CRAAFT - Craaft [remastered +8] (2012)

* PLEASE read comments

Not so long ago we reviewed CRAAFT's 2nd album reissue, now it's time for their self-titled debut, remastered and with no less than 8 bonus tracks.
Founded by ex- Tokio Klaus Luley and keyboard player Franz Keil around 1983, thier aim was recreate '80s American Melodic Rock / AOR with German touch.
That's it: commercial melodic tunes plenty of hooky choruses, chugging guitars and lots of keyboards / synths.

"Craaft" was at Bob Dylan's studio in New York, produced by Peter Hauke (White Lion), with session drummer Sandy Gennaro (Blackjack, Y&T) behind the skins.
The sound is typically mid-eighties, composed & recorded between 1984-85, but the album was released in '86.
Opener "I Wanna Look In Your Eyes" is the definiton of '80s rockin' AOR: bombastic drums, synths galore and soaring vocals.
Follower "Breakin' Walls Ain't Easy" is Melodic Hard oriented but extremely melodic, same with "Hold Me" although more AOR infused, specially on the killer chorus.
As you suspect with the title, "You're The Best Thing In My Life" is a heavily orchestrated ballad.
"I Guess You Are the Number One" rocks in a commercial Hard Rock fashion, "Stranger" adds some parping keyboards to the mix, while "Now That You're Gone" slower the things with an emotional Euro-AOR feeling.
"Wasted Years" has a melodic line similar to Foreigner and on last track "Cool Town Lovers" Craaft goes a bit more stomping hard rock with strong riffs reminding Swedes' Glory.

The bonus tracks are the pre-production demos tracked-down when Craaft formed. Although most of them were recorded on an 8 track Fostex tape machine, the sound is quite good.
When the band get signed by CBS, they transferred the recordings to a 24 track tape, added some more stuff and re-recorded the vocals.
Some of these songs ended in the debut album, but here are in their original form with different arrangements and lyrics, later polished by Tony Carey. Because of this, some demos still feature some 'working texts' by Klaus Luley.


For a novel band, "Craaft" was a successful album in Europe, presented live all over the continent as a support act with Queen.
Their second album 'Second Honeymoon' is superior in production and songwriting, but Craaft's debut has all the magic of the glorious mid-eighties AOR / Melodic Rock sounds.
All is here; sharp guitars, sugary harmonies, lashings of keyboards and a general sense of the bombastic overblown.
A must have for classic '80s rockin' AOR aficionados.


01 - I Wanna Look In Your Eyes
02 - Breakin' Walls Ain't Easy
03 - Hold Me
04 - You're the Best Thing In My Life
05 - I Guess You Are The Number One
06 - Stranger
07 - Don't Wanna Wait No More
08 - Now That You're Gone
09 - Wasted Years
10 - Cool Town Lovers
Bonus Tracks:
11 - I'm A Mover
12 - High, High, High
13 - Takin' My Time
14 - Don't Wanna Wait [original version]
15 - Babe, You're the No.1 [original version]
16 - You're the Best Thing In My Life [original version]
17 - Cool Town Lovers [original version]
18 - Hold Me [original version]


Klaus Luley - vocals, guitar, bass
Franz Keil - keyboards, backing vocals
Reinhard Besser - guitars, bass, backing vocals
Sandy Gennaro - drums, percussion
Jurgen Zoller - drums



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www.yesterrock-shop.com/epages/61997914.sf/en_GB/?ViewObjectID=30546358

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ASHENT - Inheritance (2012)

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Italian Progressive Metal act ASHENT was founded ten years ago by guitar player Onofrio Falanga, and now is presenting their third release "Inheritance".
This being a milestone for any band, it also sees Ashent returning with several line-up changes.
After their last album in 2009, Falanga announced three new members would be filling in: Titta Tani (Goblin, Daemonia, Phoenix Rising) on lead vocals, Gilles Boscolo on keyboards and Alessandro Cossu on second guitar.
And so, with changes like these, it comes as no surprise that the band is redefining themselves a bit.

"Inheritance" finds Ashent taking a very unique stance on Progressive Metal, melding together various styles and sounds to create a somewhat unusual blend.
Along with what might be considered the 'typical' combination of the genre with heavy guitars and synths, Ashent mixes in some mellotron, Hammond and saxophone. This gives their sound an almost Neo Prog take on Progressive Metal.
And dynamically, the group swings between more atmospheric and mellow sections to some louder, chaotic blends. Ashent has a way of using chord progressions where they fill every chord out to the point of almost bursting, adding dissonant tones to the more conventional structures.
This is not only achieved with the instrumentation often combining atmospheric keyboards and strong rhythmic guitars, but also with some very full harmonies in the vocals.
Sometimes, however, this attempt at invention and complexity blows back on them.
Songs like "Eve", "Shipwrecked Affair" and "Spider's Nest" are really interesting, but so thick that it sounds like there are several songs overlapping one another in the same arrangement.
Conversely, "La Danzatrice Scalza" has the complete opposite feeling. It's nearly perfect Prog, interestingly, but not severely, technical, and simply delightful to the ears.
Actually, Ashent seems to better when they're not trying to fill a song with a trick in their bag. "Renaissance" and the closing instrumental "Labyrinthique" are entertaining in their lack of complexity.


If you read this blog assiduously, you must remember Phoenix Rising's debut posted some months ago; a Melodic Rock / AOR project by Titta Tani, the same singer and arranger here.
So expect more melodious vocalisations in "Inheritance" than the usual in Prog Metal bands. Indeed, Ashent is more Prog than Metal.
Tani is a quite versatile vocalist adapting his vocal intonation to the needs of the songs (which are relatively short) over the technical, sometimes complex music which, as said, includes synths sounds, some sax inserts, orchestral parts and choirs apart from the guitars.
Add to this a very fluid rhythm section, and the music can at times be a little overwhelming. And Ashent deploys many different textures throughout the album, making for a very explorative experience.
All these elements combined also gives them a sound that has a very new, crisp and modern feel to it.
"Inheritance" is definitely an album that breaks the mold.
Different and interesting.


