Melodic rock CD of the week

By Stephen Kasenda

SLAM ST. JOAN “Saved By Grace” (1993)

I bought this blindly from a friend without any information at all except a hint that they sounded like SKID ROW meets SPREAD EAGLE, which is a really interesting combo. At first listen, I did agree with that comparison, but I will add that they also have a LILLIAN AXE element, especially from their early days. Rob Creek's vocal reminds me a lot of Phil Lewis from L.A.GUNS, so it's a completely sleaze / hard rock style and I dig it a lot.

'Saved By Grace', which is also the album's title, is a brilliant tune. The chorus is awesome, but the next two tracks are a bit sloppy (even though I still think both are good). 'Emotional Suicide' is a unique acoustical ballad piece: again, the chorus is awesome and sounds very different than the typical slow song from a regular glam band. 'Just Like The Blues' shows their bluesy side with some chugging riffs. George Karl and Ray Rodriguez prove to be a lethal guitar combo here.

'Eyes' is another winner, highly addictive hard rock piece with fantastic riffs. 'Your Light' is a nice and smooth acoustical ballad and 'Best of Me' is a beautiful southern rock song. The production is good and I'm glad I checked this out for quite a cheap bargain. If you love sleaze and glam, I bet you'll like this one a lot.

Read more of Stephen’s features at MetalMusicArchives.

Under Cover: Sweet Child o' Mine

Scott Gagner "Sweet Child 'o Mine" (Guns N' Roses)

In honor of their induction into the Rock N Roll Hall Of Fame, this week we'll feature indie singer/songwriter Scott Gagner's stripped down version of the Guns N' Roses classic, "Sweet Child o' Mine" here. Be sure to check out his excellent original music too (reviewed here).

Sheryl Crow also did a nice cover of this one:

Review: Jeff Scott Soto “Damage Control”

AOR/Melodic rock
Rock veteran Jeff Scott Soto is back with this fifth official solo record, “Damage Control”. While no stranger to melodic rock circles, Soto has more than 60 album credits under his belt along with numerous collaborations and recordings across multiple musical genres. Solo started his 30 year rock tenure as the vocalist for guitar guru Yngwie Malmsteen, which led to his serving as frontman for a variety of rock bands including Talisman, Soul SirkUS, and even Journey for a time. In 1994 he released his first solo outing “Love Parade”, followed years later by the acclaimed “Prism” (2002) then “Lost In The Translation” (2005) and “Beautiful Mess” (2009).

A lot of “Damage Control” brings a bit of a grittier edge to Soto’s polished melodic rock voice. Sounding terrific as always, Soto rips right along into meaty songs like “Give A Little More”, “Krazy World”, “After World” and “Tears That I Cry”. The title track opens with a blistering riff before relaxing into an acoustic-based verse – a tasty dynamic that keeps this song engaging. “If I Never Let Her Go”, “How To Love Again”, and “Die A Little” are textbook examples of the perfect melodic rock song, catapulting us back to the 80s in style and substance. As for ballads, Soto pulls on the heartstrings like never before with “Bona Fide”.

There really isn’t a bad track in the bunch – gorgeous, catchy melodies that are brilliantly and passionately sung. There’s not much more you can ask for!

Jeff Scott Soto – Official site.

You Were Robbed – American Hi-Fi

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

In 2001, the L.A. pop punk band American Hi-Fi splashed onto the scene with the hit “Flavor of the Week”. In many respects, the band unfortunately was a victim of that theme as they were rapidly crowded out by hundreds of similar bands capitalizing on this popular sound. “Hearts On Parade” was their third effort released in 2005. The band appeared poised for a major comeback – “Parade” took a markedly more mainstream approach and was produced by songwriting and recording guru Butch Walker (Marvelous 3). But this just didn’t happen – some long-time fans were not happy with the catchier tunes and the new label fumbled the release date stateside.

“Hearts On Parade” should be revisited by any fan of pop rock. There is no end to the string of ear candy on this record and it still sounds good after all these years. You can hear the switch to the pop end of the rock spectrum right at the get go in the chorus of the excellent lead off track, “Maybe Won’t Do”:



“The Geeks Get The Girls” was the official lead single that should have been a repeat performance of “Flavor of the Week”. Very Blink-182.



The band ventures into some sugary sweet harmonies with the near bubblegum feel of “We Can’t Be Friends” and explores some very tasty chord changes on the terrific “The Everlasting Fall”.



The record ends strong with the pleasant mid-tempo feel of “Where Do We Go Wrong” and an epic power ballad in the title track.



For just a penny, you can’t go wrong with this CD. What has become of the band? 2010 saw the release of a follow-up record called “Fight The Frequency” (reviewed here http://nowthisrocks.blogspot.com/2010/07/review-american-hi-fi-fight-frequency.html). While it didn’t reignite the band’s career, we’re excited about recent news of a fall 2012 release (press release follows).

March 28, 2012 – Goomba Music is proud to announce the signing of American Hi-Fi. The original line-up--Stacy Jones (singer/guitarist), Drew Parsons (bass), Jamie Arentzen (guitars) and Brian Nolan (drums)¬is currently recording their as-yet-untitled new album in Los Angeles, CA with an expected worldwide release date this fall. It's being produced by the band and John Fields (Switchfoot, Jimmy Eat World) and recorded at Stacy Jones' studio, The Deathstar.

"It feels great to make music with these guys,” exclaims Stacy Jones. “11 years in, American Hi-Fi is a brotherhood. We made this record because we feel like the world needs a few more guitar bands. We are just doing our small part to keep Rock-N-Roll alive!"

For the past six years, members of American Hi-Fi have been working with Miley Cyrus. Singer Stacy Jones has been her music director and drummer, Jamie Arentzen has been her guitarist and Drew Parsons has played bass at a few concerts. Stacy and Jamie have been featured in everything Miley Cyrus since the beginning of her “Hannah Montana” days, including the 2009 movie and “Best Of Both Worlds” concert film/DVD.

Over the course of their 10-year career, American Hi-Fi has sold over 1 million albums thanks to hit singles such as the Top 10 smash “Flavor Of The Weak,” “Another Perfect Day” (which was used as Coca-Cola's theme for the 2002 Winter Olympics) and “The Art Of Losing,” and they've toured the world with artists such as Elvis Costello, Matchbox Twenty, Bon Jovi, Sum 41 and Fall Out Boy. Before teaming up as American Hi-Fi, the band members performed as part of various influential bands from the '90s Alternative Rock scene, including Veruca Salt and Letters to Cleo, and with Tanya Donelly, Tracy Bonham, Aimee Mann, and Juliana Hatfield individually. Their songs have been heard on TV shows and commercials such as Coors, Labatt Blue, Verizon, “Boston Public,” “24” and “Dawson's Creek,” video games including “Guitar Hero 3,” and in movies including “American Pie 2,” “Freaky Friday,” “Van Wilder” and “Superman Returns.” And Stacy has produced albums at The Deathstar for such artists as The Downtown Fiction, Ingrid Michaelson, Meg & Dia, The Cab, Plain White T's, Hey Monday and Academy Is… and many others.

Tour dates and other news from American Hi-Fi here.

Review: MxPx “Plans Within Plans”

Punk rock
It’s hard to believe that MxPx has been cranking out their brand of “positive punk” for nearly two decades now. You might have thought they disappeared from the scene because we haven’t heard from them since 2007’s “Secret Weapon”. Furthermore, lead vocalist and bassist Mike Herrera has been busy with side projects like his punk western ensemble, Tumbledown (reviewed here).

