out painting or something where they could have their solitude.

What do you like best about working with Sammy?

JS: Well, Sammy is Sammy, and that’s the best part about Sammy Hagar, just his basic personality. He’s one of the coolest guys you’ll ever meet. He’s got a golden heart, and you know, the music business is absolutely insane. If there’s something bad inside somebody, the music business brings it out. That’s the bad thing about it. So, there are just a lot of those guys you want to avoid. I’ve been through some crazy stuff with Sam, and he’s been the same golden-hearted guy, and that’s a great thing. And that’s why good things happen around him. It’s a testament to his nature. But beside all that, he’s a great singer, he’s prolific, he only does stuff that he truly believes in, which is really great – which can be really funny sometimes, because you can’t believe some of the stuff he believes in. You go, “What?” But he’s not calculating in any way. He just goes straight from the heart. And he gives it all he’s got. I’ve toured with the guy, and he just wants to make everybody feel great in the audience. It’s a very important thing. You’d think that would be … that every performer would feel that way, but they don’t. And you do sometimes find performers who are selfish or who could care less, and that’s really sad and you don’t want to work with them. But Sammy cares really hard. He reminds me of the year I spent working with Mick Jagger back in ’88. I was blown away with how much Mick cared about the audience and the show, and everybody that he worked with – you know, kind and generous, but still unpredictable and totally rock and roll. He was the first guy who told me those elements can actually be together in one human being. And Sam is very prolific. He’s great. He’s got a million ideas, and so to know him is to receive calls all during the day and night, with him being 100 percent enthusiastic about something. You never know what it’s going to be. He’s never like 50 percent into something. He’s always 100 percent or zero percent, which makes him an exciting friend.

What do you think is the future of Chickenfoot?

JS: Oh, I’m pretty confident that the core group – Sammy, Mike, Chad and myself – will make another couple of records. I truly believe that. I think that every time we finish a record, I think we all got the feeling like, “Wow, this is almost like a step to some new beginning.” And then, of course, reality steps in and then, it’s like, “Oh, that’s right. Chad’s in the Chili Peppers. Sam’s got a million things going on. I’ve got a solo career. And Mike’s on a permanent vacation, which he takes very seriously.” But, we kind of put that out of our minds, and we just move ahead one step at a time – that’s what I think. I really do think there’s so much more music to share between the four of us, we will make more records.

The music industry has changed so much since Surfing With the Alien and your other instrumental albums. Could you ever foresee an instrumental album being as popular as that one was?

JS: No, oh man. When we were finishing that record, me and my co-producer John Cuniberti, we were convinced that it was the last record that people would let us make, that we were going to get run out of town, so to speak, you know. It would be like, “Thank you very much. Now go away.” No, we did whatever we wanted, we remastered … you know, we just pushed and pushed and finally handed it over, and it was like, okay. And I literally handed the record in and went back to teaching guitar, and John went back to his studio work. We had no idea. When somebody told us that it landed on the Billboard charts, I remember, and they called up and said, “It’s 186.” And I said, “186 on what?” I just couldn’t believe it. I said, “Billboard? It’s on Billboard?” And I remember, it was a moment where I was in Australia touring with Mick, and it was sitting at 29 on the Billboard charts. It sat there for six weeks, and I remember it was higher than Mick’s solo record. And we were out to dinner, and I remember Mick coming over to me and saying, “Hey, Joe, that is like the coolest thing I’ve ever seen in my life,” and congratulating me and … you know, Mick always said, “Anything you need from this organization to promote the record, you got it. You need a room. You need a camera crew … whatever.” And he gave me a solo spot on the tour every night. I’d have 10 to 15 minutes to play whatever I wanted. He was very generous that way and excited about it, but it illustrated to me at that moment, this is like, I could never have imagined this. This is freaky, to have that success and have Mick Jagger say, “Congratulations, Joe. Anything I can do to help, you know.” It was just really cool.

What other things do you have on the horizon?

JS: Wow. Right now I’m juggling interviews. It’s all about Chickenfoot right now. I’m waiting to get some tracks from Jon Lord actually, because I’m going to be adding guitar to a record that Jon Lord is doing. So I’m excited about that. And the 3-D film of my last tour, the Wormhole tour, is coming out [soon].

5150: A Changing of the Guard

2011-12-28T07:29:00.000-08:00

Sammy Hagar, Michael Anthony reflect on 25th Anniversary of the chart-topping album, Hagar's first with Van Halen after the departure of David Lee Roth.

By Peter Lindblad

Somebody had to go, and it wasn't going to be Eddie Van Halen. Not with his brother, Alex, on his side and the very name of the band at stake.Whether he left Van Halen of his own volition or was kicked to the curb by the two siblings, David Lee Roth found himself on his own in April of 1985, ready to eat them or anybody else and smile that 1,000-watt smile to the world. However, the future of Van Halen, this hard-partying, hard-rocking juggernaut from California that had vaulted up the pop charts, was in doubt - that is until Eddie made friends with fellow sports car lover Sammy Hagar while his Lamborghini was in the shop. But, at first, Hagar was apprehensive about joining Van Halen.

"My first reaction was, 'I don't want to be in that f**king band,' because Dave's image kind of overshadowed the band. It really did," said Hagar. "The general public, they heard the music on the radio, but me, I was in the industry. And I heard all the tales, and I would go into a building, the same arena where they had just played, and you hear all the horror stories, and I always thought, 'I don't want to be in no f**king band like that.' And so, I said, 'Well, I'll go down and check 'em out.' It's pretty much in the book [Hagar's best-seller "Red: My Uncensored Life in Rock"] about all this, but I thought I would check 'em out and maybe get Eddie to play on one of my records - not to be in the band or nothing, but I thought he was a really talented guitar player, and you know, I'm going to do a new record. I'll get him to play on the record, you know. And I went down and jammed with Ed, Al and Mike, and I went, 'Holy shit. This is f**king good.' And they went, 'Holy shit. This guy can sing.' And it was just magic from that moment on."

Hagar's arrival signaled a change in direction for Van Halen. More emphasis was placed on Eddie's shiny new toy, the synthesizer, and Hagar's sincerity as a songwriter starkly contrasted the "wink, wink, nudge, nudge" sarcasm and unabashed hedonism boasted by Roth's lyrics. It was a marriage that later turned rocky, but in the beginning, the partnership between Hagar and Van Halen would produce the biggest selling album of the band's career, the chart-topping 5150, named after the California police code for a mentally deranged person. 5150 turned 25 years old in 2011, and the switch from Roth to Hagar was as controversial a lineup change as rock music has ever witnessed.

Tensions boil over

1984, and the high-flying videos for "Jump" and "Panama" - not to mention the titillating "Hot for Teacher" schoolboy fantasy, rolling along on Alex's barreling drums, Anthony's howitzer bass, Roth's lascivious clowning and Eddie's hot-wired guitars - that were all over MTV, had made the men of Van Halen giants. Only Michael Jackson, with the indomitable Thriller ruling the charts with an iron fist, was bigger. Onstage, every night was a party to end all parties, the greatest rock and roll show on earth. Eddie's dizzying, thermonuclear guitar fretwork dazzled, while Roth's outrageous showmanship, impossible gymnastics, cheeky humor and hairy-chested machismo made him a golden god.

Behind the scenes, however, during the 1984 tour, jealousy and personality clashes, issues that had dogged the band for years, were tearing Van Halen apart. Eddie could no longer stomach Roth's spotlighting-hogging ego, while Roth was becoming increasingly irritated by Eddie's substance abuse and moonlighting without the band's approval. Furthermore, there were creative differences, Roth becoming more insistent upon moving toward more of a pop-oriented sound, as opposed to Eddie's desire for increased musical complexity. There are two sides to every story, says the old saw, and the backbiting and accusations that have flown back and forth regarding Roth's departure are rivaled only by the litigious slings and arrows of the Mark Zuckerberg-versus-the Winklevoss twins Facebook saga.

Little did bassist Michael Anthony know then that a similar drama would play out when Roth's replacement, Sammy Hagar, was booted from Van Halen in 1996, before Anthony himself, in the mid-2000s, was exiled from the band he'd been in since 1974.

"In the latter days of Van Halen, before I was out of the band, you almost start to lose perspective on why we're doing this in the first place, because Van Halen became a pretty well-oiled machine - touring and everything, and of course, it all becomes big business and whatever," said Anthony. "It almost got to the point where we never got into the studio to really jam, like we do in Chickenfoot [the band he's in now with Hagar, Red Hot Chili Peppers' drummer Chad Smith and guitarist extraordinaire Joe Satriani]."

Chance of a lifetime

Things weren't always that way with what many refer - sarcastically or affectionately - to as the "Van Hagar" years. When Sammy Hagar entered the picture, stepping in for Roth as Van Halen's singer and rhythm guitarist in 1985, his arrival was a breath of fresh air. Introduced by a mechanic, of all people, sports car lovers Hagger and Eddie initially hit it off. But, before this fortunate happenstance, Van Halen had been foundering in its search for a new lead vocalist. As the story goes, Patty Smyth of Scandal was offered the role, but she nixed the idea. Jimmy Barnes was considered, too, but nothing ever came of it. Haggar, as it turned out, was the ideal replacement, even if news of his enlistment wasn't greeted with cheers and toasts from everyone.

For Haggar, joining Van Halen was the chance of a lifetime. Though he'd had solo hits, including the ubiquitous "I Can't Drive 55" in, of all years, 1984, and AOR staples such as "There's Only One Way to Rock," "Three Lock Box" and 1982's "Your Love is Driving Me Crazy," which rose all the way to #13 on the Hot 100 chart, Van Halen was playing in a different league. And after the trials and tribulations the Red Rocker experienced earlier in his career with Montrose, Haggar was grateful for the reception he received in Van Halen.

"Montrose ... Montrose wasn't that much fun," admits Hagar. "You know, we were fun, but we were poor on our ass and we bombed at practically every show we played. (laughs) We got booed ... oh yes. I mean, we headlined Winterland in San Francisco, and we headlined Paris at the Olympia Theater - the only two cities in the world where Montrose was the headline act. The rest of the time, we were an opening act, and we got booed off whenever we opened for anybody. It was like, 'F**k. Why doesn't anyone like us?' (laughs) And then we went on to sell, over the years, four million albums of that first [Montrose] record and we never even made the Top 200. It was never even on the charts. So, you know, that wasn't that much fun (laughs). It was like being in the f**king infantry, on the front lines the whole time, you know (laughs)."

Hagar, though, had his detractors, even though his technical proficiency on guitar - something Roth never had - expanded Van Halen's capabilities, allowing Eddie more opportunities to play synthesizer live. Many of them would continue to deride Hagar long after 5150, Van Halen's first album with Hagar onboard, had fallen off the charts, but Hagar had the last laugh.

"Oh man, joining the band, having the same old thing that always happens with everything I do - the doubting Thomases [that say], 'Aw, this is never going to work. Sammy's a whole different guy. Nobody can replace Roth,'" recalls Hagar.

As the skeptics lined up to express their misgivings, Van Halen went in the studio with Hagar in November 1985 to bang out 5150 in short order. Wasting little time, the band assumed a bunker mentality during the recording sessions, which would quickly yield fruit.

"Just going in there while we were making the 5150 record, we were on fire," remembers Hagar. "You know, we locked everybody out. No one came in but our manager and our engineers and producer, [Foreigner's] Mick Jones, and so forth. And everybody in that room is going 'this is a fight to the f**king world, here's this.'"

For his part, Anthony wasn't quite sure what to make of Hagar when he first showed up to work. This wasn't the laidback California surfer dude and hippie philosopher Anthony had pictured. Any reservations he had, however, were quickly dismissed.

"I know Sammy was ... I think he was just starting to take a long break [just before he joined Van Halen]," says Anthony. "So, he comes walking into the studio and I was sitting in the control room and he came walking in, and here he is, his hair is all shaved off, pretty much. And I said, 'Whoa, that's Sammy Hagar? This ain't the guy we signed on to come play with us.' But yeah, we had a few ideas that were already written that we were kind of working on, before Sammy came in. One of 'em was 'Good Enough' ... I forget what the other one was, but we had a couple of ideas and we started playing, and Sammy just started singing off the top of his head, you know, just listening to this stuff. And there were a lot of lyrics that he actually ended up using in the songs. That's how well it clicked. I still have the cassette tape somewhere at home of that first time. We all had copies, and we were just blown. I mean, as soon as we started playing, as soon as we started playing ... we actually stopped and said, 'We've got a band.' That's how well it clicked. It was great."

What chemistry, what magic - Hagar couldn't believe how fast the record, released 25 years ago in 1986, and the promotion of it, came together. The salacious "Good Enough" was a powerhouse of an album opener, its rhythmic pistons pumping furiously from start to finish, while the triumphant "Best of Both Worlds" happily marched up a mountain of life-affirming riffs. The bruising "Inside," with its roiling guitars sounding as brutal as a gang initiation, was a cocky middle finger pointed straight at Van Halen's critics, and "Summer Nights" nostalgically pined for those humid, sweaty evenings of misspent youth, when smoking joints, drinking beer and fouling around in the backseats of cars was all that mattered.

"5150 was actually recorded pretty quickly, because we had a lot of ideas already and then a lot of stuff, obviously, was written once Sammy entered the thing, but I think the band was on such a high at that point," said Anthony. "I mean, we were firing on 16 cylinders at that point, because it was new and fresh and Sammy really brought his own thing into the band full-on. Here was a guy who could vocally sing anything that Ed was coming up with, and he could play guitar. So from that standpoint, he could make suggestions musically and melodically there, and he could also pick up a guitar and jam with us in the studio, too. And I can't remember, but I think ... I can't say for sure, but it seemed like we did that album pretty quick - a month, a couple months."

A pristine palace of sonic grandeur, with its sparkling production, 5150 - that cocoa-buttered muscle man down on one knee holding up the world on the cover indicative of the band's ambition and the pressure they were under - wasn't your typical Van Halen record. For one thing, it had soaring ballads, earnest love songs like "Dreams," "Why Can't This Be Love" and "Love Walks In" that contained nary a hint of Roth's prurient penchant for sly sexual innuendo and bawdy jokes. Different too was the fact that Eddie's guitars, so prominent in the mix on Van Halen classic hard-rock rumbles like "Ain't Talkin' 'Bout Love," "Everybody Wants Some," "Running with the Devil," "And the Cradle Will Rock," "Mean Street" and "Unchained," among others, had taken a step back, quite comfortable on equal footing with keyboards, Anthony's big, booming bass and Alex's thundering herd of drums. And then there was the stunning vocal interaction between Anthony and Hagar, a signature feature of Van Halen's sound with Hagar.

"I'll say one thing, after doing backgrounds to David Lee Roth, because his vocal range is a lot lower, all of a sudden, it was like, 'Whoa,'" says Anthony. "I mean, it really pushed me in the beginning, so I was all of a sudden singing in registers that I hadn't really sung in before. Not that I couldn't do it. But I never did it with Van Halen, and it was cool. And I think it really inspired me and the fact that I could sing those parts, I was really digging it. We really kind of took it to another level vocally with the backgrounds we were doing."

While the public waited with bated breath to hear the results of this unusual union, Hagar and company had every reason to be satisfied with what they had produced. And Warner Bros. was thrilled, too. To think, after Roth had left, the record company, nervous about its cash cow, had pushed the band to abandon the Van Halen name, or even change it, officially that is, to Van Hagar. Not only that, but the suits had put their foot down about allowing Van Halen complete control in the studio. Their ace in the hole, producer Ted Templeton, who captured all the vital energy and punishing intensity of Van Halen's live sound on record in the making of Van Halen I and II, and Fair Warning, Women and Children First and Diver Down, was out of the picture, and they weren't about to let the inmates run the asylum. Don Landee, the engineer on previous Van Halen records, initially assumed production duties, and later, Jones was recruited to provide production assistance.

Still, when all was said and done, Warner Bros. figured it had a monster hit on its hands with 5150. And they couldn't wait to cash that lottery ticket. "Warner Bros., they shot us right out there on tour," said Anthony. "We didn't even know what happened. The album wasn't even out yet and boom, they had us out on the road. I guess they were all wanting new summer homes and stuff like that (laughs). But you know, for the first two, three albums that Sammy did, we'd tour and then we came right back in the studio and bam, we were going and then we were right back out on the road before we knew it. It was all happening really fast at the time, but like I said, the band ... we were really on a high right then."

Hagar's head was spinning, as well. "So then we go out and play the first show before the album was out, and the place knocked the f**king barricade down in Shreveport, La., and ripped the stage apart," says Hagar. "We damn near had to stop the show in the middle of it, because it was just ... you know, it's those kinds of things: the energy and enthusiasm and the success. The album goes to No. 1 the third week out, it stays there for three weeks. Everybody had their first No. 1 album. It was just one thing after another; it was just success, success, success."

Epilogue

Swept up in all the swirling madness that used to accompany a No. 1 record, Hagar and Van Halen, nevertheless, relished the spoils of their victory. And the backlash that came from longtime Van Halen fans that pledged their allegiance to Roth and gnashed their teeth over the new sound of the band didn't faze Hagar or the other members. Instead, when the 1986 Tour, so named as a not-so-veiled swipe at the doomed 1984 Tour that caused so much tumult within the band, ended and 5150's meteor had fallen to earth, this new Van Halen went back to work.

There was a concert movie, "Live Without A Net." OU812, 5150's follow-up, arrived two years later, and it contained the hits "When It's Love" and the countrified "Finish What Ya Started," with its light "aw shucks" pop manner and incredibly nimble guitar picking. 1991 saw Van Hagar release For Unlawful Carnal Knowledge - the acronym of which produced a certain F-word Hagar is found of using - and it reunited the band with producer Templeton. Unlike the first two albums, which generally received more positive reviews than scathing rebukes, For Unlawful Carnal Knowledge was savaged by the critics as being unnecessarily fussy and devoid of fun, and it signaled the end of Van Hagar's first run. Then came 1995's Balance, and the tensions that had simmered between Hagar and the Van Halen brothers, who were breaking down physically with Eddie's hip problem and Alex's neck pain, began boiling over. Still, on a commercial level, everything Van Halen and Hagar touched seemed to turn to gold.

When asked what his favorite memories are of the Van Hagar period, Anthony said, "I think one was just seeing every album go to No. 1, and then enter at No. 1 in the charts with Sammy. It's funny because, it isn't until I can really sit back and look at what's happening, or somebody comes up to me, a friend or something, and says, 'Wow! Do you know how big you guys really are?' We never really realized it, because you're working so hard and you're there, and plus, it's great, you're playing for the big crowds and everything, but you don't have time to sit back and think of what happens. I think it would scare the shit out of me if I did. But, you know, we were just having so much fun doing it, there was a time when it was like, you know ... we called ourselves the four-headed monster. There was no stopping us. And I don't know, I just think ... you know, just the way Sammy entering the band just elevated the whole thing, it was like man, it almost seems like a dream now. You know, every now and then, I'll put on 'Live Without a Net' or see something live that I've got that the band did, and the energy that the band had, it was pretty cool. I sit back and kind of ... whoa, we were happening."

What was happening internally was not so pleasant. Hagar and Van Halen reached the point of no return with the recordings for the "Twister" movie soundtrack, which Hagar was dead-set against, and plans for a compilation album, which Hagar also resisted. And so, like Roth, Hagar exited in a storm of controversy, with Hagar saying he was fired and the Van Halen claiming that he quit. Some reports have said that Hagar did, indeed, quit, but it was because Van Halen was recording with Roth again behind his back.

Since then, of course, Van Halen has churned through a series of singers, chewing up and spitting out Gary Cherone before recycling Roth, not once but twice, and Hagar, whose reunion with the band lasted from 2003-2005. In 2011, Hagar put out an explosive tell-all autobiography that detailed, in no uncertain terms, his strained relationship with the Van Halen brothers and his wild times with the band, as well as hitting on other parts of his musical career.

About the book, Sammy says, "I just figured it was time for people to hear my story. I know it kind of sounds stupid, but I wanted to do it while I still remembered it. All this stuff, my memory is still pretty good, real good actually. It just ... I don't know, it was time, you know. I'm one of those guys who don't make decisions unless it just comes to me, and I think, 'Oh, I'm going to do that.' I'm really a knee-jerk f**ker. I'm kind of like an insect. If I'm cold, I move towards heat. If I'm hot, I move towards cold. If I'm hungry, I eat. If I'm tired, I sleep. So, somebody offers me the book ... I've been offered a book a hundred times, for the last 20 years. I even wrote a book already once and never released it. And I just said, 'Yeah, this is right.' I thought the Van Halen stuff ... I was just getting sick of doing interviews and going down the street and on the radio and people, fans, getting me letters saying, 'Why can't you and Eddie get it together? Why don't you give Eddie a call? Why don't you guys go back in the studio? Why can't you go on tour? Why didn't you guys play my town? How come you ...?' And I'm just going, 'F**k. I've got to tell these people why. It ain't me, damn it. It's not me. I'm not the problem here.' I've made 15 records and probably played a thousand shows since the last time they've shown their faces (laughs). It's not me. I really kind of wanted to get that out. And I feel real good about getting it out."

In some respects, despite their differences, Hagar feels bad for what's become of Van Halen, who, as rumor has it, is working on a new record with ... drum roll please: David Lee Roth.