01 - Eve
02 - Magnification of a Daydream
03 - Shipwrecked Affair
04 - Fractural
05 - Spider's Nest
06 - Renaissance
07 - The Starving Litany
08 - Confessions of Reimman
09 - La Danzatrice Scalza
10 - The Defiant Boundary
11 - Labyrinthique


Titta Tani - vocals
Onofrio Falanga - guitars, backing vocals
Alessandro Cossu - guitars
Gianpaolo Falanga - bass
Gilles Boscolo - keyboards, programming, sax
Davide Buso - drums, percussions



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GRAND PRIX - Samurai [Rock Candy remaster] (2012)

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Originally formed back in the late seventies as Paris, GRAND PRIX was from the start a different beast in the UK scene.
Their melody-rich blend of guitars and pomp-fuelled keys were much more in tune with what was happening on the other side of the Atlantic than anything remotely British or European sounding.
Following time spent on the live circuit they came to the attention of RCA who signed them up ... on condition they changed their name to Grand Prix.

Their tenure with RCA produced two albums – their eponymous debut with original vocalist Bernie Shaw (now of Uriah Heep) was particularly memorable – but it will be for their swansong "Samurai" that the band are best remembered.
Shaw was dropped in favour of Robin McAuley (later to achieve international fame with Michael Schenker), and perhaps the superb singer was the catalyst for the band to record one of the most memorable pompous AOR Melodic Rock albums of its day.

"Samurai" showcased a newfound maturity in the songwriting department and a glossier sound aimed squarely at the American market.
From the moment crescendo-driven opener "Give Me What’s Mine" kicked in it was clear that Grand Prix had evolved into a band with a truly international pedigree and then some.
Boasting more hooks than most rock&pop bands could muster, tracks like the smouldering power ballad "Here We Go Again", rabble rousing "Freedom", the swaggering "Countdown To Zero" and shimmering title track "Samurai" were a bold revelation, affirmation that the UK finally had a serious contender to the likes of Styx, Journey and Foreigner.
That the band never went on to achieve fame and fortune (indeed, they split soon after the album was released) is once again testament to the ineptitude of the clueless executives who ran the record industry at the time.


Lovingly rescued from the vaults, "Samurai" is brilliantly remastered by the ever dependable Jon Astley and presented with all the usual Rock Candy trimmings.
Great packaging with extensive sleeve notes about the making of the album and a couple of previously unreleased live bonus tracks taken from their Reading Festival appearance in '82.
"Samurai" is a prime example of British Pomp infused AOR at its best and as such is utterly indispensable.


01 - Give Me What's Mine
02 - Shout
03 - 50/50
04 - Here We Go Again
05 - Countdown To Zero
06 - Somewhere Tonight
07 - High Time
08 - Never Before
09 - Freedom
10 - Samurai
11 - Keep On Believing (Live) (Bonus Track)
12 - Feels Good (Live) (Bonus Track)


Robin McAuley - lead vocals
Michael O'Donoghue - guitar, backing vocals
Phil Lanzon - keyboards, backing vocals
Ralph Hood - bass, backing vocals
Andy Berne - drums, percussion





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www.amazon.co.uk/Samurai-Grand-Prix/dp/B006UJJ8F8

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TAZ TAYLOR BAND - Straight Up [2012 Remix] (2012)

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TAZ TAYLOR is a UK born guitar virtuoso who has now been based in San Diego for some while. His recording career started with a solo instrumental album, before forming The Taz Taylor Band and recording ‘Welcome To America’ with legend Graham Bonnet at the mic. This album generated great feedback and success and worldwide tours ensued.
A change of singer in the form of Keith Slack (Michael Schenker Group, Steelhouse Lane) was made in the follow up album, "Straight Up", which was an European release only, in 2009.
Taylor says: "Straight Up was never properly promoted. It came out just when the economy went in the toilet. We abandoned our plans to tour Europe it was terrible timing, really. It always kind of bothered us that it was an album that had been forgotten.”

Now, the recording is being re-released for the first time in USA as "Straight Up 2012 Remix", rebuilt from the ground up.
“We were never 100 percent happy with the mix,” Taylor says. “Looking back, we felt that we really rushed it. So I spent a bit of time in the studio and remixed the album. It sounds 100 percent better.
We changed the running order as well and used new artwork.”
Ironically, the idea for the re-release first arose while demoing new material. “We’re working on some songs for possible future release, but we realized that we also had this album of music that never had a chance to be exposed to people the U.S. In fact, we only played those songs onstage twice. So, we decided to do some shows playing the entire album all the way through. And if we're doing that, it makes sense to make the album available with the sound we wanted originally.”

"Straight Up 2012 Remix" is a rockin' album, with long time member Val Trainor on drums and Taz covering guitar and bass duties. The guest star is Don Airey who got to know the band in the Graham Bonnet period.
As for the tracks, Taz's distinctive style is much brighter in the new mix and his lightness of touch and feel is very present.
But half of the success in this great collection of rockers is superb singer Keith Slack. He shined on both memorable Steelhouse Lane albums, and do so here.
Listening his close to perfection fully fledged raspy, blues drenched, (smooth when needed) performance in a similar timbre to David Coverdale, I wonder why this guy isn't hired by other rock acts as frontman. What a waste of talent.
Anyway, Slack gives to these classic hard rock / melodic hard songs a special emotion, very much of a belter and growler which is a fantastic counterpoint to Taz's meticulous and dexterous guitarwork.

"In Harms Way" starts off the album straight into a class riff and upfront drums leading to a trademark Taz Taylor solo. "Never Letting Go" is a retro '80s song in the style of Journey’s "Stone In Love' and it works flawlessly. Slack's vocals excel in this mid tempo type of song.
The next track, "One More Night" is probably the most memorable on the album with a slow build up to a long hook into a very catchy and commercial chorus. It's quite unlike anything I've heard in a long time and is utterly captivating. The guitar playing is simply perfect and the singing is, if possible, even better.
The following numbers "The Fugitive" and "Bring It" increase the tempo, with the latter employing some classy hi-hat work from Trainor.
Don Airey appears on the title track which is an instrumental commencing with a classical piano prelude before Taz lets loose with a masterclass of melodies before nicely being tied up by Airey's closing piano passage.
The hard hitting "Information Overload" has a note-laden catchy riff and strong chorus, whilst in 'Lock And Load' Slack's vocals really do go all Led Zepp.