But on April 3, MxPx returned with their ninth studio record, “Plans Within Plans”, mixed and mastered by punk rock legend and guitarist for the Descendents, Stephen Egerton (who also throws in a guest guitar spot on several tracks). Reflecting on the time off and the influences on the new record, Herrera states, “We all deal with changes differently. We’ve had to realize over the years that regardless of what those changes are, we’ve managed to remain true to the band and adjust things accordingly.”

“Aces Up” kicks the disc off with thundering, fast-paced drums and equally quick guitar riffs and vocals. This is followed by “Screw Loose”, which features thundering, fast-paced drums and equally quick guitar riffs and vocals. This is followed by “Nothing Left”, which features thundering, fast-paced drums and equally quick guitar riffs and vocals. I think you see the problem here.

But then comes “The Times” – a welcome change of pace that is smartly written with positive lyrics and a memorable hook. “Far Away” is the first single and considered the “flagship song” by the band. It is a trademark MxPx tune about overcoming obstacles and is just bursting with energy. As with most MxPx records, “Plans Within Plans” comes at you hard and fast, leaving you pumped, refreshed, and ready to take on the world. While dancing along the edges of monotony by stacking a lot of songs with the same hyper pace, there are several oases on “Plans” really worth writing home about. Those additional highlights include “Best Of Times” (no, not a Styx cover), “Cast Down My Heart”, and “When It Comes To You”.

MxPx – Official site.

Melodic rock CD of the week

By Stephen Kasenda

MOTLEY CRUE “Girls Girls Girls” (1987)

"Girls, Girls, Girls" is considered a pivotal point in Crue's career. After the fans condemned them for releasing the disappointing "Theater of Pain", Crue had to hold on and write a better album - otherwise this might be the end of their career. At that time, Nikki and the gang were at the height of their drug addiction and party-hard lifestyle. White dope, Harley, and naked women are the themes while musically they stripped down the heavy metal outfit and played with 60-70s rock and roll with an occasional bluesy bite, but still retain Crue's signature glam arrangements.

"Wild Side" and "Girls, Girls, Girls" are two singles that saved Crue's ass and since then, those two songs are almost never left out from their concert set list. "You're All I Need" is a big ballad that enjoyed a an appearance on the Billboard Hot 100. It is highly underrated compared to "Home Sweet Home", but both can be considered their all-time greatest ballads ever made. Funny thing is that most people, including Jon Bon Jovi, thought that this was a typical love song, but Nikki’s genius twist is that this song is about a psycho boyfriend instead.

"Dancing On Glass" and "All In The Name of..." are two other relatively unknown tracks that also made this album worthy. "Bad Boy Boogie" has that Aerosmith 70s feel, "Five Years Dad" is also good but somehow too similar to "Girls, Girls, Girls". "Sumthin' For Nuthin'" is perhaps the only filler but not bad at all, and the Elvis cover of "Jailhouse Rock" is a fun live cover to emphasize the rock and roll theme of this album.

Crue's fourth album was a commercial success, racking up 4 platinums in USA alone, and was their best selling album until "Dr.Feelgood" came in 1989 to break the record. Excellent release and I rank this as the Crue's third most fave album after "Shout" and "Feelgood".

Read more of Stephen’s features at MetalMusicArchives.

Under Cover - How Long

Rod Stewart – How Long (Ace)

This week we feature a young (middle-aged?) Rod Stewart covering Ace's big hit, "How Long". Paul Carrack (Squeeze, Mike + The Mechanics) sang the original.

Review: Candlebox “Love Stories and Other Musings”

Rock
Multi-platinum rockers Candlebox keep the rock 'n' roll flame alive with their first studio album in nearly four years, “Love Stories & Other Musings”, due April 3. Produced by Ken Andrews (Pete Yorn, A Perfect Circle, Tenacious D, Beck), “Love Stories & Other Musings” features nine new tracks and five bonus tracks, which are re-recordings of some of their biggest hits including "Far Behind", “You”, and "Cover Me."

I must admit I’ve always carried a torch for Candlebox. Sometimes referred to as that “other Seattle band”, these guys never struck me as a grunge outfit, but more of a modern band with classic rock influences. The musicianship is a cut above the rest and Kevin Martin always sings his lungs out with his amazing voice. Best of all, the band knows that a good hook is necessary to make a song memorable, and they can write such melodies without compromising one iota of their rock bravado.

"I haven't felt this way about a release from Candlebox since our first record. The feeling for this record is both refreshing and stimulating," said guitarist Peter Klett. "I can't be more excited to release this music to the fans who have been with us for so long." Kevin Martin adds, "This record…is our music and our love for what a great gift we have been given. 'Love Stories & Other Musings' is a new direction for us and I couldn't be happier to share it with our fans." Fans need not worry – the band doesn’t stray too far from what you are salivating for. The new direction is a natural evolution – an evolution towards even better songwriting. Tighter, more melodious, and more eventful.

You can feel the band’s renaissance in the energetic lead off track, “Youth In Revolt”, which is an anthem in the making and quickly reminds us of the musical power this band can wield. For “Sweet Summertime”, the band downshifts to an infectious mid-tempo beat that is perfect for cruising down the highway with the top rolled down. “Believe In It”, the first single, is another winner – instantly gripping and dripping with inspirational lyrics. As you might surmise from the record’s title, the band showcases its softer side quite a bit on this record. The good news is that Candlebox is a band that can write a genuine love song without it sounding silly or oozing with cheese. There is a sultry and haunting song in “Turn Your Heart Around”, but even better is the aching “Come Home”, which contains some of the best chorus harmonies the band has ever performed. “Baby Love” begins with a tender piano and guitar riff, but kicks into a wonderfully pleasant upbeat song soon enough.

I would have preferred a couple more new rocking tracks rather than the “bonus re-recordings”, but can’t complain because the nine new songs really bring it. Another excellent job from an underrated band. Get the record, and be sure to catch Candlebox on the road beginning April 7 – check their web site for details.

Candlebox – Official site.

Check out “Believe In It”:

You Were Robbed – Dada

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

1995 was a tough time for Dada. After exploding onto the alternative rock music scene with the unlikely hit, “Dizz Knee Land”, the band went on to obtain critical acclaim for the other cuts on their remarkable 1992 debut, “Puzzle”. Despite an outstanding sophomore release, the band was beginning to lose its foothold and got caught in the crossfire of its label’s demise. MCA picked them up and a revitalized Dada released their fourth album (self-titled) in late 1998. With famed producer Danny Kotchmar at the helm, the band had a promising launch pad for a massive comeback.

But that didn’t happen. Not at all. The first single is probably to blame: “California Gold” is a lackluster and confusing tune, more experimental than melodic. Hearing this song probably made a lot of fans – not to mention radio – write the band off. Shame. The vast majority of the other songs on this fantastic record are nothing short of amazing and should have been all over late 90s radio. Take the lead-off track for instance, “Information Undertow”. The topic is even more relevant today and the infectious chorus keeps you coming back for more.

The band lets its thoughtful, reflective side shine through all of these songs, and the trademark harmonies of Michael Gurley and Joie Calio have never sounded better. I really miss hearing these two sing together like this. The quality of the songwriting and performance is exemplified on the track “Beautiful Turnback Time Machine”.



Unfortunately, I can’t find any other videos for the songs here, but go to Amazon and sample these spectacular cuts: “Where You’re Going”, “Spinning My Wheels”, and “The Ballad Of Earl Grey And Chamomile”. Highlights of the band’s balladry can be heard on “Goodbye” and “Outside”. Don’t let another day go by without discovering the majesty of this wonderful record.

Keep up with Dada here.

