Monday, December 26, 2011

Best Records of 2011

It’s that time of year again my fellow melodic pop and rock fans! This is not a comprehensive “best of” by any means, but a list of some of the releases I heard this year that truly stand out in my memory. Being human with only 24 hours in the day, I obviously can’t listen to everything, so if I missed something here post it and let us know! Here’s to another great year ahead in finding the best music in 2012!

To find our review for most of these artists, find them on the alphabetized list on the right panel. The lists below are not in any particular order.

Powerpop
Genuine Fakes
Caddy
Lannie Flowers
Chris Alvy Band
meyerman
Wellingtons
Jellybricks

Rock
Readymade Breakup
The Trews
Rationales
Canon Logic
Sixx A.M.
Foo Fighters
Daughtry

Pop Rock
Still Spark
The Rationales
Fire Apes
Ocean Grove
DanseWolf
R.E.M.

Melodic rock/AOR
VEGA
Mr. Big
Work Of Art
Mike Tramp
Kimball Jamison
Mitch Malloy

Singer/Songwriter
Scott Bricklin
Ari Shine
Richard Snow
Freddy Monday
David Mead
Butch Walker

Friday, December 23, 2011

Review: Various Artists – “Guilt By Association Volume III”


Indie rock/glam
Yes I struggled to type that weird label, but on “Guilt By Association Volume III” you’ll find some of the finest indie rock bands covering favorites from a bygone era best known for hairspray, Spandex, and cheesy lyrics. Say what you want about the glam rock bands of the 80s - they always knew how to write a great sing-a-long melody with fist-pumping choruses. Having their tunes stripped down and reworked by these modern bands is going to ignite some passionate mixed emotions. Fans of indie rock with a soft spot for glam (all 7 of them) are going to love every track on this record. Fans of the glam bands are probably going to think that this amounts to blasphemy. But music lovers who aren’t limited by a love for a single genre are going to find a lot of entertainment on this record.

For this newest installment from Engine Room Recordings, the songs had to be chosen from 80s “hair metal”. You’ll hear theSTART cranking through the Crue, Helmet crushing Loudness, and Elk City covering “Heavy Metal Love”. Some of the experiments don’t work at all – the worst offenders being the electrodance rock of Malibu’s Shark Attack version of Bon Jovi’s “You Give Love A Bad Name” or My Cousin, The Emperor struggle to sing Extreme’s “More Than Words”.

Fortunately there are more highlights than duds. Canon Logic starts things off with a speedy piano-driven version of Cinderella’s monster ballad, “Don’t Know What You’ve Got (Till It’s Gone)”. None other than the great Mike Viola covers Ratt’s “Round and Round”, reworking it as a haunting acoustic track. Some of the more intriguing cuts include a sparse reworking of Winger’s pedophile hit, “Seventeen”, which sounds no less creepy when sung by a woman. I was surprised at how much I enjoyed Common Rotation’s acoustic rendition of “We’re Not Gonna Take It” by Twisted Sister and the downshifted version of Europe’s hit “The Final Countdown” by Farrah. Madison Square Gardeners, sounding very much like Gavin DeGraw, do a groovy version of Poison’s “Nothing But A Good Time” that wins the day for me.

Not sure what to think about this concept? Well, we’ve been given permission to share this free mp3 file with you: check out “Don’t Know What You’ve Got (Till It’s Gone)” right here.

More info here.

Thursday, December 22, 2011

Review: The Cry “The Cry”


Rock
Hailing from Portland, OR, The Cry wears their influences on their sleeve. If you share their love for The Beach Boys, The Who, Nick Lowe and The Sweet, then you should love The Cry. With an album full of 12 songs that are no nonsense, short and to the point, the band is clearly aiming to craft a new set of 2 minute pop songs for the modern era. The Cry sounds like a 60s jangle pop rock band that just stepped out of a time machine. The vocals have a confidence and swagger about them that is very Rolling Stones, and the chord changes and do-wop harmonies are right out of the 50s songbook. More than just a throwback, The Cry is electrifying and they deliver a remarkably consistent effort on this record with no ballad to be found. It’s a little raw and terse, but that only helps them capture the vintage sound they’re after. And if you come upon a song you’re not crazy about…don’t worry, it will be over in just a couple more seconds! Standout tracks include “Sleeping Alone”, “I Think I’m In Love”, “Such A Bore”, and “Modern Cinderella”.