"Straight Up Remix 2012" is a truly enjoyable and solid Classic Hard Rock record with vocals to match.
Loose, pure rock n roll plenty of inspired melodies, soaring melodic guitar leads anchored by an arsenal of catchy and memorable hard rock riffs. The performances are all A* rated.
The production and remix is very uncluttered and arranged so that you envisage the band playing the tracks live as a four piece.
Very, Very Recommended.


01 - In Harms Way
02 - Never Letting Go
03 - One More Night
04 - The Fugitive
05 - Bring It
06 - Straight Up
07 - What You Need
08 - Information Overload
09 - Razor Tongue
10 - Wait No More
11 - Lock And Load


Bass, Guitar, Keyboards – Taz Taylor
Vocals – Keith Slack
Drums – Val Trainor
Keyboards, Piano – Don Airey


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www.cduniverse.com/productinfo.asp?pid=8746337

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EMERSON, LAKE & PALMER - Tarkus [2CD Deluxe Edition] (2012)

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EMERSON, LAKE & PALMER's eponymous LP was only a rehearsal. It hit hard because of the novelty of the act (allegedly the first supergroup in rock history), but felt more like a collection of individual efforts and ideas than a collective work.
All doubts were dissipated by the release of "Tarkus". Side one of the original LP is occupied by the 21-minute title epic track divided in suites, beating both Genesis' Supper's Ready and Yes' Close to the Edge by a year.

Unlike the latter group's cut-and-paste technique to obtain long suites, "Tarkus" is a thoroughly written, focused piece of music. It remains among the Top 10 classic tracks in progressive rock history.
Because of the strength of side one, the material on the album's second half has been quickly forgotten -- with one good reason: the title track is insuperable.
These are great compositions anyway; "Bitches Crystal" and "A Time and a Place" make two good Prog tracks, the latter being particularly rocking.
The two short tracks under the 3-minute mark "Jeremy Bender" and the rock & roll closer "Are You Ready Eddy?" were unnecessary.


"Tarkus" is a landmark in rock music history, especially to the ears of Prog fans -- no Greg Lake acoustic ballads, no lengthy jazz interludes. It is an indispensable album to understand the evolution of the genre.
Three time Grammy-nominated producer and engineer Steven Wilson (who has also recently remixed classic albums by Jethro Tull and King Crimson for acclaimed 40th anniversary editions) worked from the original Greg Lake produced multi-track tapes to remix both albums. The result is excellent.
Both versions, the original and the 2012 Stereo Mixes (including previously unheard outtakes) sound great.
Essential.





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www.amazon.com/Tarkus-Deluxe-Edition-Emerson/dp/B008FPZQRO

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ALBERTO RIGONI - Three Wise Monkeys (2012)

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Exceptional bass player and composer ALBERTO RIGONI surprised us last year with his very good CD 'Rebirth' (already presented in this blog), and now returns in the form of "Three Wise Monkeys", a brand new solo effort to be released on October 1st.

Member of TwinSpirits, Lady, The Bass and sessionist for Don Airey to name one, Alberto is rapidly gaining audience in the international progressive rock music scene for inventive genre-crossing compositions that paint alluring soundscapes comprehensible to wide varieties of listeners, yet artistically sophisticate and individualistic enough to sustain one's attention once gained.
For "Three Wise Monkeys" Rigoni has formulated a more commercial approach, going from melodic and progressive hard rockers to elaborated fusion-prog numbers, interspersing 5 instrumentals with 5 vocal tracks.
The prolific bassist has gathered an impressive roster of special guests to assist, including vocalists Göran Edman (Yngwie Malmsteen) and Jonas Erixon (Alicate), guitarists Tommy Ermolli (Khymera) and Simone Mularoni (DGM, Empyrios), keyboardists Mistheria (Bruce Dickinson, Rob Rock) and Kevin Moore (Dream Theater, OSI, Chroma Key), and drummers Mark Cross (Outloud, Helloween) and Paco Barillà (Daniele Liverani) among many others.
This line-up alone shows the respect Rigoni's name carries in the music world.

"Three Wise Monkeys" is partly conceptual album based on the Japanese legend which embodies the proverbial principle of 'see no evil, hear no evil, speak no evil'. The three monkeys are named Mizaru (who sees no evil), Kikazaru (who hears no evil), and Iwazaru (who speaks no evil) – and each gets his own instrumental on the album.
The source of this legend is a 17th century carving over a door of the Toshogu Shrine in Nikko, Japan (the shrine also gets its own track).
Of course, Alberto's bass is the keystone to the music, tying each track together. Despite this fact he manages to keep the bass from hogging the spotlight, allowing his many guests to step to the front as needed.
Each performer is allowed to shine, and the music moves from genre to genre without abrupt or jarring transitions making it a 'true album' and not simply a collection of songs.
Soft temple bells provide the meat of the opening track “Toshogu Shrine,” leading nicely into the varied tempo changes, driving rhythms, and intense Kevin Moore supplied keyboards of “Mizaru”.

“Three Wise Monkeys” is an up-tempo rocker featuring the warm and unique tone of vocalist Göran Edman and some fine drumming by Paolo Valli over Rigoni’s slick bass.
The soft and moving “Kikazaru” is Rigoni’s bass expo and he proves just how much emotion and feeling a well-played bass guitar can produce.
Jonas Erixon contributes fine vocals and Tommy Ermolli plays some amazing guitar breaks on the intense and heavy prog rocker “Blackened Tornado”.
Rigoni makes his bass sing on the instrumental “Iwazaru,” laying out some interesting patters and getting almost bell-like tones from the instrument. He is capably backed by the ethereal keyboards of Federico Solazzo and complex patterns of drummer Sebastian Persini.
A bluesy and gritty tone drives “Free Falling,” another vocal track that features the fine guitars (and very metal solo) of Simone Mularoni. “Between Space and Time” is a soft, almost ambient instrumental, driven by the gentle and distinctive keyboards of Mistheria. “Coming Home” is a very good mid tempo rock ballad, and it allows vocalist Erixon to take the spotlight.
The album wraps with the slow and emotional “Believe.” Erixon’s vocals again shine, but the track is fully anchored by Rigoni’s bass and Barilla’s drums.