"I think [Eddie] and Al, as much as I love Al, they over-think everything until it ain't no more, it ain't there no more," said Hagar. "By the time they finished going back and forth and back and forth, wake up in the middle of the night, changing their minds, it's pretty soon that that golden light just went to darkness. And it's no longer there. So, they go, 'Aw, f**k it. Yeah, we shouldn't have done it anyway. Yeah, it's probably better. Okay, next.' It's the way they function, and I don't know what their problem is with that, but you know, there's a lot of abuse going on in that in terms of personal stuff and everything else, and I just ... I feel bad for him. I feel bad for the fans ... Van Halen, one of the biggest, greatest bands in history, in rock history ... you know, we hold a lot of titles. And to just not give anything ... God, it's just such a waste. I couldn't live like that. If I was still in that band, and we had these long hiatuses, I would have just quit. I would have retired from music completely, and just said, 'No, I'm not going to wait seven or eight years,' and then say, 'Okay, let's make a record and go tour. Get the f**k out of here.' It's like an athlete, boxers, Muhammed Ali takes two or three years off from the Army thing that came down on him, and he was never the same fighter ever again, you know. And that's the way all athletes are. You know, musicians, rock musicians, are especially like athletes. You've got to keep your art, your hands and your voices, your body, everything, has to stay in that kind of condition - lubed up and ready to go. Otherwise, you lose it, and I'm sorry, but those guys are crazy."

As for Anthony, he and his Jack Daniels bottle-shaped bass began drifting apart from Van Halen after 1996 as well. Though he stayed on for various projects, despite various reports that he was no longer in the band, Anthony's role steadily diminished, until in 2006 Eddie revealed that Van Halen would carry on with his son Wolfgang replacing Anthony on bass. Since then, Hagar and Anthony have grown closer, having worked together on Planet Us with Satriani and others before touring as a member of the Other Half during part of the Sammy Hagar and the Waboritas tour. And now, Chickenfoot is a thriving enterprise, with two hit records to its credit.

"There was a time when Sammy was out of [Van Halen] that we actually lost touch," says Anthony. "We didn't really communicate too much, and obviously, Eddie and Al, that was my band. So, it was politically incorrect for me to have anything to do with Sammy, which I was kind of bummed out about that because Sammy and I became really good friends during the time he was in the band, and I think it was ... God, it had to have been a few years later, when ... I think I remember getting drunk on New Year's Eve, and I was with some friends, and I said, 'You know, I'm going to call Sammy.' And I called him and got his voicemail, and we actually played phone tag a couple of times like that. He called me back and he happened to be in the L.A. area doing something at one point, and he gave me a call and said, 'Hey, why don't you come on down and we'll hang out.' We actually became better friends the second time around than when he was in the band the first time. I think probably because it wasn't ... well, the first time he was kind of thrown into it: 'Here's your new lead singer,' and it started out like that. Whereas the second time, we just hung out, and really didn't even talk about anything musically or anything like that. It was just, 'What's been happening in your life? What are you doing' and we are better friends than we have been."

Looking back on it all, Hagar has no regrets about the time he spent with Van Halen, even with all the eventual hassle that came with it. We had nine incredible years, two horrible years, and then another reunion nine months of horror beyond horror, and you still look back, and the horror is pretty much the most recent things so I can recall things, thinking, 'I'll never play with that guy again. I would never be in the same room with Eddie Van Halen again, sober or anyway,' because anybody who was in as bad a shape as I saw, sober is still going to be crazy," explained Hagar. "So, I'm not going to deal with it. So, looking back, it's still too fresh from that reunion tour, but at the same time, I had some of the greatest times in the history of rock. For nine years, it was the greatest ride on the planet. I mean, I don't think life could be any better than that for any musician or artist. And then it went bad. But, too bad - the last couple of years ... everything written in my book, I put that in there because it was part of the deal. And everyone wrote about it and brought it up, and exploited it. But the truth of the matter is I had nine of the greatest years of my rock and roll life in Van Halen. It was one of the greatest things I'll ever do. And the only thing that rivals any of it is this Chickenfoot thing."

Book Review: The Stooges Head On

2011-12-22T04:01:00.000-08:00

Book Review: The Stooges Head On
Author: Brett Callwood

Wayne State University Press, Painted Turtle

All Access Review: B+

Sorting through The Stooges’ trash to dig up whatever dirt is left to uncover about the Ann Arbor proto-punks has become a sort of blood sport with rock journalists. By now, though, it would seem that every lurid tale of debauchery and mayhem involving Iggy Pop and the boys — especially, Iggy — has been told and retold to the point where nothing’s shocking with them.

The whole ugly, unvarnished truth has been exposed, and if there is more out there hidden by the fog of time and fading memories, it probably wouldn't add much to a mangy mythology built on The Stooges' violent appetite for self-destruction. With the heart of a fan, then, author Brett Callwood, who is familiar with the terrain having written about the MC5, smartly rises above the fray with “The Stooges: Head On,” preferring to tell the band’s story without a great reliance on sensationalism, and that's to be celebrated.

And it is The Stooges’ story that Callwood sticks to. This is not a band biography masquerading as an Iggy tell-all. In fact, Iggy’s part in this tragic-comedy is muted in Callwood’s book. Relying heavily on in-depth, and often very funny and insightful, interviews with both Asheton brothers, Ron doing his before he died in 2009, and all the other Stooges, including Iggy, James Williamson, Steve McKay, Mike Watt and Scott Thurston, Callwood paints a broad, graffiti-splashed mural that encompasses the band’s entire history without getting bogged down in unnecessary details. Other offbeat characters, underground journalists and Detroit-area musical revolutionaries, like the MC5’s Dennis Thompson make sure the weirdness never ends.

In drawing and developing fully realized portraits of each Stooge, Callwood doesn’t play favorites. His solid, substantive writing humanizes and spotlights every character in The Stooges’ epic, giving them all equal time. Callwood’s interest in The Stooges is undeniably genuine, as he dissects the recorded violent they put on wax and walks through the fists-flying riots they spawned in concert. He traces The Stooges' origins in bleak, rusted-out Michigan and follows each band member's life prior to The Stooges on through the band’s 1970s implosion and all the way through the post-millennial reunions. Of particular interest is the thorough excavation of Ron Asheton's musical adventures in Destroy All Monsters and the New Order, the post-Stooges' groups that he took part in to fill the void in the wake of the breakup. Perhaps no other Stooges' book has paid more attention to Ron, including the deep disappointment he felt in being replaced by Williamson on guitar for Raw Power.

While there is much to digest here, Callwood organizes the book in a free-flowing fashion that makes it an easy read. Much of the content is delivered in long, well-chosen quotes that, when pieced together with Callwood's light transitional touch, carry the story along like a fast-moving river current. A black-and-white photo section in the book's midsection seems like a dysfunctional family album, one awash in the white-trash environs that birthed the Stooges. And, even though Callwood doesn't dwell on the scary chaos that surrounded the band, he doesn't run from it either. There's enough violence, hilariously mean pranks and borderline insanity to fix any reader who comes looking for it.

- Peter Lindblad

DVD Review: Ozzy Osbourne "God Bless Ozzy Osbourne"

2011-12-22T03:50:00.000-08:00

DVD Review: Ozzy Osbourne "God Bless Ozzy Osbourne"
Eagle Vision
All Access Review: A+

In retrospect, that bubbly, tongue-in-cheek lounge version of “Crazy Train” – served with off-the-charts levels of irony – that became the theme of “The Osbournes” reality TV show wound up being more telling than its creator, Lewis Lamedica, perhaps intended. His speech largely unintelligible, except for the omnipresent swearing, Osbourne seemed to have difficulty mastering the simplest of everyday, domestic tasks, a fact borne out by the famous scenes of him befuddled by that dastardly TV remote.

This was heavy metal’s crowned “prince of darkness”? This was the man regarded by God-fearing, Bible thumpers as evil incarnate? Surely, Satan had more capable henchmen to do his bidding. At home, everybody was laughing at the bumbling, semi-coherent mess train wreck they watched from their living rooms, making light of a family’s seemingly benign dysfunction. What they didn’t know was that, behind the scenes, Ozzy – as well as two of his children, Jack and Kelly – was a drunk and a drug addict seriously in need of help. Ozzy was going off the rails.

In truth, Osbourne has always been more of a court jester than a powerful master of the dark arts. And like most clowns, underneath the greasepaint, there was sadness, crippling insecurity and a deeply flawed human being who needed to be the life of the party. His son, Jack, has seen Ozzy at his worst, and he produced the warts-and-all documentary “God Bless Ozzy Osbourne,” an unflinchingly honest portrayal of Ozzy’s wild life and times that pulls no punches in telling the whole unvarnished truth. And those who come to “God Bless Ozzy Osbourne” with a mighty thirst for tales of rock and roll excess and debauchery shall be sated. Black Sabbath’s Geezer Butler talks about the bags of cocaine the band had at its disposal after its early brush with success, while Motley Crue’s Tommy Lee relates the revoltingly funny stories of how Ozzy, in a game of one-upmanship, once licked up Nikki Sixx’s pee and snorted lines of ants before regaling us with another that has Ozzy smearing his own feces over a tour bus’s walls.

But, Ozzy is, for the most part, the main storyteller here, and before launching into confessionals of his less-than-stellar parenting skills, the film details Ozzy’s failed teenage criminal enterprises, his troubled working-class upbringing, Sabbath’s rise and fall, his unexpected rebirth as a solo artist and the emotional torture he experienced after the death of his musical soul mate Randy Rhoads. All of this is well-traveled territory, of course, but it is skillfully and compelling traversed in “God Bless Ozzy Osbourne.” When Ozzy and Sharon, once again, are prompted to explain how, in a fit of drug-addled madness, he came to bite the head off a dove during a pow-wow with record label executives, they hold nothing back, and the filmmakers follow it up with a nicely edited montage of hilariously clueless TV news reports about Ozzy coming to their town to slaughter cats during a concert and, predictably, the bat-biting incident. Directors Mike Fleiss and Mike Piscitelli, with Jack’s help, are no slouches when it comes to crafting a visual biography – the endless stream of black-and-white home-life stills, Ozzy party shots, vintage interview and Sabbath and Ozzy concert video pieced together so cleverly that it all just flows from the screen. The vast amount of interviews done with Sabbath cronies Tony Iommi and Bill Ward, plus sit-downs with Henry Rollins and others in Ozzy’s inner circle, flesh out the story, as does the footage culled from two years spent following Ozzy on the road.

If that was all to “God Bless Ozzy Osbourne” – there are plenty of extra scenes from the cutting room floor included in this DVD, plus an in-depth Q&A with Jack and Ozzy – it would fall just short of expectations, but this isn’t so much about Ozzy the rock star as it is about Ozzy the damaged addict, still reeling from the deaths of his beloved father and Rhoads and unable, or perhaps unwilling, to salvage his first marriage or establish much of a relationship with the two children it spawned. This is about repairing the devastation wrought by Ozzy’s almost inhuman substance abuse and how Jack’s sobriety became the model by which Ozzy would get clean himself. There’s a clip where Kelly, while admitting her own drug abuse, explains how she found her daddy’s stash of booze in the oven at the family home, and it illustrates just how far Ozzy had fallen and how chaotic the Osbournes’ family life really was. But, this is a story of redemption, and Ozzy’s moment of clarity does come. When the exasperated rock god relates how he asked Jack how he could be so angry when he and Kelly and Aimee, the one Osbourne with enough self-respect not to participate in the circus that was “The Osbournes,” wanted for nothing, Jack responded by saying that maybe he had lacked a father. That, Ozzy reveals, was the catalyst for his rehabilitation. In the end, there is a faraway shot of Ozzy in his dressing room bowing to his knees to pray. It’s a poignant moment, one that engenders a great deal of sympathy for this particular devil.

- Peter Lindblad

Ozzy's Official Website: http://www.ozzy.com/us/home

CD Review: John Doe "Keeper"

2011-12-22T03:44:00.000-08:00

CD Review: John Doe "Keeper"

Yep Roc

All Access Review: C

Old punks like John Doe aren’t exactly expected to be little rays of sunshine and happiness. Doe’s last four records saw the grizzled veteran probing the darker aspects of human behavior with the eye of a black-hearted cynic. And as one of the driving forces behind X, those feverish, Americana-loving punk desperadoes that reigned as L.A. underground royalty in the late 1980s, Doe shone a flashlight on the corrosive desperation and fear bubbling up under the fragile façade of Ronald Reagan’s “morning in America” in raw, fierce, tension-filled songs like “Johny Hit and Run Paulene” and “The Phone’s Off The Hook, But You’re Not.”

With Keeper, his latest solo outing, Doe seems to have found the joy he’s been missing for so long, and it doesn’t take long for him to express it. Deeply romantic and full of heart, the guileless “Don’t Forget How Much I Love You,” the upbeat opener to Keeper, is awash in golden slide guitar and jumping rhythms. It drives headlong into the rolling, energetic romp “Never Enough” and its searing indictment of American consumerism, before Keeper settles down with the acoustic “Little Tiger,” a tender, lovely coming-of-age sketch that pines for the innocence of childhood.

Somewhat uneven and not quite as eloquent or edgy as A Year in the Wilderness, Doe’s critically acclaimed 2007 effort, Keeper really swings when Doe and company pound the keys and let it rip on the rollicking honky-tonk juke joint “Walking out the Door” and “Jump Into My Arms,” a hot nugget of rockabilly fervor that would get Jerry Lee Lewis all worked up. However, the smoky “Moonbeam,” immersed in late-night bluesy atmospherics, sucks the life out of Keeper with its ponderous clumsiness and lack of sexual heat, as does the long, drawn-out “Lucky Penny,” which has all the action and suspense of a blinking traffic light. “Sweetheart” is a country-tinged lightning bug of a song, with a light glow and porch-swing ease, but it’s nothing you haven’t heard before.

All three are pretty and lyrically clever in spots, but what Keeper, as a whole, does is it fails to raise the stakes for Doe. He’s become too comfortable in that role of a smiling, mature country troubadour with the troubled punk past. And some of his songs seem as worn and tired as a middle-aged waitress working in a greasy-spoon diner.

- Peter Lindblad

CD Review: Slash "Slash Live" Featuring Myles Kennedy

2011-12-08T02:01:00.000-08:00

CD Review: Slash "Slash Live" Featuring Myles Kennedy
Made in Stoke 24/7/11
Armoury Records
All Access Review: A-

Slash has always had a soft spot in his Jack Daniels-soaked heart for Stoke on Trent, England. Getting back to the place where he grew up has proven more difficult than the rock god imagined, however. A long way away from the boozy, debauched madness and danger of the Sunset Strip club scene that spawned Guns N’ Roses, Stoke, as it is more commonly referred to, has nowhere near the reputation for hedonism and lawlessness that Slash’s other hometown has. At one time it was an industrial city, and it still boasts a booming pottery business. Well, maybe “booming” isn’t the right word, but you get the idea: this is a town that rock ‘n’ roll forgot. If “Mr. Brownstone” ever visited, he’d die of boredom.

Touring the world over, in marauding fashion, with Guns N’ Roses, Velvet Revolver and his own solo projects, Slash, the sleaziest of sleaze-rock merchants – and that’s a compliment, by the way – has never had the chance to perform his special brand of gritty, street-level, electrified blues and bare-knuckled, STD-infected hard rock for the home folks in Stoke. When hitting the road in support of his all-star studded, 2010 solo release Slash, one of the most expressive and technically proficient guitarists of our time made damn sure Stoke was on the schedule. And, as luck would have it, there was a big, ornate venue – historic Victoria Hall – waiting to welcome Slash’s rock ‘n’ roll circus to town.

Recorded and filmed for posterity, the sold-out show, which took place only months ago, has been documented as a double CD and a two CD-DVD package, and it’s a feast for the eyes and ears. The sound is intensely vivid, matching the visceral performance Slash and company pull out of that grimy black top hat of his. The secret weapon here is vocalist Myles Kennedy, the Alter Bridge singer whose alley-cat phrasing and switchblade tonality bear more than a passing resemblance to one Axl Rose. Joined by bassist/backing vocalist Todd Kerns, drummer Brent Fitz and guitarist/support vocalist Bobby Schneck, Kennedy and Slash take the audience down memory lane, evoking memories of Guns N’ Roses’ salad days with a roaring, white-hot version of “Nightrain” that’s as thrilling and scary as a night of horrors in a crack house. Slash’s guitar has never sounded so lean and mean, spitting venom and bile with every note, and his band slithers through every tight, sharp-as-broken-glass hook. Played with wild abandon and dynamic vigor, “Nightrain” leaves the audience breathless, and it almost ruins Made in Stoke 24/7/11 for everything else that comes after it because it is so gripping and deliciously nasty. But, hold on everyone. Slash and his band have miles to go before they call it quits.

One of a handful of Guns N’ Roses favorites on Made in Stoke 24/7/11, “Nightrain” almost makes one forget how rugged and soulful the riff-heavy opener, “Been There Lately,” off Slash’s Snakepit’s second LP, Ain’t Life Grand, is. It pops the cork on Made in Stoke 24/7/11 so dramatically that you can’t help but salivate over what’s to come. And Slash still has plenty of gasoline left in the tank by the time the meaty riffs of “Mean Bone,” also off Ain’t Life Grand, and the solar-powered soul of “Back from Cali,” picked from his latest effort, arrive. Digging back into Guns N’ Roses’ misanthropic catalog, Disc 1 lets it bleed with a rough-and-ready “Rocket Queen” setting up the raging epic “Civil War,” before the bands lays into “Nothing To Say,” “Starlight” and “Promise” – all from Slash – with relish and stabs swords into this mighty sonic bull to finish it off.

Not done by a long shot, Slash and his musical outlaws inject the heart of “Doctor Alibi” with a shot of adrenaline to jumpstart Disc 2, and the track off Slash slams headlong into the growling thrash- metal monster “Speed Parade” that lies in wait. Given the Aerosmith treatment, with its slide guitar and Kennedy’s world-wise singing, “Beggars & Hangers On” plays with the toys in Joe Perry’s attic, while “Patience” breaks tattooed hearts and “Sweet Child O’ Mine” pines for innocence with a revitalized crowd loudly singing along. Still, it’s Velvet Revolver’s “Slither” that steals the show on a Disc 2 that’s slightly more subdued than its predecessor. After the band is introduced, they rip into a powerful display of furious riffage and satisfying, face-down-in-the-gutter hooks that ignites an audience on the verge of storming the stage. And that’s before the blistering “Paradise City” threatens to blow the roof off the place with that song’s riotous conclusion, giving Slash and the boys a chance to finally take their leave.

Though there are brief moments when the driven, manic energy subsides, Made in Stoke 24/7/11 is mostly an all-out assault of fearless, gutsy rock ‘n’ roll. Slash’s solos are piercing, transcendent and wonderfully agile, proving once again that his hands haven’t lost a lick of speed or nimbleness. He remains a sublime talent, and Made in Stock 24/7/11 is a homecoming not only for Slash, but also those fans of his who haven’t given up hope that, one day, he’ll be back to conquer a music world that desperately needs his fire and recklessness, even if he is clean and sober and no longer the wild poster child of sin and degradation we all wanted to party with back in the day.

- Peter Lindblad

CD Review: Megadeth "Peace Sells...But Who's Buying" & "Thirteen"

2011-12-07T01:54:00.000-08:00

CD Review: Megadeth "Peace Sells...But Who's Buying"
Capitol Records
All Access Review: A-

CD Review: Megadeth "Thirteen"
Roadrunner Records
All Access Review: B+

Getting booted from Metallica put Dave Mustaine in a foul mood for … oh, about 30 years. Chip planted firmly on his shoulder, the surly, snarling Viking – practically besotted by alcohol and drug problems – plotted to usurp the crown from thrash metal’s mighty kings when he formed Megadeth around 1983 and he almost succeeded twice. The first attempt at revolution came in 1986, when Megadeth offered heavy metal a deal it couldn’t refuse, the thermonuclear warhead Peace Sells … But Who’s Buying? Four years later, Megadeth brought forth Rust in Peace, and it was a great leap forward for Mustaine and company, what with its mind-bogglingly complex arrangements and sheer musicality. But then, in 1991, came The Black Album and Metallica, in short order, squelched any hope Mustaine had of an insurrection. The throne was firmly in Metallica’s possession, and they weren’t going to share it with anybody.

Flash forward to 2011, and Metallica seems hell-bent on throwing away its career with Lulu, its disastrously bizarre and barely listenable collaboration with Lou Reed. Megadeth, meanwhile, is on a roll. Rumor has it that Megadeth’s performances during the Big 4 tour trampled the competition, including Metallica. As if that weren’t enough to put a weak smile on Mustaine’s face, Peace Sells … But Who’s Buying? has been reissued in celebration of its 25^th anniversary, and the treatment it’s been given is worthy of royalty. And then, there’s Thirteen, the well-received new album from Megadeth that finds longtime bassist Dave Ellefson back in the fold. Suddenly, Megadeth again has regime change on its mind.