Review: Jack Blades “Rock ‘N’ Roll Ride”

Rock/AOR
On the heels of a new comeback album with Night Ranger, Jack Blades is already back with a fresh set of tunes constituting his second solo record, “Rock ‘N’ Roll Ride”. The man should need no introduction, so if you want to get to the album review, just skip to the next paragraph. For those who aren’t aware, Blades achieved multi-platinum success with five studio albums by Night Ranger in the 80s. Jack then co-founded the super group Damn Yankees with Tommy Shaw (Styx). In 1995, he continued his budding collaboration with Shaw to form Shaw/Blades. Across these three successful groups, Blades has earned a gold star for his songwriting skills, and has penned tunes for many other artists including Aerosmith, Cher, Alice Cooper, Roger Daltrey, Great White, Journey, Ozzy Osbourne, and Styx, many appearing in major films.

Like his solo debut in 2003, “Rock ‘N’ Roll Ride” contains an abundance of potent rock anthems and includes a few notable guests. In addition to some of his Night Ranger band mates, the new release features Robin Zander (Cheap Trick) on “Anything For You” – one of the best tunes on the record - and some beats laid down by Brian Tichy (Whitesnake). The record plays like a celebration of the art of rock n’ roll, full of bright, positive energy from start to finish. True to his own words, Blades commented, “’Rock ‘N’ Roll Ride’ is an extension of what my music has been for the last 30 years. It has been quite a rock n’ roll ride and I decided to lay it all down on a record!”

In addition to “Anything For You”, there are many highlights on this record to mention. Blades charges back into action with the take-no-prisoners opener, “Back In The Game”. The tune harps back to his gritty rock roots, but shines with an optimistic attitude and radio-friendly melody – it is hard not to be invigorated by this one. The classics 80s AOR riffs of “Love Life” brought back some pleasant nostalgia, and the arena ready rocker “Say You Will” and mid-tempo affirmation “Don’t Give Up” will get you off your feet. On the tender side, Blades delivers as expected on the magnificent “Hardest Word To Say”.

“Rock ‘N’ Roll Ride” will be available in late March (Frontiers Records), promising to be one of the greatest joyrides of the season!

Jack Blades – Official site.

Melodic rock CD of the week

By Stephen Kasenda

BRASS KITTEN “Across America” (2001)

BRASS KITTEN was revived by Perris in 2001 for a blitzing glam release, 'Across America' and I'm going to say, judging by the year of its release, this is definitely an oasis in the desert. Steve Philbrook has an amazing vocal and a wide range - the songs are mostly energetic, very melodic, and right in-your-face. 'Crossfire' is a mind blowing opener; 'Can't Hold Back The Young' is reminiscent of PRETTY BOY FLOYD’s style; 'Too Far Gone' is a nice and simple ballad; and 'Bite The Bullet' is a great no-frills hard rock tune.

There are some fillers scattered here such as the second track, 'Sweet Love Affair' or the eighth track, 'Can't Get Enough', but those are the only the weak songs I spotted. 'Fit To Be Tied' and 'Wait Another Day' are still pretty good. 'Country Song' is an easy listening acoustical piece - I love this track and 'Quit Your Bitchin' is an ass-kicking sleazy tune similar to DANGEROUS TOYS.

Unfortunately the volume is quite low but the production isn't bad considering it's an indie recording. This album isn't going to win any award, but for fans of glam yearning for some serious rock and roll salvo, BRASS KITTEN is a good catch.

Read more of Stephen’s features at MetalMusicArchives.

Under Cover: Bohemian Rhapsody

Ever wonder what Queen's classic, "Bohemian Rhapsody", would sound like if performed by a hip-hop group? Yeah, me neither. But if you did, this is a great example of being careful what you wish for...

The Braids "Bohemian Rhapsody" (Queen)

Review: Bunny Austin “Shadow Life”

Rock/Power pop
Named after the British tennis player from the 1930s, the Birmingham-based rock band Bunny Austin is hoping to score with their first album, “Shadow Life”. Their influences mainly include power pop, but you’ll hear a smattering of retro garage rock and punk in their sound too. Bunny Austin includes Charles Arndt (Plaid Camels) on guitar and vocals, Rich Albright (Altamont, Muddy King) on bass, Tony Oliver on keys, and Tommy Prewitt (Month of Sundays) on the drums.

Some strong suits in the band include excellent dynamic bass lines, with lively piano or organ augmenting the predominant fuzzy guitars. There is a palpable urgency in the band’s playing, not unlike the great Jim Carroll Band. Nothing on the record is unlistenable (although “Let The Power Fall” gets tedious) but I do wish more tracks had sharper, better developed hooks. I hasten to add that there are plenty songs that get under your skin. “Sparks” is the most accessible, radio-friendly track. Also notable is the dance rock of “I Can’t Take It No More”, the harmonious “Myra”, the breezy “You Were The One”, and the Knack inspired “Make It Last For Now”.

The chemistry is just starting to brew for Bunny Austin. “Shadow Life” is exuberant, radiating with the energy typically associated with that first record. With continued honing of their craft and development of more harmonies, Bunny Austin stands a good chance of hopping out of the shadows of their influences to become an influence themselves.

Bunny Austin – Official site.

You Were Robbed – White Lion

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

The band White Lion roared onto the late 80s melodic rock scene with their “Pride” record, which featured big hits like the catchy “Wait” and the tender acoustic ballad, “When The Children Cry”. The band inexplicably fell prey to the sophomore jinx with their excellent follow up, “Big Game". What should have been the comeback of the year, the band’s third album “Mane Attraction” was tragically ignored.

I was inspired to write this post when I heard that an American Idol contestant actually did a cover of “Broken Heart”, one of the first songs White Lion wrote as a band (and was incidentally re-recorded for “Mane Attraction”).



Here is White Lion’s version from “Mane Attraction”:


The real surprise was that the super catchy leadoff single, “Love Don’t Come Easy”, with a great video to boot, failed to ignite a third chapter in this band’s career.



Infinitely popular at the time was the majestic power ballad – White Lion delivered big time on these with the beautiful acoustic “You’re All I Need” and the piano-driven tune “Till Death Do Us Part”, which I’ve heard at several weddings.



“Mane Attraction” also shows the bad evolving a harder edge with epic cuts like “Lights and Thunder” and “Warsong”. "It's Over" is another well done melodic song. In listening to the closing track, “Farewell To You”, I get the sense that perhaps the band had a gut feeling that the ride was coming to an abrupt end.



The record also contains a stunning instrumental called “Blue Monday”, a tribute to Stevie Ray Vaughan. This song, like all the others on the record, is testament to the sheer brilliance of Vito Bratta as a guitarist. His retirement soon after this record is a catastrophic loss to the entire music community. Anyone know what he is doing now? As for lead singer/songwriter Mike Tramp, he’s gone on to release a number of solid solo records, and his latest work with Rock N Roll Circuz is just fantastic (see review here).

Review: Jim Ivins Band “Everything We Wanted” [EP]

Pop rock
Richmond, Virginia pop rockers The Jim Ivins Band have released a new 7 song EP called “Everything We Wanted”, the follow up to their 2009 Ace Enders-produced self-titled set. The EP was produced by fellow Richmond native Pedro Aida (The Riot Before, Ann Berretta, Carbon Leaf), and features “Sight of Fire” as the first single (stream it here).

The Jim Ivins Band formed in 2007 and have been steadily cultivating a large base of fans hungering for their bright acoustic-based rock formula. They have shared the stage with national acts such as Parachute, Carolina Liar, The Rocket Summer, Cracker, The Ataris, Mae, Carbon Leaf, and Pat McGee Band, and showcased at the 2009 Miami Music Festival. “Everything We Wanted” draws inspiration from opening for Switchfoot and The Airborne Toxic Event; consequently, Ivins has dug deeper to carve out more emotional and reflective lyrics.