"Three Wise Monkeys" is a very good album in its own. It isn't just an exposition of fine bass work; rather it is a solid musical release.
Nicely balanced between interesting instrumentals and vocal rockers, the music manages to dazzle the listener without making it a 'wizard player' album.
Rigoni's eclectic mix of influences and styles proves him to be a complete musician who fully explores the limits of his instrument of choice. He is an outstanding performer whether delivering simple rhythms or pounding out complex riffs.
Alberto never neglects the melodic elements of songwriting and plays with his heart, not just his fingers.
"Three Wise Monkeys" should be seen as a solid progressive / rocking 'fusion' and not a bass player ego trip. In short; a very good Rock album.
Very Recommended

You've seen it first here, at 0dayrockz


01 - Toshogu Shrine
02 - Mizaru (feat. Kevin Moore)
03 - Three Wise Monkeys (feat. Goran Edman)
04 - Kikazaru
05 - Blackened Tornado
06 - Iwazaru
07 - Free Falling (feat. Mark Cross)
08 - Between Space And Time
09 - Coming Home
10 - Believe


Alberto Rigoni – 4, 5 and 6 string bass
Göran Edman – vocals on track 3
Jonas Erixon (Alicate) – vocals on tracks 5, 7, 9 & 10
Kevin Moore (ex Dream Theater, OSI) – keyboards on track 2
Federico Solazzo (Alexia) – keyboards on tracks 5, 6 & 9
Mistheria (Bruce Dickinson, Rob Rock) – keyboards on tracks 8 & 10
Alessandro Bertoni (Aphelion) – keyboards on track 3
Tommy Ermolli (Khymera) – guitars on tracks 2, 3, 5, 9 & 10
Simone Mularoni (DGM, Empyrios) – guitars on track 7
Mark Cross (Outloud) – drums on track 7
Paolo Valli – drums on tracks 2 & 9
Sebastian Persini – drums on tracks 5 & 6
Paco Barilla (Daniele Liverani) – drums on track 3 & 10



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powerprogshop.de/power_prog/alberto_rigoni_three_wise_monkeys.html

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THE ELECTRIC LADY - Black Moon (2012)

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THE ELECTRIC LADY was formed around 2007 in Salo, Finland, by female singer Minna Ora and husband guitarist Kari Ora.
The pair had actually been performing together acoustically since 1998 but they wanted to give their songs more power and decided to form a full rocking band.
Since 2011 they have been writing and recording their debut and the end result is the juicy "Black Moon".

Singer and songwriter Minna Ora creates songs which could easily sit comfortably in any of the last four decades, although the sound & style is firmly planted in the '80s and early '90s female fronted hard rock.
This is classic material as heard from the start with the elegant intro "Un Ange Dans La Tour" which flows into the first main track which is the highly commercial "A Man Of That Kind". A bouncing bass line and husky vocals gives way to a jumping rockin' progression and a punchy chorus.
Another stand out track is the melodic hard rocker "Secret Love" with some cool effects filled guitar and a solid pace from the rhythm section before erupting into a driven catchy chorus.
"Who Cares" is an even more melodious with a pounding bass and drums before a most infectious chorus appears, whilst "Your Heart Is 100 Times Bigger Than Mine" demonstrate a softer ballad approach.

"You Can’t" and "Waterproof" are two more with classic rock riffs that are given modern tweaks. The former has an energetic melody that is backed up by layered keys and some powerful vocals. "Waterproof" is fuelled by a winding riff which converts to a chug in the verse with the chorus mixing both parts.
"Through Ice And Snow" and "Black Moon" are two that rank as more complex and atmospheric with both having a moody, intense feel about them and solos that are more intricate.
The album ends with the 'real' ballad, the keyboard orchestrated "That's The Way", structurally Bon Jovi-esque but arranged in a classic way plenty of strings and piano providing the back drop for Ms. Ora's sultry vocals.


The Electric Lady is a surprisingly tight unit and their debut "Black Moon" is a fun, energetic and organic '80s American-styled female fronted Melodic Hard Rock album.
This is an ideal drive time CD well suited to being blasted out on a summer's day motoring down an open winding road.
Minna Ora owns an expressive voice with a great range and style for this type of music, and she knows how to write catchy melodies for sure. Kari offers up plenty of classic riffs & progressions and effortlessly blends some modern licks with retro melodies galore. The other band members contribute fully with the drums and bass providing a solid engine for this rock vehicle whilst the ever present keys add even more '80s feel.
Production is solid, clear and polished.
"Black Moon" as a whole is held together by very good songwriting and splendid musicianship, making this an absolute belter of a record.
Highly Recommended

You've seen it first here, at 0dayrockz


01 - Prelude 'Un Ange Dans La Tour'
02 - A Man Of That Kind
03 - Secret Love
04 - Your Heart Is 100 Times Bigger Than Mine
05 - Let It Rain
06 - You Can't
07 - Through Ice And Snow
08 - Who Cares
09 - Waterproof
10 - Black Moon
11 - That's The Way


Minna Ora – Vocals
Kari Ora – Guitars
Jussi Sinervo – Bass
Samuli Jokinen – Keyboards
Pepe Lindholm – Drums







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hmv.com/hmvweb/displayProductDetails.do?sku=717524
www.amazon.co.uk/Black-Moon-Electric-Lady/dp/B0065KRJQ2

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ELF PROJECT - The Great Divide (2012)

the REAL one

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ELF PROJECT is a trio based in New York masterminded by multi-instrumentalist of New Zealand origin Carl Schultz.
Their new album "The Great Divide" is certainly a refreshing take on both neo-progressive rock and hooky melodic rock songwriting, spiced with hard hitting moments.