A remastered version of the original album that packs on sonic vigor and enhanced clarity, this particular species of Peace Sells … But Who’s Buying? attacks with all the unbridled rage of a pack of wild dogs. Exploding out of the gate, with a short, but bad intentioned, burst of drum artillery, “Wake up Dead” is a pummeling jackhammer of a track that, without warning, seamlessly downshifts to navigate a series of tight guitar switchbacks before being swallowed up in a chaotic skirmish of head-spinning guitars, drums and bass, and then joining in a stomping, rhythmic infantry death march. Unrelentingly heavy and more ferocious than ever, Megadeth gallops darkly through “The Conjuring” and the shouting of “Devil’s Island” like the Four Horsemen of the Apocalypse, both tracks seething with menace. The beautifully drawn guitar intro to “Good Mourning/Black Friday,” its etching more pronounced on the reissue, gets blown to bits by aggressive riffing and a blinding speed-metal riot that no cops could quell; it all sounds so violent and yet controlled, as if Mustaine knows just how far to push it before the whole thing will collapse on itself. Somehow managing to come off even meaner and angrier, the ubiquitous “Peace Sells,” with that familiar nimble, rumbling bass line that MTV nicked for the opening of its news slots, finds Mustaine breathing fire and growling with fangs bared. “Peace Sells,” as he writes in the well-written reissue liner notes, “ … was something different … because it told a story about my faith; my beliefs; my distrust of government; my work ethic; my integrity,” and that’s why it connected with an audience as disaffected and marginalized as Mustaine. Peace Sells … But Who’s Buying? not only made Mustaine a guitar hero – his soloing so sharp and precise, and yet completely unpredictable here – but also a messiah for the misanthropic. His is a voice not crying in the wilderness, but rather, it is one that steadfastly and bravely expresses discontent and rebellion. Metallica’s Lars Ulrich’s assessment of Peace Sells … But Who’s Buying? in the liner notes, augmented with a few classic Megadeth photos, is that it was something fresh and new that turned the trash scene on its ear. And the scene still hasn’t recovered.

In 1987, Megadeth played the Phantasy Theatre in Cleveland. Never before released, the recording of this fiery show is not of the best sound quality – Megadeth seems to have performed in a Campbell’s soup can that night – but the band’s raw energy is undeniable and frightening. In contrast with the album versions, “Wake Up Dead” and “The Conjuring” are brutal street fights of sonic mayhem, Mustaine’s stiletto soloing knifing through the night air. In rare form, Mustaine’s vocals are scratched up and battered, and in a bludgeoning speed-demon killing machine like “Rattlehead,” they sound as if they were made for metal, while “Killing is My Business … And Business Is Good” ratchets up the intensity to unsafe levels. Never taking a breath, Megadeth stampedes through a volcanic set that boasts blazing solos, complex guitar puzzles, and bone-crushing riffs, the disc including furious remakes of “Looking Down the Cross” and “My Last Words,” along with a sped-up “Peace Sells” that’s simply vicious and unapologetically pissed off.

And so, into this boiling cauldron, walks Thirteen, an album that couldn’t possibly live up to Peace Sells … But Who’s Buying? could it? “Sudden Death” doesn’t back down a bit, however, as the opening track – melodic in parts and hard-hitting in others – is whipped around by an awe-inspiring maelstrom of guitars, and “Public Enemy No. 1” is a satisfying and nasty grinding of Mustaine’s boot heel into one’s throat, while the snaking crawl of “Guns, Drugs & Money” seems as deadly as a rattlesnake’s bite.

Thirteen is not plagued by bad luck. It is, instead, a showcase of Megadeth’s ability to shred (as the traditional trash-metal flurry of “Never Dead” proves) and newfound playfulness with melody. Shrouded in mystery and nightmarish atmosphere is “Deadly Nightshade,” which features one of the most fearsome, well-constructed and compelling choruses in the Megadeth canon, and it’s almost as potent a poison as Metallica’s “Enter Sandman.” Almost as gothic, “Black Swan” doesn’t quite rise to the same level, it’s “churchyard shadow” not quite so imposing. “Wrecker” also seems to fade away, instead of burning out. But, “Millennium of the Blind” is one of those stinging political diatribes – “We The People” and “New World Order” are others – of Mustaine’s that should rock the foundations of Congress, and “13” reveals another side of him, one that is reflective of the rocky journey he’s walked all his life. Thirteen may not knock Metallica off the mountaintop, but it will add to Megadeth’s street cred – something Metallica, sadly, is losing.

- Peter Lindblad

CD Review: Lou Reed and Metallica "Lulu"

2011-12-06T01:48:00.000-08:00

CD Review: Lou Reed and Metallica "Lulu"
Warner Bros.
All Access Review: D-

Destined to become one of the most controversial albums of all-time, Lulu never had a chance. When news first broke of a Metallica-Lou Reed collaboration, on a record of songs for two plays by German playwright Frank Wedekind no less, critics from here to China were sharpening their knives to mercilessly skewer this pretentious pile of avant-garbage and then toss its bloody carcass into a landfill. No amnesty for past brilliance was promised, nor has it been given. To say the careers of Metallica and Reed are on suicide watch might be overstating the issue, but the reputation of both parties has been irreparably harmed in the making of Lulu. And hardly anybody is feeling sorry for them.

The die was cast as soon as Reed proclaimed Lulu the best work of his career. That declaration alone seemed like the delusional ravings of a once-genius artist gone completely mad. For Metallica’s part, the Bay Area thrash gods haven’t shrunk in the face of heavy criticism either. Lars Ulrich even went on “That Metal Show” and implored people to give it a chance. And they should. They ought to judge it for themselves without the white noise of critics’ drowning out their own thoughts. It is an important work for both, a crossroads record that will either point to a bold new direction that will shock and awe the world, or it’ll be an unmitigated disaster. So, what’s the verdict? Well, let’s put it this way: that therapist from “Some Kind of Monster” might have more work to do on Metallica … and maybe Lou, too.

It’s not lack of ambition that dooms Lulu. The problem has more to do with communication. It’s as if Metallica and Reed are speaking in foreign tongues and neither party understands what the other is trying to convey. Never has Metallica sounded more uncertain of itself, and part of the problem is, nobody knows where Reed is going with his senseless poetry. In a wobbly voice ravaged by age, Reed spits out ridiculously silly lines such as “I would cut my legs and tits off/when I think of Boris Karloff and Kinski/In the dark of the moon” and clumsy rhymes like “It made me dream of Nosferatu/trapped on the Isle of Doctor Moreau” – both from the opener “Brandenburg Gate” – in a spoken-word hemorrhaging that ought to be disinfected and bandaged.

And it’s tricky for Metallica, known for its aggressive, lightning-fast riffing and crashing rhythms, to figure out what mood to set. When Lulu’s first single, “The View,” was released, all you could hear was the chirp of crickets, and there’s a reason. It’s a grim death march from beginning to end, and “Pumping Blood,” with its violent, gory imagery of a rape or a murder, should be filled with tension, rage and desperate energy, but instead, it sounds impotent and mechanical, with Metallica pressing forward tentatively and then pulling back as if James and the boys are waiting for a cue from Reed.

There are moments when it seems as if the real Metallica will rise from the dead and let loose a whirling storm of chords that would trigger tornado warnings. And “Mistress Dread” starts out whipping around with serious intensity, but it just keeps whirling in the same direction and never gathers strength. Where Metallica feels lost at sea on “Mistress Dread,” they try to stage a pop-oriented surprise on “Iced Honey,” and it just might have a chance if not for a laughably disjointed duet between Reed and James Hetfield.

Putting the Disc 1 in the rearview mirror, the partners go for broke on “Frustration,” one of four tracks on Disc 2. Constructing a gargantuan wall of guitar sound and thick grooves that seems to blast upward through cold, dead, droning earth, Metallica appears to have righted the ship. It’s heavy, a thousand yards wide and satisfying, given everything that’s come before it. Then, suddenly, the action comes to an abrupt halt … for these head-scratching, disconnected interludes that interrupt the flow of the piece and let Reed prattle on about male sexual frustration and misogynistic hatred. Quietly muddled, “Little Dog” spends a lot of time mucking about with atonal stabs in the dark, and it seeps into “Dragon,” which could have been just as bloodless. Again, Metallica tries to propel the track with weighty, pounding riffage, and Kirk Hammett and Hetfield strongly assert themselves with crushing guitar and a tendency to toy around with Sonic Youth-style experimentation – something they do a lot of on Lulu. The problem with Metallica here, and almost everywhere else, is that once they take their bats to a riff, they beat it into the ground. And then they pound on it some more, just to make sure it’s dead.

There are ideas worth exploring on Lulu, and not everything the very elderly sounding Reed – and startling so – pours out onto the page is excrement. Scary, confrontational, ugly and dramatic, Reed’s words capture, in very stark and dangerous language, the abused, exploited life of tragic characters caught up in horrifying circumstances, and he tackles big themes. But, Lulu is too repetitive, too imbalanced, too directionless and too … well, boring and needlessly long, and Reed often commits egregious poetic crimes. Metal Machine Music now has some competition for the title of “most unlistenable album of Lou Reed’s career.” As for Metallica, one gets the sense they’re searching and trying to add layers of depth to their identity. Suddenly, however, St. Anger doesn’t look so bad.

- Peter Lindblad

Review: Car Party “High and Low Places” [EP]

2011-11-25T07:19:00.000-08:00

Modern rock
The Baltimore-based pop-tinged alternative rock quartet, Car Party, has released their sophomore EP “High & Low Places.” The band was formed in 2009 through a CraigsList ad posted by female drummer, Taylor Hughes. Joining Taylor is vocalist Michael Matzke, guitarist Jim Luparello, and bassist Chris Martin. The new EP was produced and engineered by Ace Enders of the modern rock band, The Early November.

“Please Me” is the new single and you can check out the video below. Within a week of Substream's video premiere of this video, Car Party skyrocketed to #2 on PureVolume.com. “Please Me” is a slick and tight slice of modern rock straddling a sound that fall in-between Fall Out Boy and Jimmy Eat World. The other three songs on the EP follow suit, with “Dear Son” having the greatest impact after “Please Me”. Lyrically astute, “Dear Son” should resonate with listeners of all ages. “Forever Family” features a very impassioned vocal by Matzke, perfectly placed subtle backing vocals, and a gang chorus preceding the coda. The EP closes by showing a softer side to the band with the ballad “Anniversary”. One of the key things the band has going for them is chemistry – every member gets an opportunity to shine and the songs are written in a way that allows Matzke to showcase his vocal talents. One area that could use a little polishing: the band needs to focus on crafting more captivating hooks in the chorus of every song.

Catchy enough to satisfy most fans of pop rock, the songs on “High and Low Places” also boast contemporary production that will pull in modern rock fans as well. This EP suggests a band with great potential – with some sharper hooks, they will reach the high places for sure. Check out Car Party if you like Fall Out Boy, Panic At The Disco, or Jimmy Eat World.

Car Party – Facebook

CAR PARTY | Please Me | {el.de.te} from {el.de.te} on Vimeo.

The Best Albums You Never Heard

2011-11-23T06:10:00.000-08:00

By Kurt Torster

Drake Bell - It’s Only Time (2006)

One of the secret joys about being a parent is being able to watch kids shows without any feelings of guilt whatsoever. One show that my boys watch over and over is Nickelodeon’s Drake & Josh, and I’m there with them every time. Just puts me in the mind of an 80s sitcom, a genre sadly missing from the television these days.

We bought this disc as a gift for my youngest and he would play it night and day, loudly. But, I sure as hell took notice because this was far from what I expected it would be. Obviously the boy was raised right musically because it would have been all too easy for him to release some over processed, auto-tuned mess rather than this power pop blast of goodness.

Seemingly inspired by Jellyfish, Paul McCartney and Cheap Trick, it’s standard three chord rock that far exceeds any sort of expectations. Not that I’m complaining, because it’s so easy to hit repeat on a track like the riffy and oh-so-hit-worthy title track, which not only reaches for the rafters but proceeds to blow the roof off. The same could be said for the sunny day 70s pop of “Makes Me Happy” or the acoustic take of the Drake & Josh theme song “I Found A Way” which continue this poptastic streak.

But, it’s songs like the vaudevillian opener “Up Periscope,” the pure piano pop of “I Know” or the deep Beatlesque “Fool The World” that elevate this far above typical teen idol fare.

On the musical front, Drake has been awfully quiet other than some live shows (where he actually covers Jellyfish’s “Joining A Fan Club” and nails it). I heard a new track from an album that’s been forever due and though it has an almost industrial touch shows a lot of promise and still very much in the power pop world.

Review: Ross and the Wrongens “Life In The Loos” [EP]

2011-11-22T06:02:00.000-08:00

Pop rock
Headed by Ross Wrongen, he and his companions formed a band in 2009 that relied on a strong work ethic to deliver songs that echo the entire history of pop – from Sinatra to The Sex Pistols. The four tunes appearing on their EP, “Life In The Loos” embody the spirit of the Golden Age of AM radio. The band is raising eyebrows already, as evidenced by two of their songs (“That Magic Feeling” and “Summer Sun”) being nominated for best pop song at the Exposure Music Awards, an organization dedicated to promoting the best new bands in the UK.

Lead off track “That Magic Feeling” is terrific – a wonderful radio-ready gem bursting with sunshine and memorable melodies. The chorus is catchy enough as is, but the added backing harmony vocals make it truly irresistible. This is followed by another song heavily influenced by The Byrds and The Hollies called “Through With U (Ballad Of An Alcoholic)”. “Reason 2 Live” is another hook-laden feel good track, while “Summer Sun” ends the EP on a high note. The organ in this track is spectacular, rivaling the work found in many songs by Boston.

This excellent EP suggests that Ross and the Wrongens are a band that rejoices the jovial spirit of traditional pop rock, but don’t let their carefree disposition fool you – they take their songwriting most seriously. If there is only one thing I’d change about the band…lose the Prince abbreviations in your song titles!

Ross and the Wrongens – Official site.

Classic melodic rock CD of the week

2011-11-21T05:56:00.000-08:00

By Stephen Kasenda

HARLOT “Room With A View” (1989)

Harlot is Danish answer to Da Vinci, Treat, or Dalton. Most of them are probably unknown except inside the melodic rock community, but “Room With A View” is a long forgotten gem, a beautiful creation, that deserves to be recognized more by public. “Room With A View” is lush with keyboards, a mix of slow tempo to fast-paced tracks, and a soaring tenor vocal. If you love bands like Journey or Foreigner, I bet this one will be sheer enjoyment.

The first track, “Now I See”, is a great one but I don't think it really fits here. Despite the slow pace, it's too long and doesn’t pick up the momentum like “So Much For Happy Endings”. That one has a lot of energy and the arrangement is just stunning. “Out All Night” is also tremendous, but it's a mid-tempo tune, so if you're looking for a heavier and faster one, try “Kecia” or “Dancing On Dynamite”. Avoid “Invisible Ones” because it's kind of average - promising at first, but falling short.

“Metropolis Children” reminds me of Foreigner, especially the keyboards. The verse is much better than the chorus but overall it is still a top-notch tune. “Bring Home Your Love” is an enchanting piano ballad; if you know Australia's Air Supply you’ll note this song has a similar vibe with vocals even sounding like Russell Hitchcock.

This disc used to be hard to get but I believe there's a re-mastered version out there, even though it's kind of difficult to find as well. Rock Candy or Yesterrock should have done a proper reissue of this. I love this CD - it has the necessary heavier edge as in hard rock but not too harsh. Songs are mostly beautiful with a couple of acceptable fillers. Recommended!

Read more of Stephen’s features at MetalMusicArchives.

Review: The Bangles “Sweetheart of The Sun”

2011-11-18T05:04:00.000-08:00

Pop rock
I feel compelled to set the record straight here. Too many people have been gushing about how great this new record from The Bangles is that I just have to chime in. I’ve been a fan of these girls for 30 years on, but to give “Sweetheart of The Sun” anything more than 2 stars is being overly generous. Yes, it is still a sublime experience to hear those trademark harmonies, but even those magical moments can’t pull this lackluster batch of songs out of the bin of mediocrity.

“Anna Lee (Sweetheart of the Sun)” is an okay start to the album – the song didn’t blow me away by any means, but it wasn’t a chore to get through. I grew optimistic after hearing the next cut, the very good “Under A Cloud”. Also ear pleasing is the gentle midtempo ballad, “I’ll Never Be Through With You”. After the decent “Mesmerized”, the record just fizzles into a great ball of hook free blandness. Not helping is the notable lack of Susanna Hoffs tunes – despite the years instilling a bit of a rasp in her voice, hers is still the sweetest and it isn’t heard enough.

On this outing, the Bangles lost an original member (Michael Steele) but gained Matthew Sweet. Sweet has been collaborating with Hoffs for years now, with the two of them producing a couple well received records of 70s cover tunes. The love for that music often spills into “Sweetheart of the Sun”, but just doesn’t fill the cup. Vocally, the Bangles aren’t missing a note, but the production is flaccid and songs too uninteresting to write home about. Instead, go check out 2003’s comeback record “Doll Revolution”.

iPOD-worthy: 2, 4, 5

The Bangles – Facebook.

Check out “I’ll Never Be Through With You”

CD Review: Chickenfoot "Chickenfoot III"

2011-11-17T12:48:00.000-08:00

CD Review: Chickenfoot "Chickenfoot III"
eOne Music
All Access Review: B+

Now we know why Sammy Hagar can't drive 55. It's because he's got some hot little number waiting somewhere to give him the time of his life, and Hagar is hours away from a steamy rendezvous. With Led Zeppelin's Houses of the Holy blasting from the stereo, Hagar's going to drive all night at dangerous speeds to get there, state troopers be damned.

That's the gist of "Big Foot," the first single off the head-scratchingly titled III, the second LP from Chickenfoot, a much-ballyhooed supergroup of Hagar, guitar god Joe Satriani, ex-Van Halen bassist Michael Anthony and Red Hot Chili Peppers' drummer Chad Smith. Another in the long line of car songs that have made Hagar the lead-footed hero of scofflaw drivers everywhere, it may be the best of the bunch. Rooted in Satriani's thick, meaty guitar grooves, "Big Foot" stomps and beats its chest like a testosterone-crazed Tarzan eyeing up a naked Jane.

A manly expression of heated desire and need for speed, "Big Foot" paces a strong set of heavy, skull-thumping rockers and occasional surprises — see the Nashville-flavored country stylings of "Different Devil" and the spoken-word, "all hell's breaking loose" fury of "Three and a Half Letters," which bemoans the dilapidated state of the U.S. economy. Pushed to the fore are the signature vocal harmonies of Hagar and Anthony — more muted in Van Halen — while bedrock riffs and crunching rhythms churn underneath such infectious brawlers as "Up Next" and "Lighten Up."

Tender is the soft tear-jerker "Come Closer" and Hager dips down into the lower registers in the smoky R&B-tinged winner "Dubai Blues," but make no mistake, Chickenfoot is throwing big, chunky right hooks of '70s-inspired hard rock on III. Your move, Van Halen ... and David Lee Roth.

-Peter Lindblad

Official Website:
Chickenfoot

Review: Ex Norwegian “Sketch”

2011-11-17T07:02:00.000-08:00

Indie rock
Following their 2009 debut, “Standby”, “Sketch” aims to propel indie rock band Ex Norwegian to greater heights. “Standby” helped the band attain national exposure with appearances on TV and radio shows, in addition to being critically acclaimed. “Sketch” delivers ten more doses of their brand of fanciful and sonically surprising rock.

A thumping bass line draws us in to climb aboard the ride that is “Jet Lag”, a slow burning tune that creeps up to a sticky chorus that gets better with each flight through your ears (video below). “Jet Lag” finds Ex Norwegian sounding very much like a highly evolved version of Weezer. “Smashing Time” lends support to this comparison with its groovy verses and hook laden chorus. Other highlights include the near Lennon-esque “Seconds” and the rumbling “Turn Left”. There are a handful of fillers, like the quirky “You’re Elastic Over Me” and “Girl With A Moustache”, but overall “Sketch” is well fleshed out.

Taking advantage of both their male and female vocal strengths, the band often incorporates delightful harmonies making them sound like the Mamas and Papas of the modern indie rock scene. With an effective mix of clever lyrics, tasty licks, and groovy rhythms, Ex Norwegian is one of the more commercial-ready indie bands I’ve heard this year.

iPOD-worthy: 1, 2, 3, 6, 8

Ex Norwegian – Official site.

Check out the video for “Jet Lag”:

The Best Albums You Never Heard

2011-11-16T07:24:00.000-08:00

By Kurt Torster

Def Leppard “Slang” (1996)

It amazes me that there are still a fair amount of people that think that “grunge killed hair metal,” when in reality hair metal did just fine to kill itself off. 3rd tier bands were releasing mediocre product thinking they’d be able to ride Bon Jovi and Poison’s coat tails forever. What people always fail to understand, music is cyclical in nature and no one genre ever stays on top for long. When the stagnation sets in, all that needs to happen is for the right band to be in the right place at the right time to bring about sweeping change. And, that’s exactly what Nirvana did. Did they plan it? No, Cobain was lucky to stand upright. But, for that one moment in time, lightning struck Seattle and the musical storm once again changed.