The CryOfficial site.

Wednesday, December 21, 2011

Review: The Wellingtons “In Transit”


Powerpop
I’m really glad I listened to this one before the end of the year or else I would’ve had to revise my highlights of 2011 list, which will be posted soon. Hailing from Melbourne, Australia, The Wellingtons have released 3 albums in 7 years, drawing comparisons to the likes of fellow powerpop icons like Fountains of Wayne and The Posies. Their latest is a near masterpiece free of filler, and the fact that they have both male and female lead vocals keeps things interesting. The band incorporates a tasty dose of keyboards reminiscent of The Cars and plentiful bubblegum pop harmonies. “Keep Me Holding On” (video below) is one of the more rocking tracks, venturing close to Simple Plan. “I’m Feeling The Same Way” is a better representation of the jubilant pop this band does best. Other highlights include “Adamant”, “Your Love Keeps Bringing Me Down”, and the sublime “Baby’s Got A Secret”. If you are in the mood for something slower but no less melodic, try “I Fell For You”. Hands down one of the strongest records I've heard all year, especially the first two-thirds.

The WellingtonsOfficial site.

Check out the video for “Keep Me Holding On”:

Tuesday, December 20, 2011

Review: The Jellybricks “Suckers” [EP]


Powerpop
There is good news and bad news surrounding the new release from powerpop outfit, The Jellybricks. The good news is that “Suckers” doesn’t suck at all, which leads me right to the bad news…it’s only an EP. The Jellybricks school wannabe powerpop musicians with these 7 tracks, but they are so good you’ll wish school was in session for another 7 more!

Nevertheless, let’s not discount the release or the band because of the brevity. “Suckers” might be classified as hard rock candy, as these tracks generally have more of an edge than previous Jellybricks fare. Take the crunchy riffs of “Rock ‘n’ Roll Suicide” as an example – this opener is a stupendous song that has a lot of gusto but not at the expense of euphoric harmonies and a catchy chorus. “Their Own Way” coasts along a more familiar road for this band and is a simply gorgeous ode with words of wisdom. “Sold” boasts another round of intelligent lyrics with a shout out verse sandwiching a golden chorus swirling with harmony. “Dead End Girl” is the standout ballad, with melancholy melodies surrounding the biting lyrics. The EP concludes with the bonus track “Beryllium”, a cool track that edges into Blink-182 territory, and an acoustic version of an old favorite, “Who Is God 2011” (originally on the 1997 record “Kinky Boot Beast”).

“Suckers” is a tremendously enjoyable EP from a consistently great band – lick it up.

The JellybricksOfficial site.

Thursday, December 15, 2011

Review: Chris Alvy Band “Art Noise”


Powerpop
The Chris Alvy Band is back with their new album, “Art Noise”, which follows their “Anything Goes” EP (both on Forward Motion Records). We’ve been eagerly awaiting this full-length effort since being blown away by the EP (review here). The Chris Alvy Band casts the classic sound of vintage 70’s rock in a contemporary light – much like Jellyfish did back in the 90s. The band sites influences that include the Beatles, Bowie, The Beach Boys, Todd Rundgren, and Jason Falkner (Jellyfish, The Grays). In fact, the band set out to make a record that “delivers an enjoyable listening experience reminiscent of the days when people bought records to listen to them in their entirety, not just for one or two songs”.