Elf Project style channels all those glorious sounds that Canadians Rush conjured up during the Moving Pictures, Signals and Grace Under Pressure period, including prominent keyboards now lost in the sound of Geddy Lee's band.
Opening cut "We Pay the Price" busts out of the gate with thunderous bass lines, textured guitar riffs, atmospheric keys and Carl Schultz high pitched, melodic vocals. It keeps going on strong from there.
"The Sirens Call" is a remarkable song, again driven by Schultz and his thick bass grooves and vocals, with fantastic guitar riffs from Mike Cappadozy and Dave Wayne's rock solid drum patterns.

"Love For Sale" mixes prog with Def Leppard styled arena rock, some heavier riffs and nice use of keyboards, while "Illusion" again screams '80s Rush, chock full of catchy hooks and muscular arrangements.
"Pull Me Under" is a little more complex, musically it's quite adventurous with some nifty guitar work from Cappadozy, atmospheric keyboards and fat bass lines, but the song contains catchy melodies and a great chorus.
Schultz's slippery bass slaps provide the intro to the exceptional "No More Monkey Business", a short instrumental that lets the band strut their stuff musically, complete with some nimble stick work from Wayne and layer upon layer of complex guitar riffs and patterns.

The band approaches prog metal on the heavy yet melodic "Reach Out", which features the best vocal work in the album. The sound is more 'bright' in this one.
"Heaven Above" continues on with the heaviness, while sustained riffs and haunting keys permeate the moody "What I Believe".
The album closes with the poppy "Any Other Day" delivering shimmering vocal harmonies, corpulent bass lines and soaring slide guitar.


In "The Great Divide", Elf Project looks itself into Rush's eighties mirror with great results.
The album is infectious from the start, one of those modern prog albums that just has so many feel good moments, upbeat arrangements, catchy hooks and crisp instrumentation.
In fact, the band's ability to create memorable songs cannot be overlooked, as sometimes progressive rock acts tend to overplay at the expense of the song, but not Elf Project.
I hope neo-prog and melodic rock fans don't miss this CD - as it's released by a small label - because contains quality music ready to please listeners of both genres.


01 - We Pay The Price
02 - The Sirens Call
03 - Love For Sale
04 - Illusion
05 - Pull Me Under
06 - No More Monkey Business
07 - Reach Out
08 - Heaven Above
09 - What I Believe
10 - Any Other Day

Carl Schultz: Vocals, Bass, Keyboards, Production
Mike Cappadozy: Guitars
Dave Wayne: Drums, Percussion



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itunes.apple.com/us/album/the-great-divide/id536912932

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WIRELESS - No Static [Rock Candy remaster] (2012)

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WIRELESS were one of the best kept secrets in Canadian rock.
An obscure Toronto - via Australia - based quartet with a neat line in quirky yet powerful hard rock, sending out a message with every turn of the screw.

Prior to "No Static" the band had issued two warmly received if poorly selling albums leaving them to question their very existence.
Indeed, all but resigned to breaking up, word reached Rush bassist/singer Geddy Lee who immediately jumped to the rescue, offering his production services if they would consider sticking together and making another album.
Faced with such overwhelming enthusiasm and a label (Anthem) keen as mustard to bank roll another record, they humbly acceded to demand.

Recorded at Le Studio, Moran Heights, just outside Montreal, "No Static" takes the Wireless mandate to its logical conclusion, crafting arguably the band's definitive musical statement.
Geddy Lee's hands on approach documents a band very much on the attack, leading by example and ramping up the energy level on all fronts. Mike Tilka from Max Webster Band also helped in the process.
Heavier, harder, yet always hummable, "No Static" makes its intent clear from the lead-off track "Pay To Ride" through to the very closing fade of "Journey Of A Possible Hero" and all points in between.
Look out for the epic "East Of The Sun, West Of The Moon", a peach of a tune perfectly encapsulating Wireless' ability impress at every turn.


Properly released on CD for the first time, the sound quality on "No Static" is second to none in this excellent digital remaster.
The complete liner notes takes a deep inside look at the group's creation, roots and demise, a pleasant memorabilia for any '80s rock music fan and collector.
Another great rescue by Rock Candy to a Canadian band that's faded away but not forgotten by true hard rock enthusiasts.


01 - Pay To Ride
02 - Timekeeper
03 - Go Naked Through The World
04 - One Of A Kind
05 - East Of The Sun, West Of The Moon
06 - Deep Heat
07 - Warm Night With A 3/4 Moon
08 - Friends
09 - Journey Of A Possible Hero

Mike Crawford - guitars & backing vocals
Steve McMurray - guitars & backing vocals
Allan Marshall - bass, lead backing vocals
Marty Morin - drums & backing vocals
Produced by Geddy Lee (Rush)





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nehrecords.com/SHOP/WirelessNo.htm

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CHRIS THOMPSON - Berlin Live [2CD] (2012)

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CHRIS THOMPSON is one of those people who has helped shape the history of rock music and you could definitely say he's one of the 'voices of rock'.
With his distinctive vocal style the man has thrilled us on albums by Manfred Mann's Earth Band, Night, Gary Moore, Alan Parsons, Starship and so on.
After leaving Manfred Mann's Earth Band he has embarked on a successful solo career, which sees him mostly touring Germany and Scandinavia, places where classic rock acts are still thriving when it comes to live performances.
From one such tour comes his latest live album, "Berlin Live", a 2CD/DVD combo, which is a mouth-watering prospect for any Chris Thompson fan.

As Chris is best remembered for his role as Manfred Mann Earth Band singer and that's what the fans still want to hear, we naturally find that the tracklist is dominated by MMEB material.
His back-up band of Scandinavian musicians is leaded by Norwegian guitar wizard Mads Eriksen, and the group puts its own slant on things and aren't afraid to branch out in directions that MMEB didn't go. That's said; a more classic / melodic rock orientation.
Thompson and the band sure know how to polish these already pretty flawless jewels.

Besides the MMEB material - which is a must at Chris Thompson shows these days - a few nice surprises also tickle our adventurous nerves.
We have some of Chris' classic songs with Night and from his solo albums, but the greatest surprise comes in the never heard arrangement of "You're the Voice", a song which Chris co-wrote for John Farham's huge hit.
Other welcomed inclusions are the swaying, harmonica-oiled blues "Whole Lot To Give" from his collaboration with Mads Eriksen - who has a solo spot here on "Davy's on the Road Again" (great guitar playing) - and a graceful, breezy version of "Hot Summer Night" from the singer's underrated late '70s project Night.
Still, the emotional zenith comes down with the classic "If You Remember Me", and the bare-bones "For You", a measure of the artist's dedication to his audience who's thanked, each one by name, in the booklet.