So by the time 1996 rolled around, I think it’s safe to say that not many were pining for a new Def Leppard album, except those who were still sitting around blaming grunge for all their begotten musical ills. Shame of it is - what is probably the most misunderstood Def Leppard album was also one of their best. Had the Mercury promotional team handled things correctly, sales might have been more multi-platinum rather than just scratching gold.

I have to admit, the first time I listened to it I had taken notice how different the sound was. In fact, you couldn’t not notice. It was contemporary and not so reliant on technology or production. It was rough, down-tuned and dare I say, industrial. Title track notwithstanding, gone suddenly were songs about pouring sugar and getting rocked to make way for much more personal songs.

The first two tracks, “Truth?” and “Turn To Dust,” were not exactly the best choices for album openers. Not bad songs by any stretch, just out of place. Once track three rolls on, the title track “Slang,” the album just kicks in and never lets up. That title track also should have been the first single in the US, as it is the closest song here that bridges the gap between old Lep and new Lep.

From there on out, the next seven songs in a row all had hit single potential. From the Bryan Adams like “All I Want Is Everything” to the thrash-like blitz of “Gift Of Flesh,” even now these songs stand up remarkably well. Hell, maybe even better than when they were released.

But, it is absolutely criminal that the superior power ballad “Breathe A Sigh” was never promoted in any way, shape or form as a single. A bit sparse and almost a capella at times, it is hands down one of the best songs this band has ever recorded. That goes for the other power ballads, “Blood Runs Cold” and “Where Does Love Go When It Dies,” which I’d throw up against any ballad the band has ever recorded.

I think this relative failure hit the band pretty hard. I saw them on the “Slang” tour, with Filter in tow, and although they played quite a few songs from the album, the passion and conviction seemed to be missing. They’d regroup though and go on to record a few more killer albums, all pretty much ignored as well. They have seemingly turned into a nostalgic touring act now but here’s hoping they still have the fire to get a few more albums out as there is definitely a huge hole in the musical world without them.

CD Review: Anthrax "Worship Music"

2011-11-16T06:00:00.000-08:00

CD Review: Anthrax "Worship Music"
Megaforce Records
All Access Review: A

A dark, evil hymnal for the damned, Anthrax’s Worship Music is a gloriously aggressive monstrosity, frightening in its intensity and yet somehow also melodically captivating. Already anointed by metal’s cognoscenti as one of the New York City bashers’ greatest works, the record is Anthrax’s first with singer Joey Belladonna since 1990’s Persistence of Time, and the long-awaited reunion, brokered for the recent earth-conquering Big 4 tour with Metallica, Slayer and Megadeth, has birthed a thrash-metal masterpiece, a teeth-gnashing symphony of sonic mayhem and beautiful violence that never takes a smoke break.

More than that, however, Worship Music is classic Anthrax. It doesn’t suffer from an identity crisis. Thirty years into a career built on uncompromising, brutal music, Anthrax has stayed true to itself, despite numerous vocalists and other personnel changes. Even when they stretch out a bit, like in the soul-searching, cavernous chorus “The Giant,” where Belladona passionately wails, “Caught between the lines of right and wrong yeah/Caught between the things that I don’t know,” Anthrax stamps its mark on the track with a heavy, furious cyclone of serrated guitars, pounding rhythms and a heaving bridge as clear proof that they’re as grounded and comfortable in their own skin as any metal band that’s ever lived.

To put it another way, Anthrax is, indeed, the devil you know, and the sprawling Worship Music won’t leave anybody wondering if Scott Ian, Charlie Benante, Frank Bello, Rob Caggiano and, of course, Belladonna, have traded in their aggressive, high-velocity riffage, searing guitar solos, hammering drums and quaking, blinding bass lines – not to mention Belladonna’s primal, raging vocal waging piercing through the magnificent din – for a bag of magic beans and glitzy, pop-music stardom. After the haunting instrumental intro “Worship,” Anthrax ignites all-out war in “Earth on Hell,” a hornets’ nest of activity and energy that attacks the senses from every angle. “The Devil You Know” follows, and its momentum is unstoppable. A runaway semi of sound with an instantly memorable chorus (“Gotta go with the devil you know!”) and an impossibly heavy groove, “The Devil You Know” has secured its place among Anthrax’s most revered aural assaults. And speaking of aural assaults, the unrelenting “Fight ‘Em ‘Til You Can” – a song about fending off a zombie apocalypse – is a street fight of Benante’s vicious, martial-arts-style drumming, sharp guitar stabs and Belladonna’s bare-knuckled vocals.

Heavier still is the militaristic stomp of “I’m Alive,” with its thick, crushing riffs and Belladonna delivering the poisonous lyric “heaven lives in every gun” with gut-level urgency and theatrics, while the churning epic “In the End” rises slowly and majestically like a rogue wave that’s about to crash down on a defenseless fishing trawler. Everything on Worship Music boggles the senses. It’s war-like, with a little bit of dark, oaken cello and the occasional church bell for atmosphere. Tempos shift on a dime, and Anthrax’s frantic energy strains at the leash, while Belladonna barks like a Doberman at times and soars to the sun when coaxed to fly, like he does on the retina-scorching supernova “Crawl.” Always ready to do battle in the streets if they have to – as the haymaker-throwing, nose-bloodying riots of “The Constant” and “Revolution Screams” bear out – with Worship Music, Anthrax has come to blow open the doors of cathedrals everywhere and unleash hell.

-Peter Lindblad

Official Websites:

Anthrax

CD Review: Michael Shenker "Temple of Rock"

2011-11-15T12:35:00.000-08:00

CD Review: Michael Shenker "Temple of Rock"
Inakustik
All Access Review: A-

A shrine built of molten, rampaging riffs and burning solos – all infused with subtle melodic touches and flourishes – Temple of Rock is an all-out shred-a-thon from one of metal’s most enduring and admired guitar slingers. Pulling out all the stops, Michael Schenker unleashes a fast and furious sonic bombardment that sweetly and majestically explodes on impact in tracks like the “How Long,” “Storming In,” “The End of an Era” and “Fallen Angel,” and if this Temple of Rock is, indeed, a place of worship, perhaps it could also serve as a sanctuary for a man beset by turmoil in both his personal and public life.

A cult hero to serious fans of metal, Schenker is also a cautionary tale, an extraordinary talent whose alcoholism and health issues, not to mention his onstage blowups with UFO and revolving-door personnel changes in the Michael Schenker Group, almost completely derailed his career. There almost at the beginning with The Scorpions, founded by his older brother Rudolf in 1965, Schenker lent his burgeoning axe work to the band’s 1972 debut Lonesome Crow. While on tour with The Scorpions in support of Lonesome Crow, headliners UFO witnessed Schenker’s six-string sorcery. Under his spell, the British hard-rock survivors beamed him aboard as a replacement for Bernie Marsden, himself a temporary fill-in for departed original member Mike Bolton.

Schenker’s tenure with UFO was tumultuous, to say the least, spanning the years between 1974’s Phenomenon and 1979’s classic steamroller of a live LP Strangers in the Night. All the while, critics, blown away by Schenker’s blazing fretwork, lined up around the block to hail this guitar phenomenon, with the rest of UFO becoming engulfed by the large shadow he cast. Tensions ran high, and there were nights when it all came to a head. On a few occasions, Schenker was reported to have walked off the stage in the middle of a show. By 1978, he’d had enough, and for a brief period, Schenker rejoined The Scorpions, injecting Lovedrive’s “Another Piece of Meat,” “Coast to Coast” and the title track with a potent shot of lead guitar Viagra.

In the years since, Schenker has fronted his own project, the Michael Schenker Group, which for a time became the McAuley-Schenker Group. But, when UFO set about making the comeback record Walk on Water in 1995, Schenker couldn’t resist re-upping for another tour of duty. Eventually, though, Schenker would return to MSG, which has had its ups and downs, as has Schenker. Personnel shuffling and Schenker’s continued battles with the bottle led to inconsistent recordings and live performances, but through it all – including a bizarre episode where his wife divorced him and disappeared with his kids, and his manager’s alleged embezzlement of Schenker’s savings – the guitarist has persevered, despite a troubled 2007 tour, riddled with cancellations, that would have killed the careers of lesser artists.

Schenker, though, has apparently come out the other side a better man, and a more focused musician, as Temple of Rock bears out. Despite his problems, Schenker doesn’t seem to lack for friends. The band he assembled for Temple of Rock includes ex-Scorpion Herman Rarebell on drums, Schenker’s old UFO mate Pete Way on bass, Wayne Findlay on keyboards and Michael Voss on vocals. And that’s not all. Among the cast of thousands appearing as guest stars are keyboardist Don Airey, legendary Mountain guitarist Leslie West (who participates in a three-man guitar battle with Schenker and Michael Amott on “How Long (3 Generations Guitar Battle Version), and drum gods Carmine Appice and Brian Tichy – not to mention Captain Kirk himself, William Shatner.

But, go ahead and throw the liner notes away, because a cleaned-up, motivated Schenker was all that was needed to make guitar nerds wet their pants over this release. His solos, so fluid and smoothly executed, are sublime, and those heavy riffs of his have all the powerful thrust of booster rockets, propelling each track into the stratosphere. On the aforementioned “Fallen Angel,” Schenker assembles what seems to be a jigsaw puzzle of neon-lit guitar parts, piecing together surging, shape-shifting riffs and high-flying leads until they form a dazzling picture of an artist who isn’t afraid of complexity. Drag racing ahead is the “The End of an Era,” which showcases Schenker’s ability to combine speed, an impeccable feel for the urgency of the moment and barely harnessed energy, while he punishes “Before The Devil Knows You’re Dead” with power chords and shrouds it in a bluesy darkness that knocks at your backdoor like Perfect Strangers’-era Deep Purple did in the ‘80s.

In the quiet moments of the epic “Storming In,” Schenker adroitly navigates a tricky acoustic prelude, before a deluge of riffs comes pouring down and floods the scene. His solos here bloom like a bush of roses turned black by some demonic hand, setting the stage for the progressive-metal oddity “Scene of Crime,” a track that’s full of sonic menace and muscular rhythms that occasionally detours into Asian gardens of sound that an early Genesis might have planted.

The full breadth of Schenker’s talent and experience are on display in Temple of Rock, as the fist-pumping party anthem “Saturday Night” sits comfortably alongside the red-hot, muscle-car growl and grind of “Speed.” And if you like guitar solos the triple-threat guitar orgy of the freedom-fighting “How Long,” (3 Generations Guitar Battle Version)” featuring West and Amott, is not to be missed. This Temple of Rock is built on a bedrock foundation of classic musicianship and strong songwriting, and it houses one of the finest guitarists metal has ever known.

-Peter Lindblad

Official Michael Shenker Website: Michaelschenkerhimself.com

Review: Mitch Malloy “II”

2011-11-15T07:12:00.000-08:00

Melodic rock
Mitch Malloy is one of the unsung heroes in the melodic rock world, quickly rising to fame in the early 90s with his tasty hit “Anything At All”. A change in musical tides through the 90s found Malloy experimenting with a markedly more adult contemporary sound before returning to the rock area with 2000’s excellent comeback record, “Shine”. Fans parched for a new Mitch Malloy CD finally get to quench their thirst with his new release, simply entitled “II” to denote that this one is a sonic sequel to his 1992 self-titled debut.

Coming along for the ride are some notable guests including Phil Collen (Def Leppard), Pete Lesperance (Harem Scarem), and Jeff Scott Soto – virtual Knights of the Melodic Rock Round Table. Malloy still sounds incredible and has worked in plenty of opportunities in these tunes where he can sustain a hair-raising note. His songwriting style definitely aligns with his work from his debut, straddling the fine line between light and hard rock – a la Bon Jovi or Nelson.

“I’m The One” is an opener that testifies to Malloy’s return to form, sizzling with 80s sounding guitar tones and an overall vibe that matches the upbeat ear candy of “Anything At All”. “Falling To Pieces” is a bit grittier but still plenty catchy with an affable sing-a-long chorus. While the title might imply a power ballad, “Love Song” is a driving rocker that sticks in the mind quick. “On and On” and “I Don’t Know How” both shine with winners of a chorus, sandwiched by verses that are easy on the ears. Just when you think the guy has run out of hooks and moving chord changes, out comes the chugging rocker “What I Miss”. Fans of classic Malloy ballads will enjoy “Carry On”, “Take It All”, and “As Long As I’m With You” – for me, “Take It All” wins the day in this department. The album closes with a love letter to his fans with the stirring “All My Friends”.

iPOD-worthy: 1, 2, 5, 6, 7, 8, 9, 12

Mitch Malloy - Official site.

Classic melodic rock CD of the week

2011-11-14T06:01:00.000-08:00

By Stephen Kasenda

BADLANDS “Voodoo Highway” (1991)

After their underrated eponymous debut that was cheered by traditional hard rock fans, Badlands continued on the same path with "Voodoo Highway". But this time they recruited Jeff Martin from Racer X to fill in the drummer spot after Eric Singer left the band to join Kiss. At that time, only a few knew that Ray Gillen had a dispute with Jake E. Lee regarding the musical style - Gillen wanted them to be more commercial while Lee insisted they stick to their bluesy roots. Later we found out that "Voodoo" favored Lee's intention and Gillen was fired soon after.

If you like 70s-driven blues rock with an 80s wild-and-wacky jam flair, and influences such as Led Zeppelin, early Whitesnake, Aerosmith, and Bad Company, then you'll love this album for sure. Lee's guitar even sounds like vintage 70s. The album fires off with a straightforward burning hard rocker, "The Last Time". This is my favorite song along with other fantastic numbers such as "Soul Stealer" with a flaming intro, Zeppelin-esque riffings, and Gillen's signature scream, "Silver Horses" with an awesome guitar charge, an outstanding cover of James Taylor's "Fire And Rain", and "Heaven's Train", which features Lee's top-notch riffin' and Gillen's AeroTyler's rappin' style.

Probably you still remember Bo Bice from American Idol, who surprised the audience by picking a Badlands's song, "In A Dream". Now you can hear the original version with Gillen's magical voice here accessorized by Lee's lazy dobro pick. "Three Day Funk", "Whiskey Dust", and "Show Me The Way" are also well-composed songs worth checking out.

Since I'm not really a big fan of blues and they don't have anything commercial that fit onto a Billboard chart (which I think is still an important aspect), this record is something that I only enjoy occasionally as it depends heavily on my mood. Sadly, Gillen passed away too fast too soon. "Voodoo Highway" together with their debut, are essential early 90s records for fans of genuinely talented bands rooted deeply to the classic rock sound.

Read more of Stephen’s features at MetalMusicArchives.

Review: Crown Point “Wolves” [EP]

2011-11-08T05:09:00.000-08:00

Pop rock
Hailing from Portland, Oregon, Crown Point is a collection of pop rockers with a very radio-ready sound. Their new six song EP, “Wolves”, showcases their knack for memorable melodies and affable lyrics. Formed in late 2009, the band features Jon Davidson (vocals/guitar), Russell Stafford (vocals/guitar), and Kaycee Kay (drums).

“Back To You” is a stunning opener that warms up to you quickly with its sunny disposition and hook filled chorus – an easy favorite. Featuring a darker atmosphere and crunchy guitar atop the acoustic base, the title track testifies that the band does not have an aversion to a grittier mood. Taking the pace down a bit, “Sound Of Your Voice” is a sweet confection with beautiful chord changes, highlighting their talent for balladry. “Easier Said Than Done” begins as another sparse tune, but the electric guitars creep in soon enough to give the song a satisfying edge. “Disappear” is another treasure – a gentle but engaging acoustic ballad to close an excellent EP.

Fans missing that 90s post-grunge pop rock a la Gin Blossoms, Counting Crows, and Toad the Wet Sprocket will find a friend in Crown Point. Looking forward to hearing more from these guys!

Crown Point – Official site.

Classic melodic rock CD of the week

2011-11-07T06:13:00.000-08:00

By Stephen Kasenda

FIREHOUSE “Firehouse” (1990)

Firehouse is a part of the last wave of glam metal bands that struggled and survived the grunge invasion, thanks to their double-platinum eponymous debut that put them on the map and won the Best New Hard Rock/Heavy Metal Band of 1991 at American Music Award. Their musical direction is pure melodic hard rock with some sleaze and blues, mostly displayed by the strength of sing-along choruses, memorable riffs, and an overall happy vibe. Singer C.J. Snare has a very unique and terrific high pitch vocal, similar to Mark Slaughter or Michael Sweet's squeal, and Bill Leverty puts out some beautiful guitar work all over the songs.

While they started off bumpy with a weak song, "Rock On The Road", the next three tracks are enough to get a high rating. "All She Wrote" is a great uptempo classic, "Shake And Tumble" unleashes a nasty groove, and "Don't Treat Me Bad" is an awesome slab of catchy hard rock. "Lover's Lane" is a bad-ass rocker with a really great riff, "Don't Walk Away" is a good bluesy experiment, "Helpless" is probably unknown to many but a wonderful closer with a big chorus, and "Love of A Lifetime" is a timeless ballad and everybody knows this song. However, in my opinion, the true gem of this album is "Overnight Sensation", from the Snare's screamintro to the commercial and bombastic chorus, this song came out as the champion.

The production level is quite thin, so you have to crank up the volume for maximum pleasure, but the details are crisp and clear, so it's still an acceptable situation. With a couple of decent tracks and the unnecessary instrumental fill of "Seasons of Change", this album still stands high above par. An essential album to have if you're fond of a high quality melodic hard rock output, a classic!

Read more of Stephen’s features at MetalMusicArchives.

This Just In: Brian Howe ends his recording career with EP

2011-11-04T08:31:00.000-07:00

From Brian Howe, one time lead singer for Bad Company (posted on his Facebook page):

"MY NEW E.P. IS RELEASED ON MUSIC DOWNLOAD SITES TODAY.
CALLED "EMOTIONS" IT MARKS THE END OF MY RECORDING CAREER.
I DID NOT MAKE IT WITH A RECORD COMPANY AS I WANTED IT TO BE PERSONAL FROM ME TO YOU. I AM VERY PROUD OF THIS EFFORT WHICH WAS INFLUENCED BY THE LOVE OF MY LIFE.
PLEASE TELL ALL YOUR FRIENDS ON FACEBOOK ABOUT THIS RECORD AND SREAD THE WORD.
IT WILL BE STRANGE TO NEVER RECORD AGAIN BUT WITH THE ADVENT OF FREE MUSIC DOWNLOAD SITES AND RECORD COMPANIES WITH NO CLUE. THE TIME IS RIGHT TO RETIRE.
I HOPE YOU ENJOY LISTENING TO REAL "EMOTIONS" AS MUCH AS I DID MAKING IT."

Review: Simple Plan “Get Your Heart On”

2011-11-04T06:21:00.000-07:00

Rock
It is hard to believe that the young pop punk band from Montreal has now entered their second decade as Simple Plan. Their last album (self-titled) threw their fans for a loop with its uneven batch of songs mixing their standard sound with some techno and other experimental soundscapes. However, their fourth album “Get Your Heart On!” marks a strong return to form that should reignite the fanbase that fell in love with them from the get go. Released back in June, word has slowly been spreading that Simple Plan is back doing what they do best: belting out catchy pop rock tunes that sing about lost love, alienation, and the uncertainty of youth.

While the band foregoes the aloof experimentation that plagued the last album, they still brought in some A-list stars to guest on the album. Some that you might expect – Rivers Cuomo (Weezer) and Alex Gaskarth (All Time Low) – and others you wouldn’t necessarily expect, like Natasha Bedingfield and K'naan. But whoever is guesting, the song retains the distinct Simple Plan sound. The band rushes to reassure the fans that they aim to please by delivering a monster of a signature Simple Plan tune in “You Suck At Love”. This is the kind of song that made the band famous, and its peppy rhythm and sing-a-long chorus makes it an early favorite. “Jet Lag” is another arena-ready rocker featuring some infectious harmonies with Bedingfield and a huge chorus (video below). “Loser Of The Year” and “Last Man Standing” are classic teen anthems in the making.

For those of you looking for another big ballad along the lines of their hit “Perfect”, you might want to check out “Astronaut” and “Gone Too Soon”. They don’t quite rise to the heights of “Perfect”, but make a solid attempt. In the end, I am very pleased the band went back to their comfort zone – “Get Your Heart On” is a fine addition to the Simple Plan catalogue.

iPOD-worthy: 1, 3, 5, 6, 9, 10

Simple Plan – Official site

Check out the video for “Jet Lag”

Review: Republic of Letters “Stories”

2011-11-03T06:19:00.000-07:00

Rock
San Diegi based Republic of Letters is a modern rock band that sounds like a fusion of 80s new wave and post-grunge rock…kind of like Echo & The Bunnymen meet Dishwalla. It is an intriguing and enticing sound for the most part, but would sound even better if these guys could write hooks that were better defined. The song structures are compelling and the lyrics interesting, so the stage is set for some very promising atmospheric rock. But there is something missing…

The band was originally formed by the Venti brothers, with Chris on vocals and guitar and Nick on drums. Chris Venti has a voice that is going to draw mixed reviews. He clearly has power behind his pipes, but whether he has full command of this power is a debatable question. He transcends into vibrato at times that borders on Eddie Vedder having a bad day, and sadly it distracts from the warm bellow he projects. Venti’s tone is a good fit for this style of music, and he has some melodious moments, but they are too few and far between.