The band line up consists of Chris Alvy (lead vocal/guitar), Darrell Killingsworth (bass), Todd Taulbee (back vocals/drums), Fernando Perdomo (back vocals/guitar), and Ana Valenzuela (keyboards). People familiar with the “Anything Goes” EP are going to recognize some of the tracks, as some have been duplicated for “Art Noise” (this includes “Inside Job”, “The Fall”, and “This Is Your Life”, all of which are outstanding). The title track kicks things off with great pomp and circumstance, quickly quenching our thirst for the crunchy riffs and catchy choruses Alvy teased us with on the preceding EP. The title track sizzles with spicy lead guitar work, a groovy organ, and tasty backing vocals – a tune that can help kick start your day for sure. Another round of sophisticated harmonies and compelling chord changes come at you in the splendid “Can’t Get You Off Of My Mind”. And that’s not all – the band shows us that they can still make an engaging song when slowing things down – “Something Missing” is simply gorgeous, and “Born” is epic in a “House of the Rising Sun” kind of way.

“Art Noise” is available now and should be put at the top of your “to buy” list!

iPOD-worthy: 1, 2, 4, 5, 6, 9

Chris Alvy BandOfficial site.

And be sure to check out our interview with Chris Alvy here!

Wednesday, December 14, 2011

The Best Albums You Never Heard


By Kurt Torster

Loud & Clear “Disc-Connected” (2002)

In the early 2000’s, for a genre as dead as melodic rock (or AOR, hard rock or whatever else you want to call it), there were a fair amount of great albums released then that no one, save a small yet devoted following, would ever know about. A lot of them would find homes on many of the various European specialty labels at the time, and seemingly the cream of the crop was German house MTM. To go it one further, the cream of the MTM crop was this release from Loud & Clear.

The trio, hard rock at their core, took many cues from the sounds of the day and released an album vibrant, fresh and ultimately ignored. Using Van Halen like riffs, Def Leppard shout along bombast and boy band pop melodies, the album has a very familiar feeling from first listen. Yet, its repeated listens where gems like “Fly Away,” “Time To Let Go” and “Lovers In The Night” really begin to shine as the hits that could, nay should have been. This is all compounded by the fact that the boys can play and sing with the best of them.

With anthems like “Tell Me Why” or “When I Feel Like That” it’s so easy to reach for the volume knob and push it past any sort of healthy levels, especially when the weather is warm and sunny.

Sometimes when I sit back and think about the disc I am listening to for this column, it just boggles the mind that most are 10 years or older. As time has progressed, technology has gotten more and more in the way, yet here was a release that used it to its advantage. Some synths here, some purposeful auto-tune there and it still sounds contemporary and special.

Amazingly, this band seemed to be nothing more than a hobby as lead singer Jess Harnell has a nice day job as one of the premier voices for animation, television and film (including key parts in Animaniacs, America’s Funniest Home Videos and the Transformer movies). Lead guitarist Chuck Duran is also big in the voice over department while drummer Alex Track is a well known audio engineer, winning a Grammy in 2006 for his work.

Together, the band continues as hard rock mash up specialists Rock Sugar, who released a rather wicked covers disc “Re-Imaginator” in 2010 and tours incessantly to packed houses wherever they play.

Tuesday, December 13, 2011

Review: Nick Howard “When The Lights Go Up”


Singer-songwriter/Pop rock
From the UK, but seasoned in New York, Nick Howard is one of those musicians you didn’t know that you knew. Since his 2009 album “Something To Talk About” hit the scene, he’s been featured on a plethora of TV shows (Jersey Shore, 90210, and LA Ink to name a few) and racked up lots of airplay and live television features. One listen to his sophomore effort, “When The Lights Go Up”, you’ll see why the masses are gravitating toward his easy-going pop soundscapes.

“When The Lights Go Up” is an organic and soulful record at heart, but polished to a professional sheen with lush strings and crisp production. Howard is a virtual dead ringer for Jason Mraz in sound and style – many people could understandably mistake “When The Lights Go Up” as a new Mraz record. But it’s not…it’s better, thanks to a super strong second half. The first half of the record is also fairly good, but a little too middle of the road in the hooks department and fairly boring in the lyrics department. The exception is the title track, which has more than its fair share of charm.

Beginning with the soulful grove of “Days Like These” (video below), the record kicks into fifth gear and sinks its hooks into you for the long run. “Breakout” is a terrific mid-tempo rocker encouraging the listener to take those chances in life while you can – a great track to start your day. “Tomorrow” and “Looking For Life” follow similar themes, showing a more contemplative side to Howard’s writing, which is bolstered with well-placed harmonies. Howard’s gentle voice is a perfect fit for these kinds of breezy musical pep talks. “Let You Down” rounds things out as a textbook example of what top quality modern pop should sound like.