Live albums are usually intended for fans. "Berlin Live" is much more than that.
Actually most of these great songs find a new shape here, almost like a new material with new arrangements and some tour de force performances.
The band is in full flight on the whole album. They bring a breath of fresh air to all the songs and offer Chris a variety of choices. Most of all, the group seems to be enjoying itself and Thompson sounds really good, totally convincing in his delivery and performance.
This is a 'real live' album, no overdubs. "Berlin Live" is the full experience: repertoire, performances, live audience reaction. Just the full concert as if you were there.
Recommended.


CD 1
01 - Father of day
02 - Wasting time
03 - Spirits in the night
04 - Hot summer nights
05 - Martha's madman
06 - Land of the long white cloud
07 - Whole lot to give
08 - If you remember me
09 - Don't kill it Carol
10 - Redemption song
11 - Runner
12 - Mighty Quinn

CD 2
01 - Piece for the wicked
02 - You Angel you
03 - Davy's on the road again
04 - Blinded by the light
05 - For you
06 - You're the voice
07 - Questions


Chris Thompson - Vocals, Guitar
Mads Eriksen - Guitars
Gunnar Bjelland - Keyboards
Frank Hovland - Bass
Zsolt Meszaros - Drums
Steinar Krokstad - Drums



BUY IT !
www.amazon.co.uk/Berlin-Live-The-Aschaffenburg-Remains/dp/B0080CUWJE

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V.A. - Tales From The Edge; A Tribute To The Music Of Yes (2012)

*

Tribute albums are all about the band being paid the tribute. Even if they themselves may never appear on the album, their compositions will be examined and executed from a different angle than what fans will have been familiar with.
"Tales From The Edge; A Tribute To The Music Of Yes" is a very interesting one
as there's not the usual covers done million times such as 'Roundabout' or 'Owner of a Lonely Heart'.
Instead, it really takes a deep look into Yes lesser know numbers like "To Be Over" or "White Car", and performed by groups relatively new to the Prog scene.

Acts like The Samurai Of Prog, 3RD Degree, and Italy's Conqueror are already stablished groups but the rest are pretty unaware for the proggy fans, and their performances impress you to the point of wanting to check out their own work.
Periplo offers a violin-rich rendition of "To Be Over" that develops upon the original. The vocals are a tad grating, but the music is a phenomenal rendition of one of Yes' greatest songs.
I had never heard Italians Vanilla Project before, but listening their brilliant classical arrangement of "Heart of the Sunrise" is something to behold. With the occasional heavy metal kick, and vocals that betray their progressive heritage, Vanilla Project's contribution is among the very best here.
While much of this tribute relies on intense, bombastic performance, Marco Mason's "Show Me" is subtle, acoustic and works wonderfully.

The Samurai Of Prog deliver "Starship Trooper" in a way that recreates the energy of the original, although they don't go much beyond the call with it. Brazilian cover band Yessongs do much the same with "Siberian Khatru", and it's often uncanny how close to the true Yes they're able to sound.
Greenwall's cover of the simple love song "Onward" even goes as far as to sound like smooth R&B, which - depending on where you stand with it - is either a good or bad thing.
TenMidnight do a version of "Tempus Fugit" from Yes' Trevor Horn 'Drama' era, and while they par the original with skill and arrangement, it lacks the intense energy that made the original so cool.
Yesterdays comes in with something completely different on "White Car," which is almost twice as long as the original and bears no resemblance to it. But it's good and enchanting.

"Run Through the Light" by Aquael, another frequently overlooked Yes song, is little different from the original except the sound is fuller toward the end and the vocalist appears to be female, which suits the song well.
"The Fish" gets a grittier rendering with various electric guitars, one of which is fed through a wah pedal. The huskier vocals on "Machine Messiah" gives the song a different vibe even though the instrumentation and arrangement are nearly identical to the original version.
On the other hand, The Opium Cartel gives a complete makeover on "Clear Days", taking on a symphonic electronica sound with low, hushed vocals. Very cool. The "Heart of the Sunrise" presented here has an orchestral introduction before sounding like a straightforward cover.
Truly, these and the rest of the performances on "Tales From The Edge; A Tribute To The Music Of Yes" are all worthy of a listen, although some artists here take more of a welcome risk than others.


YES are one of the Gods in the Prog Olympus, and "Tales From The Edge; A Tribute To The Music Of Yes" is an exciting prospect to hear some fellow fans of the almighty band paying homage in their own way.
This very well recorded Tribute also serves as a comfortable way to be introduced to the passion of many lesser-known prog acts.
Whether it's for Yes or a promising window-shop for talented prog artists, this double CD is worth checking out.
Recommended.


CD 1
1. The Samurai of Prog - Starship Trooper
2. Periplo - To Be Over
3. Aquael - Run Through the Light
4. zerothehero - The Fish (Schindleria Praematurus)
5. SETI - Machine Messiah
6. The Opium Cartel - Clear Days
7. Vanilla Project - Heart of the Sunrise
8. TenMidnight - Tempus Fugit
9. Yessongs - Siberian Kathru
10. B612 - Long Distance Runaround
11. Aurora Lunare - Don't Kill the Whale
12. Greenwall - Onward
13. Yesterdays - White Car

CD 2
1. Luca Scherani - Holy Lamb
2. Jay Tausig - Wonderous Stories
3. Raven Sad - Soon
4. Supernal Endgame - Parallels
5. Subterra - Shock to the System
6. Stefano Vicarelli - Mood for a Day
7. Conqueror - Lift Me Up
8. Armalite - Time and a Word
9. Spirits Burning - South Side of the Sky
10. 3rDegree - Going for the One
11. Alessandro Corvaglia featuring Matteo Nahum - And You And I
12. Marco Masoni - Show Me
13. Din Within - Changes





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www.mellowrecords.com/album.asp?catalogue=MMP519A

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HARLEQUIN - Love Crimes [Rock Candy remaster] (2011-12)

*

Winnipeg's prodigal sons HARLEQUIN were a fine example of an act that benefited from what was called 'CanCon' : Canadian Content, a local Commission that required radio and television broadcasters must air a certain percentage of content at least partly written, produced, presented or otherwise contributed to by persons from Canada.
It didn't hurt either that Harlequin were ‘accidently’ signed to the giant, international CBS corporation, following the absorption of an independent production company that the band had signed to earlier in their career.