Fresh off the heels of this debut, “Stories”, the band continues to write prolifically, accumulating another album worth of material already. If the guys in Republic of Letters keep at it like this, odds are they will realize their full potential. Highlights from this record include “Lost Chord”, “Long Way Down”, and the title track. Check them out if you like Dashboard Confessional, Snow Patrol, or Black Lab.

iPOD-worthy: 1, 2, 4

Republic of Letters – Official site.

The Best Albums You Never Heard

2011-11-02T05:50:00.000-07:00

By Kurt Torster

Kyle Vincent “Trust” (1985)

I’ve never shied away from admitting my unabashed love of 70s AM Gold type pop. Even though I lost a bit of touch with it throughout the 80s and the earlier part of the 90s, I’ve come to look at it now as a sort of musical comfort food. With no sense of irony, I can listen to something like Bo Donaldson & The Heywoods or Shaun Cassidy like I am listening to The Beatles.

This love affair started in the mid-70s when my family lived in Germany for about a year when I was 10 years old. Since I didn’t speak the tongue, short of being in school during the day at the Air Force base in Wiesbaden, my only friend was an AM Radio that pumped out one glorious pop hit after another. Every Sunday was like a holiday when Casey Kasem would count down the top 40 on Armed Forces Radio, where I kept a notebook writing down the hits as they came in. Eventually I went so far as to create my own charts, counting them down to myself in an effort to combat the loneliness. Man, what I would give to see those notebooks now. On second thought...
As we returned to the US and my tastes eventually shifted into something a little more riffy, I never did lose touch with those softer pop roots. I’d imagine it explains a lot of why I was never really turned off by things like Air Supply or Rick Astley in “my” decade.

When I got my writing on in the late-90s, one of the people I frequently corresponded with was A&R guy Jonathan Daniel, whose own bands will feature prominently in the future. He wanted to turn me on to an artist he was working with, Kyle Vincent (one time singer of the poptastic 80s band Candy), who would set my 70s Pop senses tingling. This fantastic self-titled major label disc released in 1997 wound up spawning two minor hits in “Arianne” and “Wake Me When The World’s Worth Waking Up For.” Suddenly, it seemed that I didn’t need to hide my “Time/Life Sounds Of The 70s” collection anymore. I had company in my AM Gold closet…

Well, turns out that a few years before, Kyle recorded an album for MCA in 1994 called “Trust,” that wouldn’t see release until later on in 2007 (retitled “A Night Like This”). Falling somewhere on the musical spectrum between 80s Rick Springfield and 70s Barry Manilow, the album serves as a time capsule of a rather care free and happy period of time that would be changing rapidly.

Listening now, I’m still awestruck at how good Kyle’s vocals are. They are so clean and crisp and in the proper mixture, served as a finely tuned instrument on its own. And, although the production reeks of the early 90s, the songs as well hold up remarkably well and show that a well crafted song can bludgeon its way through any amount of gloss.

Whether it’s the straight up arena rock of the title track or the infectious “Something To Remember My By,” HUGE Eric Carmen-like power ballads “Maybe It’s Better” or “Wherever You Are Tonight” or the simple radio pop of a song like “What Am I Gonna Do” and “Now I Know,” Kyle’s heart-on-sleeve writing style takes the material many steps above what was going on at the time.

Kyle is still pumping out amazing softer styled rock to this day. His “Wow & Flutter” album is highly recommended and could easy have taken this place of this album for a column all on its own. He did gig for a spell with the Bay City Rollers (!) and also performs cover sets of 70s music with the Have A Nice Day band. A vastly underrated musician who really is seemingly all alone in the musical world.

[As I finished the article, I asked Kyle himself to give me some thoughts on the album and the era around it. When he sent me is just priceless, enjoy!]

I have mixed feelings about the days of the Trust album. As the album itself was eclectic, so were the sessions. One day I'd be in a top Hollywood recording studio watching Jerry Hey conduct an incredible orchestra playing the little notes I had written for them, and another day I'd be singing a vocal track in Clif Magness' bathroom in Calabasas.

So many great artists contributed to the 'album that never was'. The title track was a groovy R&B number that featured the percussionist who played on the Spinners' hits, female backing singers that sang on some of the biggest Soul hits of the 70s, and of course the producer was Steve Levine, best known for his work with Culture Club and the Beach Boys.

Sadly, the record company suits were just impossible to work with. They would come into a session at the end of the day, BMW keys jangling in one hand, and toss out ridiculous comments that had nothing to do with anything. They signed me because they loved my demos and the songs, but when it came time to actually record those songs for the record, they complained that they couldn't decide if I were George Michael or Bryan Adams. I would tell them, "Uh, can't I be both and double my fan base?" They didn't see it that way.

There were 3 producers. Me, Clif Magness, who was coming off some huge hits with Wilson Phillips, and Steve Levine. On the tracks I produced, I hired all my favorite players. I called in Freddie Washington on bass, Michael Jackson' s drummer JR Robinson, Madonna's drummer Jonathan Moffett, Rick Springfield's guitarist, and one of the Brothers Johnson on bass. I called up saxophonist Gerald Albright to come down and play a solo, and he did. And then I had Gerry Beckley from America sing and play guitar and Fender Rhodes keyboards.

What incredible sessions those were. The creative part of the record making was all joy, especially the day David Bowie was in the adjacent studio and we got to just hang out for a while. [a clip of that is on my Facebook page].

The biz part of it was mostly aggravating. The label must've promised me 100 times when the record would be released. They gave every excuse, "We're waiting to find the right slot for it to drop. We can't drop it when Bobby Brown's coming out. We'll drop it in a month". It ended up being dropped off a cliff and never being released. I was on tour with Barrry Freaking Manilow, playing in front of tens of thousands of people per night, and there was no record in the stores. I didn't even have t-shirts. Nothing. I remember one night after a show I went to the hotel office and borrowed their typewriter and typed up mailing list cards, one by one, so I could have something to hand out to people after my shows. To this day many of my faithful fans came from those little cards.

I could write a book on all the good and bad that went on behind the scenes during the Trust sessions, but overall it was an amazing experience, I learned a ton, met some great people, and am incredibly proud of the musical results.

Review: The Magnificent “The Magnificent”

2011-11-01T06:58:00.000-07:00

Melodic rock/AOR
Frontiers Records will release the self-titled debut album from Scandinavia’s The Magnificent on November 4th in Europe and November 1st in North America. The Magnificent is an alliance forged by Circus Maximus singer Michael Eriksen from Norway and Finnish producer/guitarist Torsti Spoof (of Leverage fame). The rest of the band includes Rolf Pilve on drums, Sami Norbacka on bass and Jukka Karinen on keyboards. Collectively, they bring a dazzling blend of melodic and prog rock that works better than most bands trying to mesh these genres together.

Regarding the project, Torsti Spoof had this to say: “A lot of my musical influences come from the 80`s and I always wanted to make an album in that spirit. Now the dream has come true! This one was truly a joyride…I think together we`ve made a perfect blend of the old school songwriting with a big up to date sound”.

The record is equally heavy with keyboards and guitars, recalling the “Out Of This World” days of Europe. However, there is a lot of bite in the riffs and contemporary songwriting more along the lines of Eclipse or Brother Firetribe. The vocals are nothing short of amazing. AOR fans are sure to love this one from start to finish, but I find the more melodic numbers most satisfying, especially “Memories”, “Angel”, “Love’s On The Line”, and “Lost”.

iPOD-worthy: 3, 4, 6, 11

The Magnificent – More info here.

New single from Strangefinger

2011-10-31T11:37:00.000-07:00

Go check out the new single, "I Feel Fine", from Strangefinger! Following Strangefinger's previous effort, "Into the Blue" (reviewed here), "I Feel Fine" continues to impress as a delightfully sophisticated track in the style of Brian Wilson.

Get it at CDbaby or iTUNES.

Classic melodic rock CD of the week

2011-10-31T09:36:00.000-07:00

By Stephen Kasenda

OZZY OSBOURNE “No More Tears” (1991)

Fun facts revolving around Ozzy's sixth album, “No More Tears”: huge commercial breakthrough success, a bestselling album with over 5 million sales worldwide, a songwriting collaboration with Lemmy, and Grammy Award winning. One of my favorite releases by Ozzy because he had a perfect blend of commercial hard rock and the raw elements from his metal days, helped by Zakk Wylde's southern chugging riffs.

“Mr.Tinkertrain” is a very nice hard rock opener but he should have omitted some of the repetitive choruses near the end. “I Don't Want To Change The World” is also a good song, as strong as “Hellraiser”, “Zombie Stomp”, and “A.V.H”. This album has at least 3 super ballads, in which his mega-hit, “Mama I'm Coming Home” is the best one. “Road To Nowhere” and “Time After Time” are also sensational, probably among his best ever written. “Desire” and “S.I.N” are melodic heavy metal at its finest, with awesome riffs and a solo that is enthralling.

The bad track for me here is “No More Tears”. I don't understand how this song can penetrate the chart because it's too long, with that “Sweet Emotion” feel, this track is too progressive for the album, and definitely his weakest. With those superior tracks dominating the album, no wonder this got a high praise from everywhere, and I'm convinced that a solid 80%-85% rating is totally deserved.

Read more of Stephen’s features at MetalMusicArchives.

We'll be back soon

2011-10-15T08:22:00.000-07:00

We're on a two week break but will return with more music reviews and news! Thanks for stopping by!

Review: Wires In The Walls “New Symmetry”

2011-10-14T06:11:00.000-07:00

Pop rock
While their name reminds me of something Dick Cheney would offer as a solution to national security, Wires In The Walls is an organic pop rock band based in L.A. Led by lead singer and guitarist Warren Sroka, the band will be releasing their full length debut, “New Symmetry” on October 25. This record follows a well-received EP from 2010 entitled, “Call Signs”, which earned the band some local and national college airplay.

A bit of their Americana roots trickles into songs like the acoustic ballad “Soft Shirt” and accordion laced “ysa”, but by in large the band – now a quintet – is cultivating a larger soundscape that includes elements associated with indie rock, pop, and even some post-punk. To be honest, many of the tunes on “New Symmetry” didn’t pique my interest at first, but there was enough staying power to warrant a second spin. And I am very glad I did that – these tunes need a little time to germinate, but once they do you’ll truly respect their beauty. I quickly found myself appreciating them more and more. Highlights include “Tremolo”, “The Land The Sea And Outerspace”, and the first single, “The Ringer”.

I’d recommend Wires In The Walls for Dick Cheney, as well as fans of Crowded House, Flickerstick, and Toad The Wet Sprocket.

iPOD-worthy: 1, 3, 4, 5, 8, 9

Wires In The Walls – Official site.

Check out a short preview here:

And a FREE tune here!

Review: Dan Miraldi “Rock N Roll Band” [EP]

2011-10-13T07:21:00.000-07:00

Rock
Dan Miraldi has been in Cleveland-based bands such as Cherry Flavored Elevator and Exit Suburbia prior to his stint in the DC band, The Silver Liners. His musical style was forged by listening to Beatles and the Rolling Stones, and modern day acts such as the Format, White Stripes, and Green Day. We covered his debut 2010 EP, “Tease” (see here), which has done as well as we predicted. “Tease” and “Lucinda” received radio airplay from Boston to Cleveland, and our favorite track, “The Holy Roller Stone Revival”, became a finalist for the best rock song in the John Lennon Songwriting Competition.

Teaming once again with award-winning producer Jim McKell, and his live band the Albino Winos, Miraldi is back with his follow up EP, “Rock N Roll Band”. The 5 song record kicks off with a smoldering rocker in “We Both Know” – it is crunchy but slow, and the song didn’t excite me. Much better is the Jagger styled swagger of “You’ve Got To Hurry” – a perfect radio-friendly anthem with a bluesy vibe and solid melody – easily my favorite on the EP. The 60s retro rock sound continues in the Orbison-flavored “Mystical Queen”. The title track is propelled by handclaps and a 50s backbeat, sounding like a lost feel good track from “That Thing You Do!”. The amusing charm of “Give & Take” rounds things out with lines like “you only use my heart for karate” to become a song that Dion and the Belmonts would have been proud to perform.

Miraldi further whets the appetite for a full-length release with his new EP. His lyrics are whimsical fun, much like the retro beats that infiltrate the song structure he favors. Imagine if Bob Dylan and Elvis started a band together, then you’d have a pretty good idea as to what Dan Miraldi is all about.

Dan Miraldi – Official site.

The Best Albums You Never Heard

2011-10-12T06:11:00.000-07:00

By Kurt Torster

Van Zant “Van Zant” (1985)

When this album came out, unless you were watching MTV at 3AM like I was prone to do, you would have completely missed out on this. Luckily, not only was I watching but was completely hooked on the single, “I’m A Fighter,” in one shot. It was the kind of the sound that only 1985 could bring, bordered on one side by the decline of new wave and the other by the over produced and glossy arena rock of the latter part of the decade. Taking major cues from Survivor, Van Hagar and the like, the youngest of Florida’s Van-Zant clan released this effort to thunderous silence.

The band was signed to Geffen, which was the kind of label I tended to purchase albums from “sound unheard.” They had a real knack of releasing quality radio rock without any promotion and letting them drown without a trace. All things considered I could write a year’s worth of columns on that alone. Anyways...

The Van-Zant release always puzzled me how it didn’t at least get the band a foothold on Gold territory. “I’m A Fighter” sounded like a lost tune from the Rocky 3 soundtrack (and with good reason as seeing how it was written by Jimi Jamison) and was the kind of song that top down summer nights was made for. Strange thing (or maybe not depending on how well you know the music business), that was far from the best song here.

Listening now takes me back to those days when I was driving around in my cherry red Mustang GT, which was required driving in northern New Jersey. But, rather than blasting cheesy dance music that sounds like it was recorded with a Casio SK1, songs like the smooth and hit worthy “You’ve Got To Believe In Love,” the Jeff Paris penned “Heart To The Flame” or the urgent sounding “2+2” all should have had no trouble finding a home on rock radio or MTV.

Of course, like so many gems of the era many have tagged the “AOR Glory Years,” it went almost straight to the cut out bins only to be treasured by those who stumbled across it accidentally. To further cement that AOR connection, background vocals were provided by the awesome Terry Brock, whose band Strangeways is another cult classic that will be featured here in the future.

Though most of the songs were written by outside songwriters, the best songs were written by Johnny along with his brother, Donnie, and somewhat pointed the way of how .38 Special’s sound would shape up on their “Strength In Numbers” album. My favorite song here is the mid-tempo ballad “Two Strangers” and is one of those songs that I just never get tired of hearing. It has the kind of sonics that probably would have sounded equally as great in front of a lighter waving, crowd filled arena as it would pumping out of a beer spilled boom box.

Not much ever happened with this band after, as Johnny released a few more Southern tinged solo efforts, leading to his transformation as the lead singer in Lynyrd Skynyrd. Looks like a few of his bandmates came along for the ride for a few years, but I could find no information otherwise.

A textbook example of quality over quantity, it’s a AOR true bargain bin classic.

Review: Bobby Kimball and Jimi Jamison “Kimball Jamison”

2011-10-11T05:48:00.000-07:00

Melodic rock/AOR
The teaming up of Bobby Kimball (Toto) and Jimi Jamison (Survivor) promises to be one of the most discussed alliances in the AOR world. Their debut record, simply entitled “Kimball Jamison” comes out on Frontier Records October 18.

Fans expecting the classic 80s AOR sound epitomized by their home bands are going to be in for a surprise. The big melodic choruses and lyrical content have been conserved, but the music has been catapulted into the modern age. The guitars sound fresh and gritty, constituting some of the hardest edge rock either of these guys has ever been associated with in the past. In my opinion, the results are fantastic and give this project a unique identity to call its own, rather than a strict mash up of the styles of Toto and Survivor.

Of course we are dealing with two titans in the vocal arena – Kimball and Jamison sound absolutely amazing, and take turns at lyrical lines in nearly every song making it a true 50/50 split of talent. Even better, most of song were written to contain a few sweet spots where Kimball or Jamison can really hold that high note and shine. For this we can thank ace songwriters such as Richard Page (Mr Mister), Jim Peterik (Survivor), Randy Goodrum (Steve Perry, Toto), John Waite, Erik Martensson (W.E.T.) and Robert Sall (Work of Art).

The guys come out with both guns blazing on “Worth Fighting For”, where loud guitars enhanced by keyboards drive a thundering song that wonders about whether we found that special someone (a sequel to “Is This Love”, perhaps?). Followed by the aggressive “Can’t Wait For Love” (video below), we have a superb introduction to what Kimball Jamison is all about. This is the kind of song I bet Survivor fans were hoping for on their last album “Reach”. Fans of either singer should be smiling ear to ear by now, but there are more gems to follow. While each song has its moments, the ones that really stand out for me include the mid-tempo treat laced with great backing vocals, “I Did Everything Wrong”, “We Gotta Believe”, and the majestic power ballad “Find Another Way”. But perhaps the best here is the encouragement anthem “Get Back In The Game” – this splendid rocker should find a home on the “Rocky VII” soundtrack.

I hope this is not a one-off record. The chemistry between Kimball and Jamison, coupled with their instincts for potent melodies and their sheer vocal power, makes the pair an unbeatable melodic rock dream team.

iPOD-worthy: 1, 2, 5, 6, 7, 8, 10

Sites for: Bobby Kimball and Jimi Jamison

Check out the video “Can’t Wait For Love”

Classic melodic rock CD of the week

2011-10-10T05:54:00.000-07:00

By Stephen Kasenda

VYPER “Prepared To Strike” (1984)

Vyper is an obscure melodic metal quintet in the vein of Ratt, Dokken, and Keel, who produced two albums under Greenworld/Kondor records in the early 80s. The first one is the "Afraid of The Dark" EP and the other one is this full length studio effort, "Prepared To Strike". What was once sold on the market for a ridiculous price can now be obtained for a reasonable price - two records packed in one album reissued on Retrospect in 2005.

Looking at the original year of its release, you know what to expect. Roaring guitars, some high pitch screaming, thick harmonies, wild solos, and stuffs like that. Christy Black sure can't lie about Ratt's influences here, as his voice is reminiscent of Stephen Pearcy most of the time. And some tracks like "I'm Not Waiting" or "Can't Stop Dreamin'" are definitely in the same league with songs from "Out of The Cellar".

"Diamonds" is a purely explosive heavy metal tune with some great riffage all over the song, but "Dealer" is even better. The song is probably the heaviest track here and Black's hellish scream is the song's highlight. "Cold As A Stone" is flashy commercial melodic rock and had potential to become a major radio hit. "She's Nasty", "Drivin' Me Insane", and "Time Flies" from the EP are also personal favorites.

But I must admit not all tracks are listenable. "Daddy's Girl" or "Nighttime Is Wild" might be acceptable fillers, but "Runnin' With The Pack" or "Climbing Up The Walls" are totally confusing and capture the band at their worst. Such a shame they didn't last for at least another couple of albums like Icon or Hurricane for example. Though most of the songs aren't as great as the first class melodic metal heroes like Dokken or Ratt, "Prepared To Strike" is pretty awesome and undoubtedly a keeper in my book.

Read more of Stephen’s features at MetalMusicArchives.

Odds and Ends

2011-10-08T06:34:00.000-07:00

Each week I use this space to post some mini-reviews, cool tracks, random thoughts, neat news, or whatever else I damn well please.

MiniReview

Alpine White “The Hale” [EP] – The band did not take its name from the at-home teeth bleaching system, but rather the Gibson guitar. Colin Denker (lead vocals, guitar, piano, drums) is the mastermind behind this San Francisco quartet, which is rounded out by his brother Ian (bass, vocals), Ivan Wence (guitar, vocals), and Javier Benavides (drums). “The Hale” EP consists of four songs, the first half being superior to the second half. The gentle yet bright acoustic strumming of “When She Gets Home” serves as a fine introduction to this mellow rock band that straddles indie rock and power pop. “When She Gets Home” is memorable and moving, with enchanting backing vocals providing a sobering warmth. “The Evidence” picks up the pace a bit, practically floating with its soaring harmonies and crisp guitar line – another winner. “Days and Nights” is plagued with a lumbering introduction, but even when the vocals finally kick in, the song just doesn’t seem to get out of second gear. The record ends on a decent note with the steady “All The Weight” – lyrically strong, but musically less exciting than the standouts. Check out Alpine White if you like Snow Patrol, Arctic Monkeys, or Band of Horses. The EP is due out November 1 – learn more here.

Surprise of the week
Science has spoken – what are the catchiest songs ever? Some of them might surprise you…

News
I think this one will be a contender against the Lou Reed/Metallica collaboration for worst record of the year. Listen to William Shatner covering Black Sabbath here.

It has been a long time since we’ve heard from Alien Ant Farm (remember their awesome cover of Michael Jackson’s “Smooth Criminal”)? I’m looking forward to the new record from these guys due early 2012. Details here.

Def Leppard discusses the state of music business: "The music industry went from being an art form to a business, and then to an industry." Read more here.

Butch Walker autobiography details here.

It’s confirmed: Jani Lane died of alcohol poisoning. Story here.

Rooney frontman Robert Schwartzman has announced the release of a new solo album and a supporting tour this fall.