Check out Nick Howard if you like Gavin DeGraw, Graham Colton, and of course, Jason Mraz.

iPOD-worthy: 2, 6, 7, 8, 9, 10

Nick HowardOfficial site.

Check out the video for “Days Like These”:

Monday, December 12, 2011

Classic melodic rock CD of the week


By Stephen Kasenda

TUFF “What Goes Around Comes Around” (1991)

Tuff is an American pop/sleaze metal band that was heavily inspired by Poison - not only by their music, but also with their style and appearance. When Stevie Rachelle came to front the band, they looked even more similar, with Rachelle often called a Bret Michaels copycat. "What Comes Around Goes Around" was released in 1991, bad timing for a glam band to start their career. Before they could begin, grunge plagued the charts and Tuff was completely forgotten.

If you happen to like fun and naughty glam style rock, Tuff's debut could be a great pick. Out of 10 tracks, I found many favorites here, from the up-tempo opener of "Ruck A Pitt Bridge" with a smart funky groove fader at 3:00; the commercial Poison-rip of "The All New Generation"; relaxing acoustic-driven rock in "So Many Seasons"; the huge power ballad, "Wake Me Up", which was co-written with Bret Michaels and better in any aspect than their biggest single, "I Hate Kissing You Goodbye"; and the exhilarating Motley-fueled track, "Good Guys Wear Black". Only "Ain't Worth A Dime" and "Spit Like This" are filler.

Jorge DeSaint's guitar style was inspired by CC DeVille and that's definitely not a big surprise. But Rachelle's voice isn't very close to Bret. Instead, he sounds like a cross of Alice Cooper and Bonfire's Claus Lessmann. The production is acceptable but 38 minutes feels like a short ride. If only they could have included a couple more smokin' hard rock tracks, this album would be a blast. Recommended for fans of Poison, Pretty Boy Floyd, and the later-day pop/sleaze metal.

Read more of Stephen’s features at MetalMusicArchives.

Friday, December 9, 2011

Review: The Genuine Fakes “Linear Notes” [EP]


Power pop
Swedish power pop band, The Genuine Fakes, made a hugely favorable impression on us with last year’s debut record, “The Striped Album” (reviewed here). The band is back already, serving up an EP of “leftovers” of sorts that for various reasons didn't make it onto the debut album. In addition to the original tunes, the EP also contains two covers speaking to the band's influences. “Metal Sky” was originally written and recorded by Andreas Mattsson of Popsicle fame and “Somehow Everything” is a revamped Posies song that was first released on “Beautiful Escape: The Songs of The Posies Revisited” tribute album a few years ago.

Every song here sparkles with those affable harmonies we have come to expect from The Genuine Fakes, although the hooks in most of them are not quite as sharp as the tunes that grace the debut EP. My favorites include “Time Is Slight” and “I Wanna Be A Stranger”.

If you fell in love with “The Striped Album”, there is surely something here that will please you. If you haven’t experienced The Genuine Fakes yet, start with “The Striped Album” instead of this EP. The EP was released 11/11/11 and can be purchased through the band’s web site. Their next full length album is expected to be released in 2012.

The Genuine Fakes - Official site.

Thursday, December 8, 2011

Review: IKE "The Little People, Church, And The Steeple"


Rock/Powerpop
John Faye and company are back with a new record, "The Little People, Church & The Steeple”. The new release is essentially an EP of 5 new songs, but the second half consists of acoustic versions of the new tunes. For the uninitiated, we’ve been long time fans of Faye, whether in the context of his first major band, The Caulfields, IKE, or his solo projects, the most recent of which found him teamed with Brittany Rotondo (reviewed here).