"Love Crimes" was the second (but first on a major label) album from the band, produced by Jack ‘Aerosmith’ Douglas in New York at the famed Record Plant Studios.
It was an album achieving Platinum status in Canada, making inroads into the US where the band played shows with the likes of Survivor, Triumph and John Waite.
Featuring an amazing vocalist (George Belanger), superbly crafted songs and a melodic yet hard hitting sound, "Love Crimes" remains a classic creation, with rough-hewn guitar work, lovely keyboards, memorable melody and hugely satisfying hooks.

Of course radio-potent melodic rock was only one side of "Harlequin"s sound. True to their name, Harlequin induce an undercurrent of theatricality to their sound which, at parts, comes through the vocals and rhythm section on such songs as "Heaven" and "Love on the Rocks".
For the biggest part, however, "Love Crimes" remains a straightforward early '80s Melodic Rock / AOR offering that could stand toe to toe with Survivor or Foreigner.
The album features one of the band's greatest hits in "Innocence" (just love this tune, a Classic), the gloriously melodic "It's All Over Now" and the intense "Can't Hold Back", all first class melodic rockers that shine even brighter thanks to this awesome re-mastering process.

Long time out of print, the Rock Candy 24-bit remastering from original source tapes of "Love Crimes" is excellent.
I highly recommend that you catch it before it disappears again.
Classic.


01 - Innocence
02 - Love On The Rocks
03 - Thinking Of You
04 - It's All Over Now
05 - Heaven (Dial 999)
06 - Sayin' Goodbye To The Boys
07 - Wait For The Night
08 - Crime Of Passion
09 - Can't Hold Back
10 - Midnight Magic

George Belanger - vocals
Glen Willows - guitars
Gary Golden - keyboards
Ralph James - bass
David Budzak - drums




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www.nehrecords.com/SHOP/HarlequinLove.htm

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MAGNUM - On The Thirteenth Day [Ltd. 2CD Digipak] (2012)

*

British legend MAGNUM has been 40 years in the music business delivering quality.
Although the band's sixteenth studio album "On The Thirteenth Day" isn't likely to see Magnum occupying the lofty heights of their pomp, pop and prog glory years, that's no fault of their core duo: vocalist Bob Catley and guitarist/songwriter Tony Clarkin.
Time moves on and fashions change, and the kind of lush, melodic fare that Clarkin composes is now appreciated by a more discerning audience than in the band's heyday.

"On The Thirteenth Day" expands itself upon the impressive catalogue Magnum have amassed over the decades and stands tall and proud alongside their most revered releases. The formula runs pretty close to the last three Magnum offerings; 'Princess Alice And The Broken Arrow', 'Into The Valley Of The Moonking' and 'The Visitation', but considering how pleasing on the ear they all were, the fact that "On The Thirteenth Day" betters them is recommendation enough.
Ease into the uplifting "Shadow Town", the ever building and instantly memorable "So Let It Rain" (the stick in your head song of the album), the wonderfully titled and welcomingly familiar "Blood Red Laughter", or stomping, melancholy intent of "From Within" for confirmation that this is a vintage motor still running at full tilt.
Pleasingly there are a couple of curve-balls, with "Dance Of The Black Tattoo" having a chunkier riff than this band are known for, while "Broken Promises" follows a similar path, but with a bluesier edge.

The voice of the band, Bob Catley, maybe sounds a little lived in these days, but few frontmen can offer up the warmth and emotion of his delivery, while long standing keyboard player Mark Stanway adds the layers of atmosphere that mark out the Magnum signature sound.
The 'most recent' lads also stack up well, with Harry James on drums and bassist Al Barrow proving once again that having the most solid of rhythm sections is priceless in any band of any genre.
However without guitar player and songwriter Tony Clarkin, this band simply wouldn't be, so let's all doff our caps to 'The Hat' and pay reverence to yet another cracking set of songs and another stunning six string performance.

"On The Thirteenth Day" is a fantastic blend of all of the elements with which Magnum have impressed, seduced and won our affection for almost as long as we can remember now.
This is a quite a diverse set of songs but all with the Magnum signature sound, ranging from hard edge rockers, sing along melodic anthems and technically clever ballads with very meaningful lyrics. All definitely melodious and commercial yet in a way sophisticated.
"On The Thirteenth Day" is an impressive statement from a band that would have every right to be sitting with their feet up and living off past glories at this stage of their careers.
The fact that they are not is a reason to rejoice.
Highly Recommended


Disc 1:

01. All The Dreamers
02. Blood Red Laughter
03. Didn't Like You Anyway
04. On The 13th Day
05. So Let It Rain
06. Dance Of The Black Tattoo
07. Shadow Town
08. Putting Things In Place
09. Broken Promises
10. See How They Fall
11. From Within


Bonus Disc 2:

01. Those Were the Days (Demo From 1988-89) 04:14
02. Eyes Like Fire (Full Version) 05:26
03. Blood Red Laughter (Acoustic Version) 04:13
04. We All Need to Be Loved (Live From Prague CZ) 05:17
05. Shadow Town (Acoustic Version) 05:01
06. Moonking (Live From Mannheim D) 06:29


Vocals: Bob Catley
Guitars: Tony Clarkin
Keyboards: Mark Stanway
Bass: Al Barrow
Drums: Harry James






BUY IT !
www.amazon.co.uk/13th-Day-Ltd-2cd-Digi/dp/B007TK7I9U

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THE WHEEL (Norway) - ST (2012)

*

Since forming in 2007 near Oslo, Norway, THE WHEEL have been recording their debut album while building a name in the live circuit. Playing alongside UFO, Ken Hensley and The Quireboys at festivals has gained them a reputation of a rock solid live band in Scandinavia.
Their self-titled CD was initially presented last year, and now with a better distribution company behind them, The Wheel are ready to show the world their sonic combination of the '70s, '80s and '90s.