And finally, in memory of Steve Jobs – a man who changed the face of the music business as much as he did computers.

Random iPOD song of the week
The Jayhawks – “Blue”

Reminder: we’re now on Twitter! Follow us for even more updates, news, and reviews!

Review: 7 Months Later “Time To Decide”

2011-10-07T06:00:00.000-07:00

Rock/Post punk
Cross Fall Out Boy with Green Day and you’ll get the Orlando based band 7 Months Later. The foursome has just released their new record, “Time To Decide”, which follows their 2009 debut EP, “By The Light”. The latest release contains eight songs that try to establish 7 Months Later as a unique outfit within the overcrowded post-punk genre.

Nothing is overtly wrong with anything, but nothing really stands out of the crowd either. But these guys are young (we can’t even call them 20-somethings yet!), so they have a lot going for them – they are making significant headway during this early stage of their career, so with some more experience I am confident that more remarkable songs will emerge. Some of the highlights to enjoy on “Time To Decide” include the driving opener, “Outlines”, where the lead vocals match Billy Joe Armstrong (Green Day) so precisely it nearly sounds like an imitation, and the engaging energy of “Faster Faster”. Songs like the acoustic ballad “All Out” showcase another side of the band that was refreshing to experience. Evolving from songs like these will surely equate to big success for this upstart band.

7 Months Later will appeal to fans of Reliant K, Jimmy Eat World, and Blink 182.

7 Months Later – Official site.

Review: Mike Tramp and Rock N Roll Circuz “Stand Your Ground”

2011-10-06T06:03:00.000-07:00

Melocid rock/AOR
After recently launching a reunion record of sorts for his old band White Lion, Mike Tramp returns this year with a new solo effort with his backing band, The Rock N Roll Circuz. Comprised of Soren Andersen (guitar), Claus Langeskov (bass), Morten Hellborn (drums) and Emily Garriock (backing vocals, keyboard and percussion), the Rock N Roll Circuz complement Tramp’s songwriting style and vocals perfectly, delivering a sound that is sure to please old school fans as well as younger rockers.

Tramp’s previous solo efforts have typically been mixed affairs, but they have been steadily getting better with each release. I think “Stand Your Ground” may rank among his best yet. This record is filled with consistently awesome tunes that are bursting with memorable hooks and sing-a-long choruses. I didn’t expect it going in, but “Stand Your Ground” is easily in the running for best melodic rock record of the year. There are so many good songs to highlight, so don’t neglect certain tracks just because I didn’t mention them.

After a reasonable beginning with an arena-ready encouragement anthem, “Don’t Let Them Put It On You”, the record kicks into high gear with a sizzling set of melodic rock goodies. “Alright By Me” features a classic Tramp chorus – the kind that could have been found on White Lion’s “Mane Attraction” album. The mid-tempo song “Distance” has immediate likeability with relatable lyrics and an earnest vocal from Tramp. An excellent ballad is found in “Straight From The Look In My Eyes”, which offers up one of the best choruses on the album. “Got Me Crazy” is an affable rocker about life’s trials and tribulations. “Prettiest Girl” is a silly little love song, but it’s undeniably catchy. The rocking “Say What You Will” is another highlight with a driving beat escorting you to another terrific chorus.

Mike Tramp is back in a big way with a fresh modern sound and a plate of memorable melodies - don't miss this one!

iPOD-worthy: 2, 3, 4, 5, 6, 9, 10

Mike Tramp – Official site.

The Best Albums You Never Heard

2011-10-05T05:41:00.000-07:00

By Kurt Torster

Sugarbomb “Bully” (2001)

I’ve always been something of a pop-head. I guess it came from being raised on AM radio back in the 70s, where the worlds of ABBA would collide with the likes of Kiss, and no one thought it strange in the least. Even when I was a “rocker” by day, listening to Led Zeppelin or Pink Floyd, by night I was listening in secret to the Bee Gees and the Bay City Rollers. I was always more of a McCartney and not Lennon guy. Give me those silly little love songs any day.

As I skated through the 80s, bouncing between Iron Maiden one day and Journey the next, I was dragged into the 90s and, while I might have been late to their party, discovered the band Jellyfish. It really did shake the foundations of my musical base. Suddenly, here was a band that was not only afraid to cite someone like the Carpenters or Badfinger as influences, they did so quite proudly by covering their songs in concert. While the rest of the world was nursing the mediocrity of the hair metal hangover, Jellyfish were busy attempting to craft the perfect intelligent pop song and succeeding, even if no one was listening at the time.

That discovery also set me on a course of finding bands that shared their vision of a pop utopia. I came across many albums, both old and new, that I still treasure to this day, but none more so than “Bully” from the Dallas band Sugarbomb. Taking equal bits of the grandiose of Queen, the orchestration of Electric Light Orchestra and the brilliance of Supertramp’s pop sheen, it has become the kind of album I love as much from the first listen as I do on the thousandth. Like the best classics, each time out brings new bits that you didn’t catch before and remains fresh to this day, some nine years on.

Oddly enough, the band was dropped by their label RCA as their single “Hello” was denting the lower reaches of the chart, thanks to its placement in the film Van Wilder. The album had the really unfortunate timing of being released two weeks after September 11, 2001 and a world that was bordering on happiness was thrown into years of despair then hope and eventual recovery. There just wasn’t a place at the time for happy go lucky pop.

There were so many potential hit singles here, from the bouncy power pop of “What A Drag” to the balls out rock of “Clover” and “Gone” to amazing harmonics of my favorite song on offer, the very Queen-like “After All.” I wonder if everyone might have been better served to put the album back on the shelf for a year or so while the world sorted itself out.

I was lucky enough to get a CD with a handful of songs that would have made up the next album and these guys were definitely on to something. But, nothing ever became of it and I have no idea what happened to the foursome after. Even Google searches turn up very little other than glowing reviews of people who share my unyielding passion for this set. Considering the price it currently fetches on Amazon, this would be the best $1.52 you ever spent.

Review: My Pet Dragon “Mountains and Cities”

2011-10-04T08:33:00.000-07:00

Pop rock
We last heard from My Pet Dragon back in April 2010 when we reviewed their excellent maxi-single, “Lover In Hiding” (see review here). Now they are back with a new full-length album entitled, “Mountains and Cities”, which happens to feature “Lover In Hiding”. The band started as a duo consisting of New York singer/songwriter Todd Michaelsen and Indian dancer/actress Reena Shah, but has since blossomed into a five piece outfit. The early buzz helped to recruit Stevo George (the original drummer for Ministry) to produce the record.

I absolutely love the vocals of Michaelsen – soft yet soaring, this guy has a beautiful pop rock tone and keen instincts for what to do with the lyrical line. Moreover, the group never seems to miss placing in plentiful harmonies and backing vocals in an attempt to raise the hairs on the back of your neck. In terms of the songwriting, “Mountains and Cities” has its peaks and valleys, but the peaks are quite an experience. Opening track “Majestic Lovers” certainly lives up to its grandeur, easing itself into your ears where the sweet sounds of Michaelsen will lift you right out of your seat. The chorus is mesmerizing with its hook and harmonies, reminding me of Keane at their best. “Moonshine” picks up the pace and proves to be a fun and memorable ride, fitting the celebratory lyrical content. “Love Anthem” contains distorted vocals in the verses and some other experimentation that just doesn’t work for me – the Radiohead-like chorus is pretty great, though. “U R” returns to the affable upbeat sound with 80s overtones I find appealing. Other highlights are squeezed onto the end of the record in the gorgeously peppy “Songbird” and engaging title track.

I’d recommend My Pet Dragon for fans of Muse, Coldplay, and early Radiohead.

iPOD-worthy: 1, 2, 5, 8, 11, 12

My Pet Dragon – Official site.

Check out the video for “Moonshine”

My Pet Dragon "Moonshine" from My Pet Dragon on Vimeo.

Classic melodic rock CD of the week

2011-10-03T05:52:00.000-07:00

By Stephen Kasenda

GREAT WHITE “…Twice Shy” (1989)

The fourth album, "...Twice Shy", strengthened Great White's position by claiming double platinum in 1989 thanks to their huge hits, "Once Bitten, Twice Shy" and the ballad, "The Angel Song", which raced the ladder of Billboard Hot 100 back in the days. Musically, Great White stripped down most of their rocking tracks and introduced a more laid-back release compared to their prior albums, but tracks like "Move It" or "Baby's On Fire" still rolled highly, rocking with style, and Mark Kendall's soulful solos with Russell's roaring vocals were paired perfectly.

"House of Broken Love", a bluesy ballad with such a passionate intro tells the story about a failed relationship from both Kendall and Russell's point of view. The emotion he poured into his singing is just flawless, and this track is definitely one of the best they ever made, but I always have a thing about Great White's ballads - they really know how to make a great one. The Ian Hunter cover, "Once Bitten, Twice Shy", is another hot track for the money. These tracks alone make the album worthwhile. I have to admit that despite the commercial success, this album has too many fillers, including the unnecessary "Heart The Hunter" and "She Only".

"…Twice Shy" isn't really essential since you can find all the great tracks in their greatest hits compilation except for the piano ballad, "The Angel Song". But if you like a relaxing rock and roll show with ballads for the cold and lonely night, this album can be bought cheap easily, so grabbing one won't cost you any harm.

Read more of Stephen’s features at MetalMusicArchives.

Odds and Ends

2011-10-01T05:21:00.000-07:00

Each week I use this space to post some mini-reviews, cool tracks, random thoughts, neat news, or whatever else I damn well please.

MiniReview

Fallon Cush “Fallon Cush” – Fallon Cush is otherwise known as Steve Smith, a singer/songwriter from Australia. He and his band breeze through the 11 tracks on their eponymous debut, delivering an array of generally mellow and bright acoustic folk rock with 80s overtones. Most of the tracks don’t quite have a sharp enough hook to maintain my attention, but every once in awhile there is a needle in the haystack. For example, the upbeat drums, jamming organ, and fiery guitar solo make “Where You Been” stand out like a sore thumb among the other tracks – and that is a good thing in this case. “Where You Been” is easily my favorite track – I wish there were more songs like it. “The Great Divide” is another winner, boasting shimmering guitar tones, a memorable chorus, and effective backing vocals. “Dog Day Afternoon” and the pleasant “Over Me” are also worth a spin. Recommended if you enjoy Neil Nathan, David Mead, or Grapes of Wrath. Learn more about Fallon Cush here.

Surprise of the week
And the new lead singer for INXS is…(click here)

News
Cast is back! The legendary underground indie pop group fronted by singer John Power will return with their fifth album of new material, on the heels of the 15th anniversary of their debut. More info here.

Golden Bloom has released a new music video for "Rhyme the Reason". The song is available on Golden Bloom's latest EP, "March to the Drums".

Golden Bloom "Rhyme The Reason" from Alicia J. Rose on Vimeo.

Hope you got to see R.E.M. live while you had the chance – looks like there will be no reunion tour. Read the story.

At least there will be a new R.E.M. retrospective arriving November 15 called “Part Lies, Part Heart, Part Truth, Part Garbage, 1982 – 2011” which will contain three new songs: "A Month of Saturdays," "We All Go Back To Where We Belong," and "Hallelujah". More info here.

Tony Bennett beats a record held previously by Bob Dylan.

New Aerosmith as early as March 2012? This would be the long-awaited follow up to 2004’s “Honkin’ On Bobo”. Details here.

New Daughtry coming November 21st – “Break The Spell” will be his third album. More here.

Random iPOD song of the week
“It’s A Sin” by the Pet Shop Boys

Reminder: we’re now on Twitter! Follow us for even more updates, news, and reviews!

Review: Chickenfoot “III”

2011-09-30T06:47:00.000-07:00

Rock
Sammy Hagar’s supergroup vehicle Chickenfoot is back with their second record called “III”. Didn’t some other band in Hagar’s history release a record of that same name? Hmmm…anyway, “III” is the follow up to the self-titled debut from 2009 (reviewed here). It is nice to see these veterans of rock out of the coop and ready to take another swing at saving rock and roll. For the uninitiated, Chickenfoot is composed of one half Van Hagar (Sammy Hagar and Michael Anthony), guitar wizard Joe Satriani, and Red Hot Chili Pepper drummer Chad Smith.

“III” is one of those records we would refer to as a “one-sider” back in the day. If these ten (actually 11) songs were split on an LP, the first half would clearly be the superior one. Seriously…the first half of “III” really brings it. The album rips into high gear with the sultry guitar power of “Last Temptation” – lush with power chords and crunch, this song is a comfort zone for Hagar’s impressive roar. The party continues with the sing-a-long “Alright Alright”, featuring great harmonies from Anthony that induce Van Hagar flashbacks. But “Different Devil” is probably my favorite track. While slower in pace, the song is beautifully written and performed – would have been a huge hit back in the 80s. “Up Next” cranks things back up and is one of those songs where the verses are actually better than the chorus.

What makes the first half of the record work so well is that the guys wrote great hooks into the songs. That really can’t be said of the second half, which is more aloof and experimental with exception of an arena ready standard in “Big Foot”. “Come Closer” is a fairly nondescript ballad that even the well done harmonies cannot save. “Three and a Half Letters” is an interesting piece, with spoken word verses and a simplistic chorus. I like the concept of the song, which features timely lyrics about the unemployment rate, but there is something incredulous about Cabo Wabo dwelling Hagar singing “I Need A Job”. “Something Going Wrong” is another tune that just didn’t live up to its promise – an acoustic-based track from these guys was a pleasant surprise, but there just isn’t a good hook to be found here.

The band called their second record “III” because they claim, with irreverent immodesty, it is too good to be a sophomore release. “III” is certainly better than the debut in my opinion, but not that much better…”II ½” would have been more appropriate. While all the guys sound in top form, the MVP is clearly Satriani, who makes guitar solos sexy again.

By the way, I got the deluxe edition which contains a cool DVD about the making of the record. It is also worth splurging for since it is printed in 3D. It comes with 3D glasses so you can view the eye popping cover art and photos of the band members – really wild!

iPOD-worthy: 1, 2, 3, 4, 8

Chickenfoot – Official site.

Check out the video for “Big Foot”

Review: meyerman “Who Do You Think You Are”

2011-09-29T06:36:00.000-07:00

Pop rock/powerpop
The brainchild of guitarist and vocalist Theo Meyer, the meyerman raises the ante on the quality of modern powerpop to spring out of New Jersey. Along with his bandmates, Jeff Preischel on bass and vocals, Mike Eckhart on lead guitar and vocals, and Rob Barden on drums, these guys prove you don’t need facial hair, tattoos, or ironic T-shirts in order to rawk. The record is so consistently good, and band chemistry so electric, that it’s hard to believe ““Who Do You Think You Are” is a debut album. Bolstered by the production talents of Kurt Reil (Grip Weeds, The Smithereens), “Who Do You Think You Are” makes it evident that meyerman thinks they are bona fide rock stars.

Relying on the tried and true method of encasing a sweet center with crunchy power chords, meyerman cook up all kinds of ear candy. One of the themes explored on the record is music and the music business itself, underscoring the commitment these guys have to their craft – music is truly in their blood. Meyer’s vocals are modestly scratchy with a nasal delivery, making the band sound like The Thornbirds or even Enuff Z’Nuff at times.

The band sets the stage with a "ready to rock" intro that surely kicks off their live set as well. Then they dive straight into earnest pop rock with the memorable “Permission To Rock You” before coming up with the most radio-friendly serving on the record, “Get To You”. “Tour Of Japan” is sure to be on the playlist of any musician. “New Direction” is another astute satire parodying the music biz, but the song features such delectable melodies that it will find universal appeal. Meyerman doesn’t slow things down much, but they do a good job of it when they do…check out “Indecision and Inertia”. The CD continues to end strong with a trio of snappy tunes including “Metalface” (love the reference to the Quiet Riot mask), “Bitter End”, and “Elephants”.

Catchy riffs, spot on harmonies, and sugary melodies – what more could you want? “Who Do You Think You Are” is a nonstop thrill ride from start to finish. I can’t see how this one can’t make my best of 2011 list.

iPOD-worthy: 2, 3, 4, 8, 10, 11, 12, 13

meyerman – Facebook

The Best Albums You Never Heard

2011-09-28T05:56:00.000-07:00

By Kurt Torster

Nine Days “So Happily Unsatisfied” (2002)

I think just about anyone my age would call the decades of the 90s/00’s a vast musical wasteland. Sure there were exceptions, but overall, the mainstream continued to get further flushed down the crapper. So leave it be to me to come across one of the great undiscovered rock albums from a band that might have been considered to be part of said wasteland.

Nine Days will always be looked at as nothing more than a one hit wonder, with their “Absolutely (Story Of A Girl)” propagating many a “Now That’s What I Call Music” type compilation.

Sure, the follow up single, “If I Am” did a minor bit of chart damage but it’s doubtful many remember this one.

So with a moderately successful major label debut under their belt, the band set out to record their second for Sony and then were promptly dropped and the album left to sit around unreleased.

I have to wonder what the people at the label were thinking when the band handed in the tapes for this one. Even as I listen now, this set holds up remarkably well and if one didn’t know any better, could easily have thought it came out yesterday (well, minus a reliance on stuff like auto-tune).

With a sound that now resembles what Train might sound like if they were a Green Day cover band, it’s everything a fan of anthemic rock would want. Big, bold and loud with choruses made to be sung along combined with a handful of introspective (yet never plodding) ballads, this album is close to the top of my “WTF was the label thinking?” chart.

What easily could have been mined for hit after hit, songs like “Good Friend,” the infectious “Emily,” the poptastic “The Joneses” and the amazing epic “Ocean” should have taken this band multi-platinum alongside their similarly sounding brethren Matchbox 20.

Looking back to 2002, music was trending more towards the forthcoming decade chart dominance of American Idol and hip-hop. With Nickelback being the only rock band in the top 10 for the year, it might have been one of the many periods of “experts” proclaiming yet again...rock is dead. But, with a little scratching at the surface, albums like this were easily uncovered and this was actually one of my favorite musical time periods. I found so many great bands that for the most part remain undiscovered, and will give me endless writing fodder.

As opener, “Favorite Song,” prophetically stated, “What if everything you had, was like a castle made of sand, would you open your hand or hold on tight?” Who knew they might have talking about their own career?

The band has since released a handful of excellent EPs and seems to have fractured into a set of solo acts. Since it remains unreleased, the band offers this album for free (yep, free!) in high quality downloads over at their site, www.ninedaysmore.com. So, really, now you have no excuse.

Review: Canon Logic “Rapid Empire” [EP]

2011-09-27T05:53:00.000-07:00

Modern rock
Canon Logic is a modern rock quintet comprised of guitarists Mark Alu and Josh Greenfield, bassist Sean Enright, drummer Zach Jordan, and frontman and principal songwriter Tim Kiely. Their new five song EP, “Rapid Empire” was released on August 30, 2011 via Engine Room Recordings. The EP follows their debut full-length effort, “FM Arcade”, from 2010, which has been hailed as “an eclectic album of powerfully catchy pop songs”.

I’m primarily hearing a lot of influence from The Killers in Canon Logic, but also hints of ELO, Blur, and The Decemberists. You can get “Howl in the Night” for free below, but the real standouts for me are “Sirens”, the title track, and “Dungeon Fallout”. Kiely has a soaring voice reminding me of the sound of Keane, but it is lifted to even greater heights with bellowing harmonies and toe-tapping rhythms throughout. Great attention to detail can be found in the arrangements of these tunes and the end result is five highly satisfying tunes that will move you lyrically and musically. Don’t miss this EP if you like any of the aforementioned bands.

Canon Logic – Facebook

Download “Howl in the Night” for FREE:

Classic melodic rock CD of the week

2011-09-26T04:31:00.000-07:00

By Stephen Kasenda

STEELHEART “Tangled In Reins” (1992)

Steelheart was heralded with explosive fame after their big international hits, “I’ll Never Let You Go” and "She's Gone" spread like crazy across the planet. "Tangled In Reins" was their second attempt to emulate the debut's success. Although the effort wasn't very fruitful, Steelheart secured a safe position in the Asian region with their sophomore ballad, "Mama Don't You Cry", which conquered many charts there. This album's style is sleazier and catchier but slightly inferior in song quality compared to their debut.

"Loaded Mutha" was given the chance to open the album…this Whitesnake-ish track puts Matijevic's magical vocal to the front. A great track but the next one is even better: "Sticky Side Up" is definitely a party soundtrack - just check out the naughty words of ‘watches me drown in your lovin' cup', as the music arouses to make you bang your head. "Late For The Party" and "Dancin' In The Fire" are in the same vein and both are also my fave tracks. "Love 'Em And I'm Gone" copied Dr.Feelgood's groovy rhythm and overall is a good track, while "Steelheart" contains one of Matijevic's insane screams. "Mama Don't You Cry" is a touching ballad dedicated to his mother, and I love how the emotion is pouring down like a hard rain…such a beautiful tune.

A very good album and probably their last greatest piece before Matijevic was involved in a tragic accident while performing live. The comeback album is far from the first two, and although not as great as the debut, "Tangled In Reins" is a worthy buy in my book.

Read more of Stephen’s features at MetalMusicArchives.