We last heard from IKE with the stellar 2010 release, “Tie The Knot With All That You Got” (reviewed here). "The Little People, Church & The Steeple” continues to refine Faye’s penchant for crunchy riffs and sticky hooks, with plenty of his trademark wise-cracking lyrics. IKE roars back into action with the appropriate opener, “Rock and Roll Dreams” – an in-your-face arena-ready rocker with a tongue-in-cheek message about the music business. “Dead To Me” is vintage Faye, with its steady beat and surf guitar riff recalling the magic of his early Caulfields work. “If I Can Help It” is a majestic power ballad that allows Faye’s vocals to soar to new heights, but truly is a testament to the explosive chemistry in the IKE lineup. Perhaps my favorite tune is “Glorious Mistake”, a pleasant mid-tempo rocker that is instantly likeable. The final new tune here is “Just Like That”, which begins with its infectious chant of a chorus before slipping into its crunchy powerchord verse. These five songs are repeated with nothing but voice and guitar, giving us a glimpse into what IKE sounds like in the coffeehouse. Stripped down to their bare bones, this format reveals the simplistic beauty in IKE’s songwriting that manages to hit the right buttons every time.

IKEFacebook

Wednesday, December 7, 2011

The Best Albums You Never Heard


By Kurt Torster

The Orchestra “No Rewind” (2001)

Growing up in the mid to late 70s, and looking back now, I really had two bands that I would count as favorites of that era: Queen and the Electric Light Orchestra. In fact, I remember saving all my miscellaneous change and taking it down to the record store in the Styretown Shopping Center in Clifton, NJ to buy ELO’s “Out Of The Blue” set. As a pop minded 11 year old though, I don’t think I ever got past side A of record one until at least 15 years later. And as the late 70s become the 80s, my musical mind eventually turned to heavier and more riffier fare, leaving the orchestral grooves of ELO far behind.

Sometime in the 90s, as I discovered bands like Jellyfish, I also rediscovered my love of ELO and started to go beyond the hits. Though I would rank their 1979 effort “Discovery” as one of my all time favorites, I can now find the genius in not only their 80s discs but even the “Xanadu” soundtrack. I also discovered the rather tasty discs from the Electric Light Orchestra Part 2 offshoot as well as the next progression, The Orchestra.

Containing members of both versions of the band as well as a few “new guys,” this set is a proud and worthy addition to the band’s legacy. Recorded strictly on the band’s own dime, but you’d never know it as all the ELO trademarks are there, from big bouncy choruses and huge orchestrations to the almost Beatlesque layering of tracks, it sounds like a million bucks. Even though there’s no involvement from Jeff Lynne (other than some legal action!), you can even hear traces of his production stylings with George Harrison and The Traveling Wilburys.

Songwise, it’s so easy to press repeat of tracks like “Jewel & Johnny,” “Can’t Wait To See You” or “I Could Write A Book.” They have a very upbeat 70s pop feel without sounding like it’s completely stuck in the past. And with an epic like “Over London Skies,” it’s frankly about as close to the ELO sound as anyone could get without involving Jeff Lynne.



Judging by my personal enjoyment of this disc as well as the sold out crowds the band is still playing too, I’d say there’s still something of a market for grandiose pop and roll. With the addition of ex-Styx man Glen Burtnick and a never ending tour, I’m hoping chances are good that a new album will eventually see the light of day.

Tuesday, December 6, 2011

Review: Mecca “Undeniable”


Melodic rock/AOR
Back in 2002, the melodic rock world embraced a new band called Mecca, specializing in polished AOR rooted in the classic 80s sound but with a contemporary flair. Formed by vocalist Joe Vana, he enlisted, among others, the services of former Toto members David Hungate (bass) and Fergie Frederiksen on vocals and close friend and former Survivor founding member Jim Peterik, who contributed masterfully to the songwriting and production of the album. With such heavy hitters, the project could do no wrong.

Fans have been salivating for a new Mecca record ever since and now – 6 long years later – their dream has come true. Despite numerous setbacks, Vana continued charging forward to make this long-awaited follow up record, enlisting the talents of session masters such as Pat Mastellotto (King Crimson, Mr. Mister), Tony Levin (Peter Gabriel, King Crimson), along with Tommy Denander and Wolff. His core band was also created around Rick Vitek on drums, Brian Moritz on keyboards, Wally Hustin on bass, Eric Ragno on keyboards, Mark Alano on guitar and Joe’s son (Joey) on guitars and backing vocals.