The EP begins with “Run”, which is driven by Ivins’ trademark acoustic strumming, accentuated with some funky wah pedal in the verses. The chorus is a dream – so bright and sunny you might need to apply sunscreen while listening to it. “The Sight Of Fire” touches on the theme of addiction…and becomes quite the addiction in the process. “Rollercoaster” gets back to the band's sentimental side, touching on the ups and downs permeating our relationships. The EP continues to impresses as it comes to a close with the optimistic rocker “It’s Getting Better” and the contemplative title track. The only dispensable item here is the aimless but thankfully brief “Emergency”.

In short, another big winner for the Jim Ivins Band and a treat for those of us who are missing the heyday of bands like Crowded House, Toad The Wet Sprocket, and Vertical Horizon.

The Jim Ivins Band - Facebook

Melodic rock CD of the week

By Stephen Kasenda

UNRULY CHILD “Unruly Child” (1992)

Unruly Child was formed by Mark Free after Signal split up in 1989. Bruce Gowdy and Guy Allison joined him after they left World Trade. Musically, they continued the AOR path that was derived from Signal's sound and mixed it with the glam sound of Giant and some Bon Jovi. Mark Free, whom later transformed into Marcie Free, definitely has one of the truly magical voices and he's the shining star of this album.

The ultimate reason to buy this album is because of Free's voice singing two insanely beautiful tunes, "Who Cries Now" and "Is It Over". While "Who Cries Now" is more of an uptempo track with an unbelievably awesome chorus, "Is It Over" puts their tender side ahead. You can hear the sadness and emotion wrapped tight inside the arrangement - this is the type of song that'll be loved by many, and is it very nostalgic.

Some other wonderful tracks to check out include the ballad "To Be Your Everything", which features a superb sing-along chorus; "When Love Is Gone" – with another stunning delivery by Free; "Wind Me Up", a great hard rock effort by the band; and "Lay Down Your Arms", a groovy midtempo song with a strong chorus. The rest are also listenable, although nothing is really spectacular, with "Tunnel of Love" and "Long Hair Woman" being the worst fillers.

The production level is very good and you can catch every detail of Mark Free's great voice. The band's musicianship is quite decent, but Gowdy did throw in some memorable riffs and solos. For fans of AOR, pop-metal, or Mark Free, the debut of Unruly Child is undoubtedly their greatest release. It has been out of print for a long time, so it's gonna be a tough job looking for this in the market.

Read more of Stephen’s features at MetalMusicArchives.

Under Cover: Eye of The Tiger

The Temptations “Eye of the Tiger” (Survivor)

Check out this rendition of Survivor’s classic, “Eye of the Tiger”, performed by The Temptations at the Oscars in 1982!

Review: Sunstorm “Emotional Fire”

Melodic rock/AOR
Joe Lynn Turner is back with the third album from his Sunstorm project, entitled “Emotional Fire”. Joe Lynn Turner, who has a voice like Jimi Jamison (Survivor), is no stranger to both fans of classic rock as well as AOR - his career began in the legendary bands Fandango and Rainbow, and then he worked with the likes of Deep Purple and Yngwie Malmsteen. Interspersed in all of this work, he has built a solid fan base around his solo career (his first solo album was 1985’s “Rescue You”).

Sunstorm released their self-titled debut in 2006 and followed this up with “House of Dreams” 3 years later. Each became instant favorites in melodic rock circles. “Emotional Fire” is poised to add another favorite to the catalogue. The third album draws inspiration from various sessions Turner did in the 80’s as background vocalist for other artists. Consequently, Turner has redone Michael Bolton’s AOR gems such as “Gina” (originally included on “The Hunger” album, where Turner contributed with background vocals), and the title track, which Bolton penned for Cher’s “Heart of Stone” album (Turner performed background vocals on that record too). “Emotional Fire” also contains some great songs written by Soren Kronkvist (Crash the System, Issa), Tom and James Martin (Vega, Sunstorm, Khymera) and Daniel Palmqvist (Xorigin, The Murder of My Sweet).

The album blasts into action with the energetic anthem of encouragement, “Never Give Up”, which quickly reminds us of Turner’s startling vocal prowess. The part-ballad, part-arena rocker “Lay Down Your Arms” is quite captivating, exuding a darker edge without compromising on melody. “You Wouldn’t Know Love” and “Wish You Were Here” are spot on throwbacks to the golden age of 80s AOR. Additional highlights include “Follow Your Heart” and “Torn In Half”.

As expected, Turner turns in another AOR winner the likes of Journey, Survivor, and Night Ranger and I give it a strong recommendation for fans of the melodic rock genre.

Joe Lynn Turner - Official site.

You Were Robbed – Richie Sambora

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

Richie Sambora has gotten plenty of love in the context of Bon Jovi, but his first solo record, 1991’s “Stranger In This Town”, didn’t capitalize on his fame to the extent that I expected. The record barely cracked the top 40 on the Billboard charts and its rousing lead single, “Ballad Of Youth” struggled to reach a dismal 63 on the singles chart. The subsequent singles, the soulful ballad “One Light Burning” and title track, didn’t even chart. Admittedly, the choice of singles was a bit perplexing, and probably has a lot to do with why the album wasn’t as warmly received as similar melodic rock records dominating the time period.

“Stranger In This Town” contains plenty of Bon Jovi-ish anthems (for example, “Ballad of Youth” and “Rosie”), but infuses the blues and a touch of soul that distinguish it from his day job output. In fact, the one and only Eric Clapton guests on the track, “Mr. Blueman”. Sambora’s voice harmonizes with Jon Bon Jovi perfectly, but this record shows he can stand on his own vocally. His voice also has more of an everyday man’s quality to it that exudes a charm all on its own.





Two of my favorite cuts on his debut solo record are saved until the end. “Father Time” is a huge power ballad that continues to resonate with me to this day, and “The Answer” is a rare and beautiful acoustic treat that makes us wonder why Sambora doesn’t put down his electric guitar more often.





Some other cool bits of trivia – Randy Jackson (American Idol dawg judge) played bass on “One Light Burning”, Desmond Child co-wrote “Rosie” and “Father Time”, and Dean Fasano (Message/Prophet) contributing backing vocals.

Bottom line: I would take this solo release from Sambora over any of Jon Bon Jovi’s solo efforts. This record is no "New Jersey", but surely should have performed much better than it did.

Review: Brixton Riot “Palace Amusements”

Rock
“More power, less pop” is the mantra of Brixton Riot, a New Jersey quartet readying their new record, “Palace Amusements” for release. This full-length record follows the band’s 2007 debut EP, “Sudden Fiction”, which helped to grow a solid fanbase throughout the northeastern US. Engineer Frank Marchand (The Thermals, Bob Mould) was behind the mixing board for the new release.

The songs of Brixton Riot are lyrically sharp, and the band creates a sonic landscape that is very reminiscent of the post-grunge era. Bands back then were rediscovering melody but weren’t quite ready to surrender the gritty guitar tones. It’s not unusual to hear juxtapositions of 70s powerpop and classic garage rock even on the same song. Many of the tunes revolve around life as a modern musician, but anyone who is working for a living is going to relate to the themes the band puts under the microscope.

Among the highlights is the energetic and catchy lead off track “Signal To Noise”, the driving rocker “Hard To See The Sun”, the savory “Canvas Shoes”, and the sweet satire of “Hipster Turns 30”.

With its heady blend of Lemonheads meets Gin Blossoms, Brixton Riot sounds like a long lost friend from the late 90s alt rock scene. Both the vocals and the songwriting style remind me of The Caulfields a great deal. “Palace Amusements” will be available March 13 on Modern Hymnal Recordings.

Brixton Riot – Official site. Bandcamp.