Rare CD: Black Stone Cherry "Rock' n Roll Tape"

2011-09-25T11:51:00.000-07:00

Black Stone Cherry - Rock' n Roll Tape / 10 Track Privatpress. Melodic Hardrock CD Mega rare New!

Absolute Super rare Hardrock CD!

Released in very small item!

Personnel:
Chris Robertson Vocals, Guitars, Slide Guitar
Ben Wells Guitars, Electric Sitar, Background Vocals
Jon Lawhon Electric Bass, Background Vocals
John Fred Young Drums, Percussion, Background Vocals

Tracks:
01. Redneck
02. America
03. Under The Sheets
04. Amen Nation
05. Drift Away
06. Silver Smiles
07. Sissy Bitch
08. Walkin'
09. Sunrise
10. Blame

Label: Black Stone Cherry Records 2003

(Long Time Out of Print!)

Sold for $285 on ebay.

Rare CD: Nirvana "Pennyroyal Tea" single

2011-09-25T11:44:00.000-07:00

NIRVANA: Pennyroyal Tea CD single
one of only a handful that hit the markets

This is the German version, with no IFPI-code. As you can see from the pictures, the matrix is as it should be: SONOPRESS I-2211/GED21907 A 2

"Nirvana"- text on spine is yellow, as it should

The story goes: a bunch of these saved from the garbage bin by a guy who the sold them on flea market places in Helsinki, Finland.
I bought this some time ago from a girl, who got this from her father, who originally got his from the original guy saving these.
So, the story is quite similar to what happened in Sweden at the same time. I know 100% sure that some of these were also sold directly in eastern Finland record stores.
Were they sold regardless to the command to destroy them, or accidentaly in advance, is unsure.

Sold for $525.00 on ebay.

Rare CD: Bruce Springsteen "In the Midnight Hour"

2011-09-25T11:38:00.000-07:00

Bruce Springsteen "In the Midnight Hour" promo 2CD set sells for $1,150 on ebay.

Odds and Ends

2011-09-24T05:10:00.000-07:00

Each week I use this space to post some mini-reviews, cool tracks, random thoughts, neat news, or whatever else I damn well please.

MiniReview

House of Lords “Big Money” - House of Lords debuted in 1989 with the release of the self-titled album, a record which is still regarded as one of the best arena rock releases of the 80s, up there with frontrunners like Whitesnake, Deep Purple, and Van Halen. The band has a varied and spotty catalogue ever since, with frequent lineup changes and oscillating musical styles to match. Some releases are downright catchy arena rock whereas others are less melodious prog rock. This month the band will add “Big Money” to its discography, which feels like a blend of their mixed melodic and prog rock past. The trademark vocals of James Christian sound finer than ever, and he is surrounded by updated guitar sounds and pounding beats. James teamed up again on the songwriting with long-time friend and partner Mark Baker along with the other band members Jimi Bell and BJ Zampa for this release. While “Big Money” rocks through and through, several of the tunes are overly long and burdened with less than compelling riffs. Standouts include “First To Cry”, “The Next Time I Hold You”, “Run For Your Life”, and “Once Twice”. More info on House of Lords can be found here.

Surprise of the week
Motley Crue guitarist Mick Mars is recording with latest American Idol winner James Durbin. Get the scoop here.

News
R.E.M. has broken up. Hard to believe…read about it from the band member’s perspectives here.

New “best of” collection coming from Paul Simon October 24. Details and track listing here.

Get a taste of the Lou Reed and Metallica project, “Lulu” here. It’s only 30 seconds, but confirms my worst fears about this collaboration.

Love this article at Popdose about Survivor’s underrated ballad “Ever Since The World Began” (video below).

INXS have sacked their singer JD Fortune for the second time. Story here.

Where are they now? Colin Hay (Men At Work) released a new video. Check it out here.

Toto collides with Survivor – Kimball Jamison. Debut video!

Random iPOD song of the week
Survivor “Ever Since The World Began” from the album “Eye of the Tiger”

Reminder: we’re now on Twitter! Follow us for even more updates, news, and reviews!

Review: Work of Art “In Progress”

2011-09-23T06:25:00.000-07:00

AOR/Melodic Rock
Frontiers Records is on a roll finding new melodic rock releases to fill up your end of summer playlists. Work of Art is an AOR outfit from Sweden that had its early origins in 1992 when Herman Furin and Robert Sall met while attending the SÖL school of music. They didn’t acquire a lead singer until 15 years later, but Lars Sarfsund, who sounds quite a bit like Joseph Williams (Toto, Vertigo), proved worth waiting for, and all this time gave the boys the chance to really polish their craft. The debut album was called “Artwork” and earned critical acclaim in the AOR community upon its release in 2008, drawing comparisons to genre icons like Toto, Giant, and Journey.

“In Progress” is the heavily anticipated follow up to their debut, and Work Of Art proves they have plenty of hooks left up their sleeves. As before, Work of Art pulls no stops in trying to dazzle the listener with driving guitar licks and lofty keyboards. Overall, “In Progress” is a dead ringer for 80s-era Europe if you ask me, with a smattering of tasty prog rock thrown in now and then.

“The Rain” is quite the tempest – a stewing pot of sweeping melodies swirled with slick guitar riffs and in-your-face keyboards. “Nature Of The Game” keeps the high octane pace full throttle with another keeper of a chorus. The boys shake the mood up a bit with the mildly darker “Once Again”, but the moody verses lead us to the type of sugary chorus that made Giant so huge. “Never Love Again” is one of my favorites on the CD – upbeat verses propelling you to that rewarding chorus once again, augmented with affable harmonies. Punchier guitar churns “Eye Of The Storm”, but the melody sticks right in your ear the first time – and check out those slicing keyboards in the chorus! You’d think a band that could crank out five consecutive excellent pieces of melodic rock would run out of steam, but not so with Work Of Art. Other highlights include the blistering first single, “The Great Fall”, “Emelie”, and “Castaway”, which features a refreshing acoustic verse that lets Sarfsund really strut his stuff.

If you like big keyboard-rich melodic rock with outstanding vocals, Work of Art is the band for you. You’ll feel like it is 1989 all over again!

iPOD-worthy: 1, 2, 3, 4, 5, 7, 9, 11

Work of Art – more info here.

Review: Queen Electric “Queen Electric” [EP]

2011-09-22T05:49:00.000-07:00

Pop rock/powerpop
Queen Electric is the latest project to come from singer/songwriter Scot Sax, who is widely regarded as a hero in the indie pop rock world. Sax has fronted the bands Wanderlust and Feel, each of which has left us with masterpieces of powerpop. Rounding out the Queen Electric trio is Phil D'Agostino on bass and Mike Pietrusko on drums.

Sax has a distinctive vocal tone and a knack for harmonies in the neighborhood of Jeff Lynne and ELO that are front and center on this record, so fans of his earlier work are bound to enjoy Queen Electric. The self-titled debut release is a 7 song EP that offers a little something for everybody. Opener “Gonna Let You Down” serves as a great way to kick things off. One of the more rocking tunes, “Gonna Let You Down” is designed to pick you up and it quickly became my favorite. Things slow down a little too quickly with “As You Make Me Out To Be”, but the Beatles vibe permeating “Maybe You’re Lost” is rejuvenating. “Everything I See” is a pleasant mid-tempo number driven along by a crunchy guitar riff. “Day After Night” has a bit of an island feel with its bouncy piano, jubilant horns, and “wah-oo” backing vocals. The EP closes on a softer note with the beautifully reflective piece, “Happy Where You’re At”, which is my second favorite in the batch.

Queen Electric – Get it here.

Matthew Sweet - FREE EP download

2011-09-21T06:14:00.000-07:00

Review: DanseWolf “Smoke N Mirrors” [EP]

2011-09-20T06:01:00.000-07:00

Rock
Are you tired of waiting for No Doubt to make a new record? The L.A.-based rock and pop trio known as DanseWolf has a little something that will help ease that wait…in fact, they could very well compete for your love of No Doubt.

This energetic six song EP entitled “Smoke N Mirrors” is an absolute thrill ride down the tracks No Doubt pioneered in the 90s. Lead singer Juls D not only channels Gwen Stefani, but throws in a little Blondie to fit in even more snugly with the retro 80s rock belted out by her band, Andy Lagomarsino and Grant Webb. Things kick off with the high octane fever of “In L.A.”, a tune dedicated to their adopted hometown. With retro keys, gang vocals in the chorus, and Juls D swirling vocal, it is one of those tunes that pays homage to a musical past yet retains a modern edge. The title track simmers with excitement too, building up to a gloriously memorable chorus. “I Think Maybe” is another radio-friendly highlight, complete with handclaps to liven the party atmosphere. “Shut You Down” is the power ballad moment, which would have been a standard at many an 80s high school dance. “Love Hate Heartbreak” picks the pace back up with another engaging chorus propelled by cascading drums. And don’t miss the 50’s piano riff that the band brings back from the dead in “Like A Ghost”.

“Smoke N Mirrors” is a triumph and has the potential to appeal to old school pop rockers as well as the youngsters. DanseWolf is ready for the big time…don’t miss this one!

DanseWolf – Official site

Check out a live performance of “Shut You Down”

Classic melodic rock CD of the week

2011-09-19T06:12:00.000-07:00

By Stephen Kasenda

SARAYA “Saraya” (1989)

Formed in 1987 by singer Sandi Saraya and keyboardist Gregg Munier (RIP), the band's name eventually changed from Alsace Lorraine to Saraya and their eponymous debut was released in 1991. Their guitarist, Tony "Bruno" Rey, was formerly in Danger Danger briefly and supplied his guitarworks in several songs on their debut before being replaced by Andy Timmons. Saraya's musical direction is melodic rock, probably closer to AOR. Sandi's vocal is at times comparable to Lita Ford and she's a well-respected female singer with a pacifying and elegant voice.

Their first single, "Love Has Taken Its Toll", received decent MTV rotation back then, but in my opinion, this song doesn’t shine enough to be their number one single because the second track, "Healing Touch" is a better pick. "Runnin' Out of Time" has a sweet guitar lick and roaring rhythm, this is the heaviest tune of the album. "Fire To Burn" is a good rocker though it seems to lack something memorable. "St. Christopher's Medal" is a very good emotional ballad with an uncliched lyric. And the crème-de-la-crème of the album is "Back To The Bullet", a superb song with passionate vocal and heavenly chorus - I can guarantee this song will stick in your head and make you hum for days.

This album has some big moments but also has some low points. The sound production is acceptable and every instrument is pretty clear. The original album has been out-of-print for some time, but they have recently released a remastered version. If you're looking for a good female-fronted melodic rock act, Saraya can be a nice choice.

Read more of Stephen’s features at MetalMusicArchives.

Odds and Ends

2011-09-17T06:45:00.000-07:00

Each week I use this space to post some mini-reviews, cool tracks, random thoughts, neat news, or whatever else I damn well please.

MiniReview

Sebastian Bach “Kicking & Screaming” – The outspoken and always entertaining former Skid Row frontman returns with his latest solo release, “Kicking & Screaming”. As you would expect, there’s no shortage of loud, in-your-face guitar shredding and dazzling solo work. Bach sounds as potent as ever, showing off the full range of his vocal talents through these thirteen tracks, and his lyrics remain sharp. That’s the good news. While “Kicking & Screaming” has plenty of testosterone and muscle, it often lacks the melodic hooks that would make these songs memorable. That is regrettable, because Bach used to write some killer ones. In short, Bach delivers a solid record to pump your fist to, but not much to sing along to. My favorites in the set include “Caught in A Dream”, “As Long As I Got The Music”, and “One Good reason”. Also, don’t miss “I’m Alive” and “Wishin’” – two of the best ballads he’s done as a solo artist – each feature compelling instrumental dynamics and Bach simply nails the vocal.

Sebastian Bach – official site.

Check out the video for the title track:

Surprise of the week
Beam me up, Scotty. William Shatner has covered Black Sabbath’s "Iron Man”, one of the tracks from his upcoming album, "Seeking Major Tom”. Give it a listen and read more details here.

News
For you “die” hard vinyl fans: now there’s a company called Andvynyly that offers a service to turn your cremated ashes into a record. What song would you like to be? Check it out here.

Julian Lennon to release first album in 13 years (his sixth studio album) this October, called “Everything Changes”. Details here.

Check out this explanation of the famous Guns N' Roses video “November Rain” here.

Some classic Bob Seger is finally coming to iTUNES along with a free EP – check it out here.

Will CDs go the way of the dinosaur within five more years? Here is an opinion.

Deck the halls with Scott Weiland (Stone Temple Pilots)? Yep.

Random iPOD song of the week
L.A. Guns – “Never Enough”

Reminder: we’re now on Twitter! Follow us for even more updates, news, and reviews!

Hallo

2011-09-13T02:54:00.001-07:00

hallo

Important news

2011-09-12T08:05:00.000-07:00

We're on holiday this week, but will take this opportunity to remind you of our new Twitter account! Go follow us now for more frequent updates that will keep you informed of the latest music news and reviews for pop rock fans!

Help spread the word!
Keep rockin'!

Odds and Ends

2011-09-10T15:40:00.000-07:00

Each week I use this space to post some mini-reviews, cool tracks, random thoughts, neat news, or whatever else I damn well please.

MiniReview

March Into Paris “Beautiful Chaos” [EP] – Following their 2008 debut “Shield The Dilemma”, this new seven track EP takes the Sacramento band in a new musical direction. The new sound is bigger and bolder, but I can’t say it is all that melodic. The strongest thing March Into Paris has going for them is the powerhouse vocals of lead singer and chief lyricist Jennifer Valdez. Valdez is truly stunning at times and injects true talent and passion into this otherwise pedestrian modern rock band. It is a shame the songs are not as memorable as Valdez’s vocals. One exception where everything comes together perfectly is the track “Panic Room”. More tunes like this – with hooks even bigger than the guitars - is what the band needs. Recommended for fans of Paramore and Evanescence. Check out the band here.

Surprise of the week
Billy Joe (Green Day) gets kicked off a plane because of his low riding pants. The surprise here is that he was flying on Southwest. Read the story here.

News
FREE MUSIC! Check out this 3 song indie rock/pop EP, “This Culture” from Nishwasher. Cool stuff – a little like Soup Dragons. Download it for FREE here.

Last time we mentioned Paul Westerberg had written songs for the new Glen Campbell CD – now here is your chance to hear one of them, “Ghost On The Canvas”.

Hear what is believed to be Jani Lane’s last recording: a song called “Sin” performed with the band Liberty n’Justice – click here. It sounds promising…such a shame.

Nickelback's new studio album is due November 21st and will be called “Here and Now”. The band will also release two singles simultaneously: "When We Stand Together" and "Bottoms Up". Full story here.

Random iPOD song of the week
Dishwalla – “Home” from the album “Opaline”

Reminder: we’re now on Twitter! Follow us for even more updates, news, and reviews!

Review: Stretford End “Letters On Sunspots: Siderevs Nvncivs” [EP]

2011-09-09T06:00:00.000-07:00

Rock
Yeah, my spellchecker went nuts with that album title. But it’s not every day you encounter a record inspired by Galileo and the series of papers he wrote on sunspots. The tragic story of how the Church repressed Galileo and his research to maintain control over the populace encouraged the California band Stretford End to write about the quest for truth. “Letters On Sunspots: Siderevs Nvncivs” is volume one in a series of what will amount to three EPs.

Stretford End formed in 2009, consisting of Alexander Millar on vocals, Joey Jane on bass, and Prentice Daggs on drums. I’m assuming someone plays the guitars – which are front and center - but it wasn’t listed in the information given to me. Leading off we have the lengthy “Drift”, which tries to create an epic atmosphere appropriate to the depth of the lyrical content throughout this EP. It is a mixed success…not bad, but a bit overreaching at this stage in the band’s development. The first single is “The Fates” (video below). Produced by Gus Cryns (The Academy Is, Panic! At The Disco, Foxy Shazam), “The Fates” is a slick slice of modern rock, although it seems to take itself too seriously. The heavy guitars proceed in slow motion, successfully creating a haunting environment. The result is more of a mood piece than a radio ready single. In my opinion, the energetic “Carry On” is the band’s comfort zone and would have been a better choice. The ballad “You’ll Never Know”, a duet with Nikki Simmons, is well done and reminds me of Taking Back Sunday. The EP closes with a great melodic tune in “The Believers”, underscoring the promise Stretford End has as a new force in modern rock.

You should point your musical telescope to “Letters On Sunspots: Siderevs Nvncivs” if you like the post-punk bands that dominated the rock scene the past decade, such as Fall Out Boy and Panic! At The Disco. While this genre seems to be fading out, maybe Stretford End will be able to breathe new life into it.

Stretford End – official site.

Check out the video for “The Fates”

Review: Dexter’s Kin “Dexter’s Kin”

2011-09-08T05:46:00.000-07:00

Pop rock
With influences ranging from the Beatles to Muse, New York City native Paul Benedict has formed a band named Dexter’s Kin (the project was named in memoriam of Paul’s late brother). Paul reflects, “Every song I’ve written has been related to my experiences with family. My brother’s death made such an impact in my life. One way or another he’s influenced my music. It’s the core of who I am saying that I’m Dexter’s Kin.” Paul released a solo EP in July 2009 called “Metamorphose”, which created a modest buzz. He and his comrades in Dexter’s Kin (Bryan Christopher on guitar, Gisel Costa on keyboards, Jason Juliette on drums, and Andrew Lynch on bass), should create even more buzz with their self-titled full-length album.

Dexter’s Kin is an upstart band filled with young players – this has to be kept in mind when listening. While the music would benefit from better production and more natural chemistry between the bandmates, the key thing that I get excited about here is the potential. Benedict can write songs…great songs. I would have recorded them differently, but there is no denying these songs are the basis for some serious hits. Benedict also needs more confidence during his vocal delivery, but his instincts are good regarding where to take the melody. It is also unfortunate that the instrumentation often buries his vocals to near inaudible levels.

Problems aside, listen to the promise in cuts like “Out Of My Head”, “Day Sleeper”, and the Radiohead sounding ballad, “Stay” – excellent song structure, interesting chord changes, and nicely sung. The back half of the CD is just as good, with catchy power pop like “Self Inflicted” and “Fair Share” balancing gorgeous pieces like “Dive”. With the proper resources, I think Dexter’s Kin could be a real force in modern pop rock.

The band will be releasing its highly-anticipated self-titled album in late Summer 2011. Check it out if you like IKE, Abandoned Pools, or Toad the Wet Sprocket.

iPOD-worthy: 2, 4, 6, 7, 9, 10

Dexter’s Kin – Official site.

Check out the video for “Spill Out The Lies”:

The Best Albums You Never Heard

2011-09-07T05:13:00.000-07:00

By Kurt Torster

Harem Scarem “Harem Scarem” (1991)

It’s weird how what has become one of my all-time favorite bands completely slipped under my radar for a few years. 1991 was a weird time in my life where music had taken a backseat to outside forces and my sense of discovery had been replaced by a complacency for whatever was fed to me via MTV (yes, they were still playing videos then). I had stopped buying my bi-weekly fix of Kerrang! magazine, which was my musical bible for much of the 80s, so new music was not high on my list of priorities. Even my monthly shopping trips into the Village in NYC had stopped.

Fast forward a couple of years, past life changing events, and a swelling undercurrent of discovery thanks to friends I had made through that new fangled thing called the Internet. By some point in 1993 or 1994, I had started to trade tapes (yeah, cassettes!) with people all over the world. One particular mix tape had found its way to me from Scotland. Insert tape, side A, press play and the first song that came out was “With A Little Love,” and I know it sounds cliché, but it changed my world.

At this time frame of the decade, about all I was hearing of late were bands like Nirvana, Soundgarden and their ilk. Suddenly though, with one simple song, I was catapulted back to my first (and still strongest) musical love. Taking equal parts of 80s arena rock (like Journey and Def Leppard) blended with late 80s hair metal (lots of Extreme and Winger), it was really like nothing I had heard in years. I drove out that day and hit all my favorite import haunts until I found not only their debut but the follow up, “Mood Swings.”

But that one little song, and eventually the entire album, re-lit my flame of discovery and led to my starting of a promotional website and company, SFK (which ran for almost 12 years), where like that mix tape, allowed me to share with the world all the great music that might be slipping under other’s own personal radars thanks to the mainstream musical wasteland that was the 90s.

That was only one song too. The rest of the album had so much more. Whether you felt like rocking your own arena to “Hard To Love,” “All Over Again” or “How Long” or taking it easy to acoustic power ballads like “Honestly” and “Something To Say,” it makes me wonder how this album didn’t sell millions. And, considering the band only seemed to get better more diverse with each outing, the mystery just deepens. In melodic rock circles, the band are still gods, with their cult-like following snapping up everything the foursome touch.

Nowadays, the members own one of Canada’s biggest recording studios and do a lot or work for Canadian Idol. Smokey voiced singer Harry Hess also released a great hard rock album last year under the name of First Signal (read our review here) while guitarist Pete Lesperance, who could stand his own with guys like Nuno Bettencourt or Brian May, had some minor chart success with his new band Fair Ground.

Maybe it was all in the timing. As this album was released, a wind known as grunge blew through and, well, you know the rest. Shame we couldn’t turn the clock back just a little bit and let them be big on their own terms.