The sophomore record wastes no time in regaining the foothold Mecca had that captivated audiences many years ago. “Perfect World” boasts engaging melodies augmented by slick production and smooth vocals. “Closing Time” flexes more guitar muscle, but not at the expense of a memorable chorus. Admirably reaching beyond their comfort zone are tracks like “Life’s Too Short”, which experiments with spoken word verses flanking a majestic chorus – it took me aback at first, but a second listen and I warmed up to this track fast. “I Know” slips right back into late 80s Toto and stands out as one of the best mid-tempo numbers on the record. Even though it clocks in over 6 minutes, “Did It For Love” is so masterfully written that you’ll want the song to continue nonetheless. Far and away the heaviest track in the bunch, “W2W” (which stands for wire to wire) is a blistering explosion of AOR strong enough to shake anyone out of a slumber and shows yet another side of this dynamic group.

“Undeniable” is described as an album that perfectly melts the outstanding High-Tech AOR approach of Mr. Mister’s “Welcome to the Real World” to the commercial brilliance of Toto’s “The Seventh One”. After hearing the record, I can’t argue with this description – it is close to a masterpiece. Fans of the debut are going to love it, and if you haven’t experienced Mecca before, now is the time! And one more thing…Mecca III is already underway!

iPOD-worthy: 1, 2, 4, 5, 6, 9

MeccaFacebook.

Monday, December 5, 2011

Classic melodic rock CD of the week


By Stephen Kasenda

ROXXI “Drive It To Ya Hard” (1990)

Not to be confused with Roxy Blue or Roxx Gang, this Boston-based quartet tried their luck at the glam scene at the early 90s with no knowledge that in just a couple years grunge would change everything. What’s interesting about this band is that they're signed to an indie label, but the songwriting quality and the sound production are very good - and they got a phenomenal guitar player. The bad thing is this disc has been out of print for too long and no one seems to care to reissue the disc, causing the market price to float to an unreasonably high level.

Roxxi's musical style is similar to White Lion meets Firehouse, but they have a metallic edge and sound heavier compared to both bands. There's a slight similarity with Roxy Blue or Heaven's Edge if you happen to know those bands. Grasseschi's vocals are quite good and he can even reach the peak notes like Rob Halford, but Sciammacco's phenomenal guitar playing steals the show.

There are too many fantastic tracks to list out but several unforgettable songs that stand up high are the title track. With its upbeat rhythm and catchy hooks, this song is perhaps their best moment on the entire album. "Wild Child" and "Take Me Down" have superb arrangements and killer solos. "Wasted Love" is a cool piano driven power ballad. "Searchin' For The Light" has a Dokken-ized riff and "Fire In My Heart" is clearly influenced by Poison…a great party anthem. Roxxi's one and only album, "Drive It To Ya Hard!" is a hidden treasure and a valuable gem if you can find one with a decent price. I just hope some label will reissue this album so it can be heard and owned by all glam fans as this is one hell of a record!

Read more of Stephen’s features at MetalMusicArchives.

Thursday, December 1, 2011

Review: Daughtry and James Durbin

Modern rock
A quick look at two new releases from should-have-been American Idol winners. In short, it is a good day for fans of heavy melodic rock.


Daughtry “Break The Spell”

Back with his third effort, Chris Daughtry is seeking to recover from a lackluster sophomore jinx. “Break The Spell” certainly does just that – the record is a winner from start to finish, jam packed with melodic hard rock tunes. This record is much more like his blockbuster debut, bringing copious melody back into his brand of arena ready rock songs. Daughtry sounds hungry again - his vocals are soaring and passionate in every cut. Nearly every song is a winner, but if I had to choose favorites they would include “Renegade”, “Crawling Back To You”, “Outta My Head”, and “Spaceship”. If you are looking for the big power ballad, “Gone Too Soon” is the one to check out, but don’t overlook the understated beauty in the mid-tempo number, “Rescue Me”. Overall, this collection is markedly less gritty than some of his previous work, but the strong vocal performances and irresistible hooks win the day. Some fans might not appreciate his gravitation towards a more commercial sound, but it suits me just fine.