Melodic rock CD of the week

By Stephen Kasenda

WHITE WIDDOW “Serenade” (2011)

Melbourne-based melodic rockers WHITE WIDDOW return with even stronger output in 'Serenade'. Sounding almost identical to their debut, the band kicks up the bar to a higher level with a more polished sound and well-crafted songs in the vein of Def Leppard's Hysteria/Adrenalize era, wrapped up with European smooth AOR.

You can't find any fillers here - if you're really a fan of AOR, really it's just amazing to hear some heartburning songs like 'Cry Wolf', 'Strangers In The Night', or 'Serenade'. Granted there are few weaker songs such as 'Show Your Cards' or 'Mistake', but even those songs are still enjoyable. 'Do You Remember' is the most obvious Leppardized track, 'Reckless Night' is flawless, and 'How Far I Run' is also stunning (although the chorus is too similar to JOURNEY's 'Never Walk Away').

This album is full of sugar-coated hooks and sing-along choruses that might remind you to the hey-day of arena rock back in the 80s…and the production is excellent. Definitely better than the debut, a 90% from me that got it into my final top ten list last year. Superb!

Read more of Stephen’s features at MetalMusicArchives.

You Were Robbed – Survivor

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

How in the world can I be crying that 80s AOR giants Survivor were ever robbed? The band enjoyed phenomenal success with two distinct Rocky soundtrack classics, and their completely non-Rocky album “Vital Signs” (1984) is considered one of the finest melodic rock records of all time. The band even “survived” a change in lead singers (from “Eye of The Tiger’s” Dave Bickler to “Burning Heart’s” Jimi Jamison). 1986’s “When Seconds Count” stayed true to the band’s synergistic mix of guitars and keyboards, and squeezed out a couple more hits. In 1988, the band released a markedly harder record called “Too Hot To Sleep”, and this marks when the band was robbed. “Too Hot To Sleep” stalled at #187 on the US charts and inexplicably failed to generate much interest at radio.

It defies the imagination why this record was ignored to the extent that it was – it contained a masterful mix of Survivor standards fans would expect and a lot more riffy crunch to capitalize on the glam/hairband style so popular at the time. The first single, “Didn’t Know It Was Love” deserved to be just as huge as past hits like “Is This Love” or “Can’t Hold Back”.

Here it is, in all its late 80s glory:


Another fan favorite is the keyboard-driven “Desperate Dreams”:


The harder-edged material comes in the form of tracks like “Here Comes Desire”, “Burning Bridges”, and “She’s A Star” – while more guitar driven, the band never strayed from catchy melodies and big arena-ready choruses. And towards the back half, “Tell Me I’m The One” and “Can’t Give It Up” are just blistering hot pieces of rock.



“Too Hot To Sleep” contained requisite tender moments as well, such as the sparse but beautiful ballad, “Across The Miles”.


“Too Hot To Sleep” should have revitalized Survivor and further cemented their status as kings of melodic rock. It is the Survivor album that best balanced Sullivan’s guitars and Peterik’s keyboards. And who knows? If the album did better, fans might have been treated to more AOR gems in the 90s.

Review: Danika Holmes “Living Your Dream”

Singer-songwriter/Pop
Two years ago, we were taken by the charming debut by Danika Holmes, an aspiring songstress from Iowa (review here). Holmes returns with a new release, “Living Your Dream”, this March. “Living Your Dream” was funded by fans through a Kickstarter campaign, which must have been pretty successful given the slick new look and sound of the record.

Holmes is a mix of heartland warmth and book smarts (she was a dissertation shy of earning a Ph.D.; she decided to write an album instead). These attributes carry through into the messages contained in her lyrics. Even more than on her debut, Holmes stretches herself into a diverse array of musical genres, incorporating more guitar-driven leads and even horns throughout several of the songs. To be honest, a part of me misses the more organic feel of her debut set. On “Living Your Dream”, the music has evolved to a glossier plane, and I am not certain it fits her voice as comfortably as her debut.

Nonetheless, Holmes demonstrates she is certainly capable of writing to suit many styles, reminding me of the versatile Shelby Lynne. Lyrically, and true to the album’s title, Holmes still shines as a beacon of hope and positivity. “Dreams Held Hostage” and “Bluebird” will undoubtedly be fan favorites, each a country-tinged tale that touches the heart as much as it tickles the ears. My personal favorite, though, is “How To Be Beautiful” – on this track, Holmes is at home in her comfort zone and backed by pleasing “oh la la” harmonies. From here on, Holmes will either confuse or delight with forays into other musical territory. “Rainy Day Lovin’” has a bit of a doo-wop and jazzy feel while “Someone New To Forget” sounds like an attempt to capitalize on the Adele craze. “Kids and Makeup” is sweet and simple bouncy pop. Holmes shines on a couple standout ballads this time around, including “Breathe In Let Go” and the sweeping title track. The ten song record closes with another highlight in “Forever Young”.

It should be easy to catch Holmes on tour this spring and summer, stateside or in Europe - she has a whopping 160 shows planned. In the meantime, you are sure to find something to love on “Living Your Dream”.

Danika Holmes – Official site.

Melodic rock CD of the week

By Stephen Kasenda

TWISTED SISTER “Love Is For Suckers” (1987)

If there's something bad in the mind of TWISTED SISTER's fans regarding this album (apart from the difference in style compared to their earlier albums), it’s that two days after its release Dee Snider announced that he's no longer a part of the band. Beau Hill was behind the production desk and at first, “Love Is For Suckers” was intended to be Dee's solo album - but the label scraped the idea and asked them to release it under the TWISTED SISTER brand.

Considering that 1986 was a year full of commercial hits from fellow glam bands, this album tried to adapt to that climate, producing several songs that had potential for airplay such as 'Hot Love', the title track, 'Tonight', and the ballad, 'You're All That I Need'. I understand if some fans didn't like this at all, because they expected the band to keep playing the raw and wicked hard rock like the old days, but I'm one of the few who enjoyed it a lot.

'Me And The Boys' is another fun track: sounds like an anthem, and even though slightly sloppy at the chorus, this is truly a strong track. 'One Bad Habit' is addictive and as great as 'Hot Love' - these two are the best on this album. 'Yeah Right' is probably the worst filler…if only they replaced it with a better song. Having the remastered version is nice, especially for the four bonus tracks alone.

Beware that if you prefer the olden days, this might not suitable for you; otherwise, it's a solid underrated album and I think deserves a score of 80%.

Read more of Stephen’s features at MetalMusicArchives.

Under Cover: It's My Life

Crazy polka version of this Bon Jovi hit. And it's not Weird Al.

Село і люди "It's My Life" (Bon Jovi)

New video: Jet Electro "I'll Never Find Another Girl Like You"

Check out the new video from Jet Electro; the CD was recently reviewed here.



Excellent tune!

Review: Michael Thompson Band “Future Past”

Melodic rock/AOR
Ace studio session guitarist Michael Thompson, who has played for the likes of Phil Collins, Rod Stewart, Scorpions, Vince Neil, and many more, is releasing a new, long-awaited record entitled “Future Past”. Longtime fans of West Coast AOR probably remember his cult classic “How Long” from 1988. “How Long” was reissued in 2007 with 3 bonus tracks, starting a relationship between Michael Thompson and Frontiers Records.

This time Michael teams up with Larry King, the smooth vocalist from the band Soleil Moon. King brings a more rocking edge to the MTB sound but the trademark craftsmanship in the songs that fans would expect have been retained. Beginning with the lead off anthem, “High Times”, the listener is treated to one polished slice of AOR after another. While “High Times” is truly a highlight, my favorite song on the disc is “When You Love Someone” – an absolute winner without a single flaw. This smoldering power ballad draws you in with sultry verses that lead to an amazing chorus. Additional standouts include the upbeat arena-ready rocker “Here I Am” and “Beautiful Mystery”, which sounds like a lost Toto track. “Break Me Down” is also a solid track that grows on you quickly.