Review: Bear Lake “If You Were Me”

2011-09-06T05:31:00.000-07:00

Rock and pop
Driving between downtown Detroit and then through some of the affluent suburbs provides a sharp contrast in how people live. Spending time between these disparate areas is a source of inspiration that finds its way into the songs written by Michigan band Bear Lake. Bear Lake happens to be the place they travel to in Grayling, Michigan to write their material. As a result, the music is generally atmospheric and tranquil. If you are a fan of shows like One Tree Hill, Bones, or The Gates, chances are you’ve already heard some music by this band.

The sound of Bear Lake is quite contemporary – somewhere between Coldplay and Keane – with some experimental keyboard effects thrown in that probably get mixed responses. I could do without the electronic noises and personally think the band sounds best when these elements are not incorporated. One if the most striking things this band can boast of are the vocals – they have warmth and charm that fit perfectly with the airy songs, but show their teeth on the heavier numbers. Opening tune, “It’s Over”, surrounds an infectious riff with dazzling harmonies, serving as a fine introduction to the album. Most of my favorite songs cluster at the back end of the CD, such as the acoustic-driven pop of the title track and the nostalgic “We Were The Young”. The peppy “Tonight Is On Your Side” is another thrill ride, but the moodier hooks in “Breaking Me Down” were built to last.

Bear Lake is recommended if you like Keane, Band of Horses, or Snow Patrol. Head over to their page now and get a free download code.

iPOD-worthy: 1, 3, 8, 9, 11

Bear Lake – Official site.

Odds and Ends

2011-09-03T12:16:00.000-07:00

Each week I use this space to post some mini-reviews, cool tracks, random thoughts, neat news, or whatever else I damn well please.

MiniReview

Xorigin “State Of The Art” – Frontiers Records has done a superb job this year keeping the flame of the melodic rock genre alive and well. They’ve put out terrific contemporary AOR records from Toby Hitchcock, Work Of Art, Airrace, and more, and now we have Xorigin to add to that fine collection. Xorigin is influenced by Giant, Toto, Foreigner, and Yes, and features AOR veterans Johannes Stole (vocals, keyboards) and Daniel Palmqvist (guitars, The Murder of My Sweet). Standout tracks include the fighting anthem “Can’t Keep Running”, “Crying For You”, and the harmonious mid-tempo rocker “The One For Me”. “In The Blink Of An Eye” is a grand power ballad in the REO Speedwagon tradition. Very little filler on this one, so be sure to check it out if you miss the 80s melodic rock heyday. More info on the band can be found here.

Surprise of the week

Lou Reed made the guys in Metallica cry. Here’s why.

News

Cruise on over to the web site for The Tonighters and grab three of their EPs for FREE! Masterminded by UK musician Billy Gilbert, the Tonighters incorporates elements from his extensive background in diverse musical areas ranging from power pop to punk. Awesomely catchy pop rock here, with some of my favorites including “Sad Forever” and “Down To One” from “Closet Classics Volume I”, “How Am I Supposed To Let You Go?” from “Closet Classics Volume 2”, and “Finish What You Started” from “Trivia Melodies”. With a total of 10 tracks, you are bound to find something you’ll love.

Get the free downloads here (if all used up, wait until Sept 7).

And be sure to “Like” them here.

Both amazing Jellyfish albums are being re-issued on vinyl only – details here.

New CD of Aerosmith rarities coming soon! Track list can be found here.

Producer Jack Douglas says that the new Aerosmith is due May 2012 and will be “nasty and raw” – kind of like those chicken fingers I ordered at Pizzeria Uno. Read about it here.

Next to jump on the covers album bandwagon: Scott Weiland. Details here.

The new Chickenfoot video, for lead single “Bigfoot”

What are the guys from the Replacements doing now? Well, Tommy Stinson just released a new solo record and Paul Westerberg contributed to the latest record by Glen Campbell. Details here.

Random iPOD song of the week

Sinead O’Connor does a brilliantly endearing rendition of this wonderful song originally performed by Elton John. This track appeared on the 1991 Elton John Tribute album, “Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin”

Review: Graham Colton “Pacific Coast Eyes”

2011-09-02T04:59:00.000-07:00

Singer/Songwriter

I was very eager to hear this new one from Graham Colton, who blew me away with his 2007 effort “Here Right Now” (review here). Colton is a pop rock artist from Oklahoma with an excellent track record harking back to his early days fronting The Graham Colton Band. After several EPs, he’s back with his second full-length solo release, “Pacific Coast Eyes”. Most people would recognize Colton through his American Idol connections – he toured with and dated Kelly Clarkson and provided the exit song for the show (“Best Days”).

“Waiting For Love” is classic Colton, offering a radio friendly hook and bright production that just makes you feel all warm and pleasant inside. “1981” is just fantastic – a catchy upbeat rocker that is beautifully sung, with lyrics that stir nostalgic emotions. “Graceland” is a tender folksy duet, and even better is the contemplative piano-driven piece, “Twenty Something”. He continues tickling the ivories on the feel good love song “Everything You Are”. The album then plummets into mediocrity, but closes fairly strong with an affable ballad called “A Day Too Late”.

Among the swings and misses is the sleepy opener, “Love Comes Back Around”. And with its near spoken-word verses and breezy vibe, “Pacific Coast Eyes” strives too hard to be like Train, and it just doesn’t work for me. Many others seem to like it, though, and it is the first single. And despite excellent production and wonderful singing, most of the other tracks are just too generic to get excited about. All things considered, “Pacific Coast Eyes” is another fine feather in Colton’s cap, but not the one people are going to remember the most. Recommended if you like Matt Nathanson, Train, or Ingram Hill.

iPOD-worthy: 2, 4, 6, 7, 12

Graham Colton – Official site.

Check out the video for the title track:

Review: The Jennifers “Well Intentioned World”

2011-09-01T06:19:00.000-07:00

Indie pop and rock

Pulling talents from a spectrum of noted bands including The Hated, Berserk, and Garage Sale, The Jennifers can be considered a supergroup of sorts. This modern indie pop outfit is comprised of John Irvine (guitars/vocals), Skizz Cyzyk (drums), Joe Stone (guitars/vocals), and Ed Wade (bass). The band has been a staple in Baltimore’s underground pop scene since the mid 1990’s.

Their new record, “Well Intentioned World”, is the first on the Baltimore-based indie pop label The Beechfields – a label that has exquisite taste in musical talent. Sounding like XTC on ecstasy, or Teenage Fanclub heading into their early 20s, The Jennifers is an indie pop dream. Propelled by the feisty drumming of Cyzyk, the eleven songs on this album prove that you can groove to heady lyrics. And while the indie spirit is adverse to that slick pop sheen, the band certainly isn’t opposed to crafting catchy melodies. “Roses” comes storming out of the gate with a rollicking drumbeat punching up clever phrases such as “You’re in the real world, but the world is reeling” - and the groovy change of pace mid-song adds a dynamic that makes this song one of the early favorites. The title track is just as good, thumping along with a retro Talking Heads feel. “Around the World” reminds me of Echo and The Bunnymen…after they drank a case of Red Bull. “Elephant Heart” is terrific pop confection too. There are a couple missteps – such as “Sunshine”, which has such a fuzzy vocal that it grates the ears - and there is a lull in the action with a number of slower, less tuneful pieces after that. However, the record ends strong with cuts like “Simon Says” and “150,000 Things”.

iPOD-worthy: 1, 2, 3, 5, 10, 11

The Jennifers – Official site.

Changes!

2011-08-31T09:32:00.000-07:00

We've got a new name! Bill's Music Forum (BMF) is now called "Now This ROCKS!". Note the new URL and spread the word. Bands - if you've linked to us from your web site, please make sure to change your URL.

We're also on Twitter now @Now_This_Rocks. Facebook fans - click on the badge on the right.

Sheri Miller “Winning Hand” [EP]

2011-08-31T05:53:00.000-07:00

Singer/Songwriter

New Yorker Sheri Miller has music embedded in the very fabric of her DNA…her mother was an opera singer and classical pianist and her uncle a recording engineer. Despite her young age, she has already paid a lot of dues working as a solo artist in the Big Apple and constantly honing her craft by relentlessly writing song after song. She released a critically acclaimed album in 2008 called “Mantra”, giving her the buzz needed to recruit big players for the recording of her latest EP, “Winning Hand”.

Miller wowed producer Kevin Killen (whose credits include U2 and Peter Gabriel), and assembled other notable musicians to support her new album. Her hard work, coupled with her genuine gift for singing, makes “Winning Hand” a winner indeed. The new EP sparkles with bright and peppy tunes radiating with sunshine, containing lyrics so sweetly clichéd that they would even make Colbie Caillat puke. But truth is, the music is so catchy that you almost fail to notice – or no longer care – about the lyrical shortcomings. The ukulele-seasoned “Spoons” is the hit song Colbie Caillat has been struggling to write – a tune that stirs together shimmering acoustic guitars with an infectious melody. “Satellite” is another highlight with one of the most memorable choruses I’ve heard all summer – it will be in your head for days. “Everybody Feels This Way” follows a similar pattern, but Miller shows she isn’t one-dimensional with “Hungry For The Truth”. This closing track isn’t as catchy, but the haunting verses provide an interesting dynamic on the EP.

I love the organic feel that permeates Miller’s style of pop. Her honesty leaps off the record and the music goes down easy. “Winning Hand” is pure joy, and I hope that Miller has an ace up her sleeve to dazzle us once again. Recommended for fans of Sheryl Crow, Anna Nalick, and yes, Colbie Caillat.

Sheri Miller - Official site.

Here is Sheri Miller performing “Spoons” live:

Review: Forty Winks “Bow Wow”

2011-08-30T06:31:00.000-07:00

Indie rock

Italy’s premiere indie rock band Forty Winks is back with their third record, “Bow Wow”. Since 2001, these guys have been touring relentlessly and honing their sound – rooted in the Italian rock scene but incorporating a multitude of other diverse influences. In their words, “Bow Wow” fuses together Elvis Costello like rock, Helmet’s heavier edge, and Bowie’s primordial irony”. Lead singer Sandro Amabili continues, “We’ve stopped worrying about fitting into a specific genre or sounding a certain way. 'Bow Wow' is an album you can blast really loud at a party or within your earphones, adsorbing a bit of the deeper underlining hidden sounds throughout the album.”

If you are looking for tight hooks and meticulously crafted melodies and harmonies, you should look elsewhere. Forty Winks is a band full of surprises – not knowing quite what comes next or where the music is going to turn is part of the fun. Sometimes the direction they choose works better than others, but you are surprised nevertheless. There is a bright, party vibe consistent throughout most of the record. It’s going to be too esoteric and “indie” for many readers, but I got a kick out of standout tracks like the swirling Pixies-esque rocker “Beneath Her Feet”, the rousing “Meet You At The Bar”, and the brilliant surf rocker “I Feel Dead”. The stronger pop leanings in “Mannequins” and “One Last Round” make them my favorites, though.

Check out Forty Winks if you enjoy The Hives, Presidents of The United States of America, and Queens of the Stone Age. The record was available as of August 23 on End Sounds.

iPOD-worthy: 1, 2, 3, 5, 6

Forty Winks – Official site.

Classic melodic rock CD of the week

2011-08-29T05:22:00.000-07:00

By Stephen Kasenda

DOKKEN “Back For The Attack” (1987)

The release of "Back For The Attack" was preceded by the single "Dream Warriors", which was written for the movie "A Nightmare on Elm Street 3". Dokken remixed the single and put it together with the rest of the twelve tracks and launched the album in late November, 1987. This is the last studio album they made before breaking up and Don went on to release his solo album, George formed Lynch Mob, and Jeff eventually played with MSG.

Most of the material here is softer than their previous albums with the exception of "Kiss of Death" and "Mr. Scary", two songs that are insanely heavy and have that trademark Lynch shredding. "Heaven Sent" has a gloomy intro and a good bridge but lacks a powerful chorus – it was one of their singles but it is inferior to other midtempo goodies such as "Night By Night", "So Many Tears", or "Stop Fighting Love". The other soundtrack single, "Dream Warriors", is utterly beautiful, comprised of a haunting intro, an exploding rhythm, emotional vocals and a superb chorus. Out of the 60 minutes of music here, several numbers fail to match the strength of the standouts, such as "Lost Behind The Wall", "Burning Like A Flame", or "Sleepless Night".

As it holds the record for being Dokken's highest charting release, "Back For The Attack" is accessible and could be a good entry point for new listeners as well as an admirable record for long-time fans with Don's prime vocal condition and George's unmerciful solos as the album's highlights. Though I don't consider this their masterpiece and my all time favorite, this is an essential album among Dokken's catalog.

Read more of Stephen’s features at MetalMusicArchives.

Odds and Ends

2011-08-27T15:53:00.000-07:00

Each week I use this space to post some mini-reviews, cool tracks, random thoughts, neat news, or whatever else I damn well please.

MiniReview

Grand Atlantic “Constellations” – Brisbane modern rock band Grand Atlantic is back with their third offering, following the acclaimed 2009 effort “How We Survive” (review here). “Constellations” has a darker, more solemn atmosphere to it in general, perhaps due to the fact that the album was recorded in an abandoned psychiatric hospital. Par for the course, Phil Usher unleashes some head bobbing riffs and has a smoky rasp that makes the music sizzle with excitement. The songs are powerful and exert a more prominent dose of psychedelic rock this time around, but I don’t feel that the melodic hooks are as sharp. Standout tracks include the epic opener, “Searchlights”, the engaging “Carved From Stone”, and the energetic blues of the first single, “Fresh Ideas In Home Security”. If you like Oasis, Jet, or Kings of Leon, be sure to check out Grand Atlantic here. “Constellations” will be available September 2nd.

Surprise of the week

Chad Smith is too busy on the road with The Red Hot Chili Peppers…so who is the replacement for Chickenfoot’s drummer? Hint: not Jack, not Diane, but…see here.

News

The new album from KISS will be called “Monster” (R.E.M. anyone?). Paul Stanley reports: "That was a pivotal album in the sense we were aware of who we were as a performing band, but we had to re-establish who we were as a recording band…There are no ballads”. Story here.

Details on the inevitable “deluxe” version of the forthcoming sophomore effort from Chickenfoot called “Chickfoot III”.

Sadly, we lost a few giants of songwriting. Nickolas Ashford, who co-wrote hit singles for the likes of Chaka Khan, Aretha Franklin and Diana Ross, and Jerry Leiber, who wrote hits for Elvis, The Drifters, and The Coasters.

Random iPOD song of the week

What a great old song! One of my favorite duets – Kenny Loggins and Stevie Nicks sound awesome. This song appeared on the excellent Loggins CD “Nightwatch” from 1978.

Review: Revel 9 “The Razorblade Diaries” [EP]

2011-08-26T05:05:00.000-07:00

Modern rock

From the ashes of the Long Island band Gee Davey comes a reborn modern rock band christened Revel 9. Band founder, guitarist, and lead singer/songwriter DJ Pearlman is the force behind Revel 9, who led the retooling effort that redefined the sound he’s been chasing. The debut EP is a six pack called “The Razorblade Diaries” that loosely chronicles a familiar tale of a 20-something dude meeting the girl of his dreams, finding love and losing love, then finding any way he can to win her back. Sigh.

Yes, it is a tired story but there is always a new generation of 20-somethings going through it. So at least for that demographic it won’t be such a ‘been there, done that’ affair. For the rest of us, you’ll have to hope that you can extract some innovation out of the lyrical twists. What is going to make or break your opinion about Revel 9 has more to do with the music – pounding, thrashing, crank it up to 11 guitars and drums. Pearlman purposely steered towards the dark side to capture the sound he wanted for this EP, but he did that at the expense of maintaining a solid hook that would make the song more memorable. Pearlman wanted to avoid a pop sound, but doesn’t seem to realize that the most successful modern rock can be melodic without being coated in syrup.

Despite these shortcomings, there are some standouts that reach towards a more memorable musical experience. The intensity of opener “San Jose” is palpable and Pearlman impresses with his perfect rock vocal tone and blistering guitar licks. If anyone can bring back the guitar solo, it could be DJ Pearlman. “Only One” is another muscular highlight and the closing track “Without” has a moderately catchy chorus. If you like bands like Hinder, Hawthorne Heights, or Saliva, you might want to give Revel 9 a listen.

Revel 9 – Official site.

Review: fORMER “The Kids Deserve Cable”

2011-08-25T05:36:00.000-07:00

Rock

You might be able to guess that this record has been in the planning stages for about 3 years now…otherwise the boys in the power pop and rock outfit fORMER might have entitled it “The Kids Deserve Netflix”. At any rate, I think many fans will agree that the ten songs on this new record were well worth the wait.

fORMER is headed by Denny Smith (vocals and guitars), and features Patrick Miller (guitars), Henry Go (bass and vocals), Billy Baker (drums, percussion, and vocals), and Lee Coram supplying additional keys, guitars, and vocals. Plenty of punchy, crunchy guitar bring these songs to life, and Smith’s vocals have a mild raspy quality that match the prototype for this genre. While virtually every track is a fun and engaging listen, one of my favorites is the built-for-radio mid-tempo rocker “How Does It Feel” – kind of a Cheap Trick – Tom Petty fusion. With its luscious harmonies, “Lie To Me” comes across just as strong – in a different decade, this could have easily been a top 10 hit. “Fix You” is propelled by an infectious guitar riff, building up to another rewarding chorus. “Come On” is another memorable highlight at the tail end of the record. If you want to hear a less commercial side of fORMER, check out tracks like “Blue Divide” or “Head Light”, which have a more contemporary Jimmy Eat World feel.

Check out fORMER if you like SafetySuit, The Gaslight Anthem, or Get Up Kids.

iPOD-worthy: 2, 3, 4, 6, 10

fORMER – Facebook

Check out a video clip for “Lie To Me”:

Review: Augustana “Augustana”

2011-08-24T07:00:00.000-07:00

Pop rock

Augustana has cranked out three terrific albums in their 8 years together and they are overdue for big name success. I became a huge fan when I heard their sophomore release back in 2008, “Can’t Love, Can’t Hurt”. The record was so good it inspired me to also check out their 2005 debut, “All The Stars and Boulevards”, which was also excellent. Their brand of piano-driven pop rock and knack for hooks and harmony was right up my alley.

Enter this year’s self-titled release. Usually when a band names a non-debut album after themselves it signifies a reinvention of sorts. One could argue that is the case here – the record feels more heavily polished and slick, resulting in a more epic kind of sound. “Augustana” sounds more contemporary, but I miss the charm and innocence that was palpable on the first two releases. While I have mixed feelings about this shift in direction, there are still plenty of well-crafted tunes in this batch that have those hooks and harmonies that keep my attention.

Singer Daniel Layus sounds a lot like Scott Bricklin (Martin’s Dam) – a perfect voice with a great rock and soul tone, with expert control that balances power with emotion. “Steal Your Heart” begins this affair, which does little more than set the stage. An excellent hat trick of songs follows with the radio ready “Wrong Side Of Love”, “On The Other Side”, and sparkling ballad “Counting Stars” – my pick for a favorite on this record. “Borrowed Time” has the promise of a pleasant acoustic piece, but the guitar squeaks are obnoxiously loud – try some Finger-Ease, dude. Outside of the decent “Shot In The Dark”, the remainder of the album quickly slides into mediocrity.

“Augustana” is a solid album from a very talented band, but not their best work in my opinion. Be sure to check out Augustana if you like O.A.R., Neon Trees, or Carolina Liar.

iPOD-worthy: 2, 3, 4, 6,

Augustana – Facebook

Check out the video for “Steal Your Heart”

Review: Toby Hitchcock “Mercury’s Down”

2011-08-23T05:28:00.000-07:00

AOR/Melodic Rock
Fans of the melodic rock community should be no stranger to the talent of Indiana native Toby Hitchcock, who was one half Pride of Lions (for the uninitiated, Jim Peterik of Survivor fame constituted the other half). Hitchcock has now partnered with another budding AOR legend, Erik Martensson, who wrote, produced, and played on the “Mercury’s Down” album. Hitchcock’s powerhouse vocals are often compared to Bobby Kimball (Toto), Jimi Jamison (Survivor), or Lou Gramm (Foreigner), and are easily the biggest highlight of this release. The combination of his voice with the AOR instincts of Martensson makes for quite the dynamic duo. True to the genre, Hitchcock belts out songs with straightforward lyrics about love and encouragement.

While still maintaining a keen sense of melody, this project is heavier and more guitar-driven than Hitchcock’s previous work. Favorites on this record include the huge anthem “Strong Enough”, “How To Stop”, “I Should Have Said”, and the thunderous “Tear Down The Barricades “. While there are no shortage of jaw-dropping notes that Hitchcock nails, “How To Stop” features some of his most amazing moments. Unlike most AOR records, the album is not plagued by too many slow songs, but there is a monster power ballad in “One Day I’ll Stop Loving You”. The record seems to get heavier towards the end, closing with the blistering rocker that serves as the title track.

“Mercury’s Down” should easily please fans of Pride of Lions, Eclipse, or Journey – it’s a great AOR soundtrack to ease us into autumn.

iPOD-worthy: 1, 2, 3, 6, 7, 10, 12

Toby Hitchcock – Facebook

Check out the video for first single, “This Is The Moment”