James Durbin “Memories Of A Beautiful Disaster”

One of the most shocking moments of last season’s American Idol was the premature dismissal of hard rocker James Durbin. Similar to David Cook in style and conviction, Durbin stays true to his heavy hitting roots on his debut. Blasting out first is the take no prisoners cut, “Higher Than Heaven” – despite its pious name, the tune features monstrous riffs that could make the Devil weep. It is a terrific opener, but don’t be mislead into thinking that Durbin doesn’t have the ability to balance his love of hard rock with more commercial melodies. Tracks like “All I Want” and “Love In Ruins” are much more mainstream, but will still sound as potent as “Stand Up” when it comes to belting these out live in the arena. Durbin’s voice is nothing short of amazing – he is incredibly adaptive. We all know his prowess at the mic when supporting an ferocious modern rock tune, but listen to the tenderness that shines through in songs like the touching “May”. “Love Me Bad” is probably my favorite tune, though, and Motley Crue fans should take note that Mick Mars is along for the ride on the track “Outcast”. Is it me or does Durbin actually channel some Vince Neil on this one too?

Wednesday, November 30, 2011

The Best Albums You Never Heard


By Kurt Torster

Mr. Reality “Mr. Reality” (1992)

As the over the top decade of excess known as the 80s came to an end, the swelling undercurrent of the “unplugged” movement started to take hold. Suddenly, “every bad boy had a soft side.” Bands like Bon Jovi, Great White and Poison were all getting an extra boost by picking up their acoustics and gaining some new fans. Though the trend didn’t last long, we were fortunately left with some gems of the genre, including this superb effort from New Jersey’s Mr. Reality.

This album is almost 20 years old, and until this week, I haven’t listened to it in probably a decade. This set though is proof that solid song structure, amazing harmonies and catchy melodies are timeless.

It would be all too easy to dismiss this trio as Bon Jovi wannabe’s, as they follow the typical Jersey-style songwriting, which is big on storytelling and sweet as candy choruses, but I’d probably compare them closer to Nelson, Danny Wilde/The Rembrandts or even the Eagles (not surprising considering this was produced by famed LA producer/Don Henley sideman Danny Korchmar).

How songs like the upbeat and incredibly infectious “Anonymous,” “If I Close My Eyes” or “Jess” weren’t at least small market radio hits is beyond me. Throw in more introspective fare, like the excellent imagery of “In My Yard” or the down but never out tale of “To Leave Me Standing In The Rain” and I’m left more befuddled that this barely rates as a cult classic.



And, it would be absolutely criminal to not mention the rocking “Waiting For September,” about as sure of a hit as I’ve ever heard and sounds like it was lifted from a lost Night Ranger album.



The band would morph over the years, first into Samhill and eventually into Highway 9, whose debut also ranks as one of the “Best Albums You Never Heard.” Seems like all three are still somewhat active in music, with guitarist Gordon Brown going Nashville while vocalist Peter Scherer and bassist Rob Tanico still plugging away in their own ways.

Tuesday, November 29, 2011

Review: Jonny Lives “Revolution For Free”


Rock/Powerpop
Hailing from New York, rock band Jonny Lives! has readied their sophomore outing “Revolution For Free”. Fronted by Jonny Dubowsky, Jonny Lives! uses their platform as rock musicians to speak out for peace and the environment. However, they never let their lyrical aspirations compromise their yearning for listeners to just have fun. “Revolution For Free” expands on the Brit-grit and Lower East Side rock of their debut, “Get Steady”.

All the trademark signs of rock n’ roll reach out to grab you from the first chord of “Parking Lot”, a rousing opener with sizzling riffs and an undeniable hook in the chorus. An even catchier chorus awaits you in “Still Dreaming”, which resembles Weezer or Fountains of Wayne. “It's Not Your Fault (This Time)” is propelled by interesting chord changes and a fantastic bass line that interweaves between them with tasty precision. “If You Wanna Stay” couldn’t sound more radio-friendly, assuming we’re talking about 70s AM radio. The chorus in “Makes The Difference” is simply brilliant, lifted to lofty heights by wrapping a gorgeous melody in sweet harmony – may be the best chorus on the record. Those engaging harmonies can be heard again on the call to action anthem “We Will Not Die Quietly”, which also offers a taste of psychedelic pop rock.