MTB’s “Future Past” should be an obvious choice for fans of Giant, Alias, and Foreigner.

Michael Thompson Band – more info.

You Were Robbed – Teenage Fanclub

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

Teenage Fanclub “Bandwagonesque”

1991 was a tumultuous time for music. But who was honored with Spin magazine’s poll for best album of the year? Was it Nirvana’s “Nevermind”? R.E.M.’s “Out Of Time”? No. It was “Bandwagonesque” by Teenage Fanclub. This band from Glasgow took a markedly different approach on this, their third, record. Leaving behind the dissonant fuzzy noise, they aimed for slick melodies and keen harmonies the likes of Big Star. The change in direction hits fans right in the face with the first track, “The Concept”.



As with most of the other songs on this brilliant record, Teenage Fanclub carved out a unique niche that brought in the grungy noise we craved at the time and combined it with supersweet 70s bubblegum pop. Another fine example of this is the amazing ballad, “December”.



Bringing in their love of 60s groups like The Box Tops, Teenage Fanclub struck gold again with “What You Do To Me”.



And if there was any song that could capture the sentiment of the day and relationships better than “Alcoholiday”, please let me know.



Over the years, the band has released a string of follow up records and shuffled personnel, mostly to mixed reviews. While some songs shine here and there, the band hasn’t quite recaptured the magic that made “Bandwagonesque” such a perfect listening experience.

Time has shown that “Bandwagonesque” deserved to be among the ranks of Nirvana and R.E.M. for that year, but it still remains unknown to too many people. More info on the band can be found here.

Review: Fairchilds “Our Revolution”

Pop rock
Cyril Niccolai, whose interests range from cooking to the study of medicine and law, discovered yet another passion in music. The product of that passion is the debut album “Our Revolution” by The Fairchilds (Vertusent Music Group). This French singer/songwriter is inspired by everyone from Bon Jovi to U2, and incorporates modern influences such as Lifehouse, Coldplay, and the Goo Goo Dolls into his sonic palate. Niccolai wrote more than 200 songs to choose from and selected the top dozen to constitute his debut.

It doesn’t take too long before Niccolai’s songwriting philosophy is evident – he believes everything is linked, “a melody, a mood, some characters, a story... all interdependent”. Boosted by expert production from Jim Lowe (Stereophonics, Foo Fighters), the Fairchilds have delivered a hugely appealing modern pop rock release. Refreshingly, Niccolai strives to keep things positive both musically and lyrically: “My main goal is to distract people from their problems and my music therefore has to be optimistic."

“I Need You” kicks off the set - a tight rocking tune with just the right amount of punch, written about the historic election of President Obama. The track indicates that the Fairchilds mean business. Along similar lines, the title track speaks to his influences by incorporating themes from U2 with the arena rock sound of Bon Jovi. The next series of songs, which includes the first single “Unbreakable”, emphasize Niccolai’s introspective lyrics and thoughtfulness. His knack for wrapping reflective lyrics within catchy melodies is perhaps no better demonstrated than on “Story Of My Life”, which is my favorite song on the record. Defying the label of one-trick pony, “Body of Lies” and “My Name” sound a lot like something Puddle Of Mudd would do, yet I can imagine a pop country artist like Tim McGraw performing “Life Is Beautiful”. Fairchilds refuses to run out of steam as the album closes, crossing the finish line strong with the crunchy pep of “Song 12” before relaxing a bit with the majestic ballad, “Turn Back Time”.

“Our Revolution” is available now on iTUNES and at Amazon. Easily one of the best pop rock releases of 2012. Given that he has 188 “leftover” songs, I hope it isn’t too long before we get another Fairchilds record!

Fairchilds – Official site.

Check out the video for “Unbreakable”

Melodic rock CD of the week

Review: Mr. Big “Live From the Living Room”

Rock
On the heels of their excellent reunion CD, “What If...” (review here), Mr. Big is releasing a new live set entitled, “Live From the Living Room” February 28. The story behind this recording goes like this: “At the end of January 2011, during a weeklong promotion of “What If…”, the band was invited to the WOWOW TV Studios in Tokyo to perform a special show in an acoustic setting. When the talk of a broadcast first came up, the guys wanted to present something different than they’ve ever done before. Thus the idea of an acoustic show came about and a string quintet was brought in to enhance the project even more, with arrangements provided by Takashi Miyazaki. Although Paul Gilbert and Billy Sheehan hooked up electric on a few songs, the show was still very much acoustic in nature throughout. Pat Torpey played various acoustic percussion instruments during the gig. The result from that magical night in Tokyo is now here: 10 Mr. Big classics in a completely new and fresh dress and a portrait from the very first ever acoustic show from the band.”

Given the sheer talent among the players in this band, and their string of radio friendly melodic rock hits, I was really looking forward to such an album. The musicianship is incredible and comes out loud and clear when played in the largely acoustic format. It is also obvious that the guys are having a great time performing this way. The vast majority of the set includes new cuts from “What If…”, including “Undertow”, “As Far As I Can See”, “Nobody Left To Blame”, “Still Ain’t Enough For Me”, “Stranger In My Life”, “All The Way Up”, and “Around the World”. As great as the new songs are, I would have loved to hear some of the classics done this way. To the band’s credit, they throw in a well done version of their #1 smash “To Be With You”, but that song was acoustic already. With so many outstanding songs from their extensive back catalogue, it is puzzling to me to hear middle of the road stuff like “Voodoo Kiss” and “Take Cover”.

“Live From the Living Room” is sure to please most fans of Mr. Big, but may not do much for the casual fan who enjoys only the older stuff. For anyone with doubts about the unbelievable talent in this band, hearing these stripped down performances should provide unshakable evidence.

Mr. Big – Official site.

Under Cover: Kiss Me Deadly

REEL BIG FISH "Kiss Me Deadly" (Lita Ford)

Check out this rendition of Lita Ford's big hit, "Kiss Me Deadly" by Reel Big Fish. Reel Big Fish inject a little reggae into the song and pump it full of horns too.

Review: Cirrone “Uplands Park Road”

Powerpop
Cirrone is a band of (mostly) brothers: Alessandro Cirrone on guitar/vocals, Bruno Cirrone on bass/vocals, Mirko Cirrone on guitar/vocals, and Ferdinando Piccoli on drums. Banging out their brand of Kinks-inspired powerpop from Italy, their new record, “Uplands Park Road” has been near the top of many best of 2011 lists on the powerpop circuit.

The album was recorded in Italy and mixed in Los Angeles by famed producer Todd Burke (No Doubt, Johnny Cash, and Red Hot Chili Peppers to name a few). The 13 song collection mixes ballads with uptempo rock tracks, with some softer acoustic moments thrown in for good measure. The band strived to make each song strong enough to stand on its own, with an overall mood that is sunny, optimistic and sincere. As we often expect from a group of siblings, these guys deliver some excellent harmonies.

The album, including its upbeat title track “Uplands Park Road”, is an ironic autobiographic picture of the band living in London, trying to get into the Hall of Fame without having any money in their pockets. “Here Is My Song” boasts a breezy acoustic introduction and its groove settles down comfortably into your ears in no time. The talented musicianship is quickly evident in the layers of guitar that support the song structure. “Let The Wind Blow” is another well-crafted piece soothing to the ears, entangling a bit of country flair with Beatlesque melodies. “All I Know” is a contagious mid-tempo rocker with another sing-a-long chorus, while “Brand New Life” is an epic ballad on the scale of “Hey Jude”. As if these tracks aren’t good enough, “How Does It Feel” left me speechless. The band sounds great whether they are rocking along with horns as in “Here We Will Go” or waltzing through a simple fingerpicked acoustic beauty like “In The Sun”.

Cirrone has completed an exceptionally well-constructed set of songs here that no fan of classic or modern powerpop should be without. Check them out if you miss The Beatles, Badfinger, or The Raspberries.

Cirrone – Official site. Get the record here.

You Were Robbed – Hoodoo Gurus

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

Hoodoo Gurus “Blow Your Cool”

There are any number of albums in the extensive Hoodoo Gurus discography that I could pick as a demonstration of how this Australian band was robbed. But after a fun afternoon of revisiting their catalogue, followed by very careful deliberation, I have to go with 1987’s “Blow Your Cool” to be the biggest head scratcher - why this record didn’t catapult the band to superstardom in the States is the eighth wonder of the world.

The band released two albums prior to “Blow Your Cool”, which were well received at college radio and started earning the guys a rabid following. The debut and sophomore effort, 1984’s “Stoneage Romeos” and 1985’s “Mars Needs Guitars!” are now classics in garage pop rock, but were probably a bit too eclectic for mainstream listeners at the time. But flash forward to 1987 and we hear the band like we’ve never heard them before – slick, polished, and full of radio-friendly hooks. Just give a listen to the kickoff tracks “Out That Door” and “What’s My Scene”:





Can you imagine anything more tasty for late 80s rock radio? How about a duet their touring partners, The Bangles, one of the hottest groups around at the time? But not even that harmonious pairing in “Good Times” could ignite DJs.



The band shared a new dimension of their talent with fans on this record, too, in their first real – and most amazing – ballad, “I Was The One”, featuring some rip-roaring sax that was ubiquitous in the 80s.



The Hoodoo Gurus should have had success in excess of their INXS brethren. If you like “Blow Your Cool”, there is plenty more where that came from, including a new best of collection coming in March entitled, "Gold Watch: 20 Golden Greats".

Learn more about the Hoodoo Gurus here.

Review: Origami Hologram “Bats In The Attic” [EP]

Rock
Justin Kline, the powerpop artist who impressed us with his 2010 EP, “Triangle” (reviewed here) is back with a new sound in the form of an outfit called Origami Hologram. While Kline’s sweet and savory vocals are still recognizable, his signature sound has taken on more of a grungy edge. The guitars are fuzzier, and the production is raw, but Kline’s crafty hooks and vocal tone still work in this context. I’d liken it a bit more to Weezer or Teenage Fanclub.

“Bats In The Attic” features four songs, with my favorite being the most melodic one in the bunch: “Ghost Horse”. The title track is also a highlight, and serves as a proper introduction to Kline’s new sonic direction. Staccato guitars pierce through the verses and lead us into a satisfyingly catchy chorus. “Orange Tree” is another enticing song that follows a similar formula. The only throwaway is the aimless noise of “Cat Fight”.

It costs nothing to try them out – download the new EP from Origami Hologram for free here.

Melodic rock CD of the week

By Stephen Kasenda

L.A. GUNS “Waking The Dead” (2002)

2002 is surely a bad year to produce a glam album – who would buy that when nu-metal still ruled the world? But thumbs up to Phil Lewis and the gang, who delivered such a classy release in the midst of a horrible heavy metal year. “Waking The Dead” sees L.A. GUNS trying to revive the sound of their early days, but also attempts to adapt to the current climate, resulting in a 75% classic style and 25% modern touch.

Hits for me here are the opening song, 'Don't Look At Me That Way'; the melodic hard rock of 'Revolution' and 'Lost In The City of Angels'; 'The Ballad' which is quite obvious, is the ballad of this album; the sleazy 'Hellraisers Ball'; and the fast-paced closer, 'Don't You Cry'. 'OK, Let's Roll' and 'Waking The Dead' are okay, the latter has an almost-growl vocal that I believe they’ve never tried before, and 'Frequency' is the worst song here.

I know lots of fans dig this but I also know that much of the 80s generation missed this because they think by 1993 the game was over…but if you can find this record I strongly recommend you buy it. It has those classic punchy riffs, Lewis’ crazy scream, and mostly enjoyable songs. A great criminally-underrated album!

Read more of Stephen’s features at MetalMusicArchives.

Cover tune catastrophe: Landslide

Smashing Pumpkins "Landslide" (Fleetwood Mac)

This gorgeous Fleetwood Mac song has been covered by many, but one of the most abrasive to my ears is the version by Smashing Pumpkins. It's really no secret that Billy Corgan can't sing well. Corgan can get by when he's shouting and surrounded by a lot of noise, but when he's naked in a sparse acoustic song like this...yikes. It would have been interesting to hear them do a rocking version of this tune instead of trying to mirror it so faithfully.

Review: Van Halen “A Different Kind of Truth”

Rock
“There will come a day when youth will pass away...”

How many of you actually thought you’d see the day come when the Van Halen brothers (I guess we can say Van Halen family now that Eddie’s son Wolfgang replaced Michael Anthony on bass) would release a new record with former front man David Lee Roth? Diamond Dave always thought it was inevitable, but I am still taking in the moment that has finally arrived. You could feel the energy of anticipation in the air for months now…most of which was instantly deflated with the debut of their new video, “Tattoo”. I was apparently in the minority in liking this song from the get go.

No lie - “A Different Kind of Truth” is very good. The band has taken heat for revisiting some ideas that dated all the way back to the 70s, but what better way to get their feet back in the water with Roth? Longtime fans will be able to spot these elements in the tunes without hesitation. So how are the boys holding up after all these years? Eddie and Alex sound like they are on fire – the record is ambitious, ferocious, and bursting with energy – you can tell they’ve been holed up in studios for far too long and the band is playing like they have something to prove. Dave still brings that certain charm to the fore and while his voice is going a bit and he talks too much during the songs, his lyrical wit remains as sharp as a tack. Wolfgang proves he is a capable bass player, but there are many spots on this record where I can hear the ghost of Michael Anthony chiming in with his trademark backing vocals. Still, the band makes attempts to compensate by crafting excellent harmony vocals on tracks like “The Trouble With Never”.

The first three tunes are an excellent announcement that the boys are back and taking no prisoners. Eddie brings back the guitar solo with a vengeance and Alex is jaw-droppingly good on his drums. “She’s the Woman” sounds like Roth-era Van Halen v2.0. The ultra-catchy “You and Your Blues” is the kind of song that made Van Halen a radio staple back in the day. “China Town” starts off with blistering thunder that recalls “Get Up”, but Roth soon chimes in to make it his own. My favorite tune in the batch is the dynamic yet wonderfully melodic “Blood and Fire” – a record full of songs like this would be a new classic. But then tunes like “Bullethead” and “Honeybabysweetiedoll” seriously take away the melodic momentum – on the plus side, they highlight the greatness of the explosive “As Is” and “The Trouble With Never”. “Stay Frosty” provides a pretty cool acoustic-based break on this otherwise heavy record, but in isolation it isn’t all that memorable. The record ends strong with a double punch of powerful cuts in “Big River” and “Beats Workin’”.

The new record strives to show that the boys are older and wiser, but youth has not yet passed away. It succeeds far more than it falls flat, and I feel younger just listening to it.

Van Halen – Official site.

Check out the video for “Tattoo”, if you are one of the 5 people who haven’t done so yet:

You Were Robbed – Company of Wolves

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

Company of Wolves “Company of Wolves”

You might faintly remember a tune called “The Distance”, an amazing breakup song that won a smattering of airplay on rock radio in 1990, boasting lines line “You think we’ll work it out in some restaurant…well I’ve got my reservations, girl” and “Guess I’ll never learn to play it smart…if I twist your arm, you break my heart”.