After winning over your pop rock heart, the band gets a little too emboldened towards the end. “Your Money Or Your Life” is overly ambitious and tries to throw too much of every pop element into a single tune. “Vagabond Lovers” might have been better if served up with crunch, but its retro 70s bubblegum style just doesn’t gel with the surrounding songs. But have no fear – “My Favorite Song” is a strong return to form that quickly reminds the listener that this band can blend Partridge Family melodies with crisp modern powerpop riffs and make it sound ultra cool.

“Revolution For Free” contains songs exemplifying what good songwriting is all about, and Dubowsky’s voice sounds right at home on tracks like these. With just a couple of minor missteps, this album approaches masterpiece quality and is not to be missed!

iPOD-worthy: 1, 2, 3, 5, 6, 7, 11

Jonny Lives!Official site.

Check out the video for “If You Wanna Stay”:

Monday, November 28, 2011

Classic melodic rock CD of the week


By Stephen Kasenda

GUNS N’ ROSES “Use You Illusion II” (1991)

The second disc in the epic Guns N’ Roses “Use Your Illusion” series is often hailed as superior to the first. The usage of the blue color on the cover would appear to represent a relaxing, bluesy, more laid-back batch of songs, but the gang keeps the anger and hatred going strong on several tracks, including "Get In The Ring" and "Shotgun Blues".

The Terminator soundtrack tunes, "Civil War" and "You Could Be Mine", are two tracks to fall in love with at first listen. "Yesterday" is a sway into light rock with a passionate vocal and delirious rhythm. The rendition of Dylan's classic, "Knockin' On Heaven's Door" is another instant hit, making a good stadium chant for every concert they held. "Estranged", the last section of the ballad trilogy, is one of their masterpieces, featuring a captivating voice and a breathtaking solo by the Axl Rose-Slash duo. The closer, "My World", is blatantly their worst creation and unnecessary filler, but overall this is an enjoyable disc packed with many good songs. If I have to pick one, I chose blue over yellow.

Read more of Stephen’s features at MetalMusicArchives.

Friday, November 25, 2011

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


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 PartyFacebook

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

Wednesday, November 23, 2011

The Best Albums You Never Heard


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.

Tuesday, November 22, 2011

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


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.

Monday, November 21, 2011

Classic melodic rock CD of the week


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.

Friday, November 18, 2011

Review: The Bangles “Sweetheart of The Sun”


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 BanglesFacebook.

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

Thursday, November 17, 2011

Review: Ex Norwegian “Sketch”


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 NorwegianOfficial site.

Check out the video for “Jet Lag”:

Wednesday, November 16, 2011

The Best Albums You Never Heard


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.

Tuesday, November 15, 2011

Review: Mitch Malloy “II”


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.

Monday, November 14, 2011

Classic melodic rock CD of the week


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.

Tuesday, November 8, 2011

Review: Crown Point “Wolves” [EP]


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 PointOfficial site.

Monday, November 7, 2011

Classic melodic rock CD of the week


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.

Friday, November 4, 2011

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


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”


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 PlanOfficial site

Check out the video for “Jet Lag”

Thursday, November 3, 2011

Review: Republic of Letters “Stories”


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 LettersOfficial site.

Wednesday, November 2, 2011

The Best Albums You Never Heard


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.

Tuesday, November 1, 2011

Review: The Magnificent “The Magnificent”


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.

Monday, October 31, 2011

New single from Strangefinger


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


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.

Saturday, October 15, 2011

We'll be back soon

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

Friday, October 14, 2011

Review: Wires In The Walls “New Symmetry”


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 WallsOfficial site.

Check out a short preview here:


And a FREE tune here!









Thursday, October 13, 2011

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


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.

Wednesday, October 12, 2011

The Best Albums You Never Heard


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.