The band was Company of Wolves and this track was featured on their self-titled debut, one of the most "classic rock" records to come along amidst all the glam and hairband clones. Kyf Brewer (formerly of the popular Baltimore band The Ravyns – remember their hit “Raised on the Radio” from “Fast Times At Ridgemont High”?) and brothers Steve and John Conte led the charge, cranking out track after track of melodic rock goodness. Why “Call of The Wild” didn’t catapult these guys above the crowd I’ll never understand.



There are even better tracks here, including the hugely catchy “My Ship”, “Girl”, and the surprisingly moving acoustic ode to a stripper girlfriend, “Everybody’s Baby”.





Drummer Frankie LaRocka, who played with everyone from Scandal to Bryan Adams, would go on to produce The Spin Doctors, but sadly passed away from complications following heart surgery in 2005. Kyf Brewer would go on to release a number of solo records, frequently collaborating with powerpop favorite Cliff Hillis. He now leads a wildly entertaining Celtic band called Barleyjuice. The Conte brothers formed Crown Jewels and you can follow their latest endeavors here.

Company of Wolves is a must have, folks – it is cheap, so track it down today and enjoy.

Review: Jeff Litman “Outside”

Singer/Songwriter
Back in 2009, the NYC-based singer/songwriter Jeff Litman scored one of our favorite picks of the year with “Postscript” (review here). Needless to say, we were very excited to hear new material in the form of his sophomore CD, “Outside”, which is out today.

In the words of Litman: ““Outside” is a record about searching for one's place in the world—professionally, romantically, artistically. Where my first record, “Postscript” is mired in the grief of a recently ended relationship, “Outside” is its slightly jaded, somewhat wiser, but still uncertain aftermath—grappling with the question of what happens next and taking on the struggles that accompany life as an independent artist at this moment in time.” As on his debut, Litman recruited some excellent personnel to make “Outisde” a memorable listen – this includes Andy Thompson (Dan Wilson, Andy Sturmer, Jeremy Messersmith) and drummer Michael Bland (Prince, Paul Westerberg, Soul Asylum). Powerpop fans should also note that none other than Roger Joseph Manning, Jr. (Jellyfish) sings and plays keyboards on the bouncy title track.

For the uninitiated, Litman is a cross between Elvis Costello and Tom Petty in songwriting style and a near dead ringer for Michael Penn in his vocal tone. Mixing their brand of Americana and pop savvy, with the occasional grit of Paul Westerberg (Replacements), Litman has emerged with a record that should appeal to the masses. Opening track and first single, “Over and Over”, is the epitome of this description, sounding like Elvis Costello covering a Tom Petty-penned song. The more upbeat “Runaway” is even more enjoyable in my opinion, thanks to its ear candy chorus. “Chasing My Tail” has a great sunny vibe with a melody that reminds me of “Nobody” by The Replacements...with handclaps to boot! Additional highlights include the acoustic based pop rocker, “Don’t Want To Talk About It”, “Girl Down I95”, “Just Another Dream”, and the sublime “Don’t Do That”. Finally, be sure not to skip over the refreshing changes of pace that include the remarkably beautiful ballads, “Back To You” and the piano-driven “Time Heals Nothing”, the latter of which could be mistaken for another Westerberg song.

“Outside” is no sophomore jinx. On the contrary, Jeff Litman solidifies his reputation as a songwriter focused on melody and thoughtful lyrics. Go to his web site now for a FREE download of “Over and Over”!

Jeff Litman – Official site.

Melodic rock CD of the week

By Stephen Kasenda

McAULEY-SCHENKER GROUP “MSG” (1992)

The final album of the duet Robin McAuley and Michael Schenker, which was released in 1992, was the first MSG album I heard. It eventually became my favorite MSG release throughout the band’s entire career. This is an album that was packed with lots of commercial edged melodic rock, powerful ballads, huge harmonic background chants, and thrilling solo. On this record, Jeff Pilson and James Kottak were also strengthening the band’s magical line-up.

"Eve" rolls like an assaulting fireball shot out from Schenker's Gibson Flying-V, reaching the sky with its monstrous chorus. "This Broken Heart" pumps up the tempo and has a danceable chorus. I also love the giant melodic lines in their ballads, "When I'm Gone", "We Believe In Love", and "This Night Is Gonna Last Forever". "What Happens To Me" could have been a wonderful Scorpions track. MSG wisely put the acoustic-based and haunting track, "Nightmare", last – it helps to cool off the heat and closes the album nicely.

This record is clearly a winner to all melodic hearts, and as they have written in the lyric "love like this will never come again", that's what really happened to me with MSG.

Read more of Stephen’s features at MetalMusicArchives.

Cover tune catastrophe: You Give Love A Bad Name

I'm not sure what is worse: having your hit rock song sampled by rappers or having it performed this way.

Miracles of Modern Science "You Give Love A Bad Name" (Bon Jovi)

Review: The Outfield “Replay”

Pop rock
The latest record from 80s giants, The Outfield, arrived last year and it has taken me a long time to finally write a review. I have been playing this one on and off for months now, trying hard to find something that I like about it. I’ve been a huge fan of the band since day 1, so I am surprised that I find “Replay” so disappointing.

There was a lot of promise for this record, starting with the return of original drummer Alan Jackman joining John Spinks (guitar, keyboard) and Tony Lewis (bass, vocals). Jackman hasn’t played with the band since he left in 1990 and reportedly energized the group upon his return. Additionally, the advance single “California Sun” was a decent song with a nostalgic feel. Unfortunately, the rest of the record is an exercise in frustration – even after months of trying to get into it, the melodies just don’t stick.

There is no question the guys remain in top form – excellent musicianship, solid vocals, and warm production certainly brings back shades of the 80s. But this is all wasted on surprisingly mediocre songs devoid of hooks or interesting riffs. Outside of “California Sun”, the highlights include “Aladdin’s Cave” (which feels like a sequel to the hit “Voices of Babylon”) and “Wonderland”. I hate to say it, but “Replay” will probably compete with “Diamond Days” for being the least played record in my Outfield collection.

The Outfield – Official site.

In case you missed my interview with the boys in the Outfield, you can check it out - here.

You Were Robbed – Pay The Girl

"You Were Robbed" features artists and bands that should have gotten much more recognition and fame than they did. Check them out now...better late than never!

Pay The Girl “Pay The Girl”

This self-titled debut by the Cincinnati rockers calling themselves “Pay The Girl” bowed in 2003 to deaf ears. After hearing this set of radio friendly pop rock tunes, it makes the mind wonder why they couldn’t sneak above the crowd to match the success of like-minded bands such as Matchbox 20 or Goo Goo Dolls. These songs boast potent production and a perfect mix of gritty guitars with pop sensibilities. Lead vocalist Jason Allen Phelps has a warm rock voice that fits into the band’s tasty rock groove effortlessly.

The track “Freeze” received modest attention at adult rock radio, but should have been much bigger in my opinion. A snippet of the video is below – check it out and see if you agree.



“Beverly” is even more radio friendly with its pop hook aping the megahit “Absolutely (Story of a Girl)” from Nine Days. But my favorite track is “All You Are”, a biting breakup song with a huge sing-a-long chorus.



The back half of the record is quite strong as well, with smoldering cuts like “Traded”, “I’m Not Like You”, and the moving closer “We Both Lose”. The chord changes in the chorus are quite unique but a strong melody still emerges that sticks with you.



True, the record is not a masterpiece, but surely deserved more attention than it got. Unfortunately, the band would release no more records after this one fizzled – a real shame considering that their debut was so impressive. I imagine these guys would have reached great heights. If anyone knows what happened to them, let us know!