At first glance it may look weird on paper, but their sound mixture works really well interspersing blistering guitar riffs from '70s references like Led Zeppelin, Free and the first Van Halen, with a nod to '80s acts like Badlands and spiced with '90s bands like  Soundgarden, but the latter only related to the vocals.
Occurs that The Wheel's singer Jan Erik Salvesen vocal color is a mix between Chris Cornell and Sammy Hagar, but the musical focus in the band is driven by founder member Orjan Kvalvik's guitars containing echoes of both Eddie Van Halen and Led Zeppelin's Jimmy Page.

"Into The Water", for example, is a prime slice of good-time rock about the simple pleasures of hitting the beach, with the recognition of summer's 'sunny days gettin´ shorter'. The track feels like it could've been lifted right off Van Halen's '5150'.
Those looking for a little more bluesy hard rock will enjoy the Zepp-style slide-guitar-and-scream of "Love".
The slow melodic rocker "Sparks" has a great hook and an excellent vocal job. The Wheel claims influence from earlier Van Halen, but this song sounds very much like Sammy Hagar's eighties time with the band. Really good one.
And they keep offering variation in the Badland's influenced "Stand Up!" featuring some huge percussion and old school guitar work, contrasting with the Chris Cornell-like vocalisation. Strange but effective.

The Wheel breaks out the blues on the slow starting "Lost Souls". This is a very 'sassy' song that shows the band can write a mean song no matter what time frame they are looking at. There is nothing fancy about this track, it's just a good ole' hard blues tune produced the way it should be.
Some great bass work and a jamming feel mark "Walk On Out". The vocals come across as a little strained, but it does remind me of bands in the past. There is a great build to the chorus and once again the songwriting and instrumental talent shines through.


One of the greatest things Van Halen brought to rock — besides Eddie's insane guitar skills — was an unabashed sense of fun. Where Sabbath moped and wailed about Satan and Zeppelin shrieked about myths, David Lee Roth was all about girls and good times. This was metal with a smile.
The Norwegian rockers in The Wheel recapture that feeling on the band's self-titled debut disc.
Don't get me wrong. This is not a VH clone with guitar fireworks, no. The comparison comes from the feeling, the riffs and song structures. But as said, The Wheel turn their style & sound track-after-track, and this is not a disjointed disc at all.
All sounds reminscent of the last 40 years in Rock, but delivered in very different, tasty way. There is a huge trend right now of classic rock coming back and being integrated into the sound of current hard rock bands, but I really don't know of many bands looking to such different eras and genres to make a sound.
And The Wheel does it. And Rocks. And very, very good I'd say.
Recommended.

You've seen it first here, at 0dayrockz


01 - Stand Up!
02 - Into The Water
03 - Love
04 - Tellin' No Lies
05 - Sparks
06 - Lost Soul
07 - Comin' On
08 - Walk On Out
09 - Cry Of The Night
10 - All This Time


Jan Erik Salvesen (ex- Salvation Army) - Vocals
Orjan Kvalvik (ex- Quantum Force) - Guitars
Igor N. Fazliullin - Bass
Bjorn Olav Lauvdal (ex- Evenrude) - Drums



BUY IT !
cdon.eu/music/the_wheel/the_wheel-14996285

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DEMON - Heart Of Our Time [remastered] (2012)

*

Founded at the end of the seventies, DEMON growth from being just another NWOBHM act into one of the most musically interesting and socially aware rock bands of their age.
After four successful albums blending metal with progressive overtones, guitarist & composer Mal Spooner - one of the creative forces of the band - sadly passed away.

Demon decided to continue as a band, and their next album "Heart Of Our Time" featured singer Dave Hill now forging a new songwriting partnership with keysman Steve Watts, and guitarist Andy Waterhouse suddenly founding himself as main six-string axeman.
Musically, "Heart Of Our Time" shows a band going through changes and exploring new territories: the uprising UK Melodic Hard Rock movement from the mid-eighties. Definitely the most commercial album of all their catalogue and my favorite from this group.

Some tracks still retain the glossy prog sounds from the previous works, but the overall approach is decidedly '80s, as heard on the radio friendly AOR of title track "Heart Of Our Time" to the beautiful heartfelt ballad "Expressing The Heart".
"In Your Own Light" is a catchy midtempo melodic rocker with 'that' drum sound and uplifting lyrics about helping others no matter what their race or class.
"Genius" is a brilliant proggy AOR tune with a dry bass line driving the song in a very modern way for Demon's standards, while "Expressing The Heart" is a real stand out track, a slow and powerful song where Dave Hill display some vocal gymnastics that is spine tingling to hear.


"Heart Of Our Time" is a little gem from the mid-'80s UK scene, definitely Melodic Rock oriented but with that 'strong vibe' heard, as example, in the initial Phenomena project.
Re-released by a British label with a couple of bonus tracks, "Heart Of Our Time" sounds better than ever.
Highly Recommended.


01 - Heart of Our Time
02 - In Your Own Light
03 - Genius
04 - Expressing The Heart
05 - High Climber
06 - Crossfire
07 - Grown Up
08 - Summit
09 - One Small Step
10 - Hyperactive (Alternative Mix) [2012 Bonus Track]
11 - Dance of Life (Alternative Mix) [2012 Bonus Track]



Dave Hill - Vocals, Effects
Steve Watts - Synths, Keyboards
John Waterhouse - Guitars
Gavin Sutherland - Bass
John Wright - Drums, Percussion



BUY IT !
itunes.apple.com/us/album/heart-of-our-time/id529712209
www.amazon.co.uk/gp/product/B0085HS638

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LOVE.MIGHT.KILL - Restless Heart (2012)

*

German/Italian-based melodic hard rockers LOVE.MIGHT.KILL will release their new album '2 Big 2 Fail' on October 26th.
The first single from the album, "Restless Heart", was just released digitally only in Germany.

Created by ex- Firewind and Uli Jon Roth drummer Michael Ehre, LOVE.MIGHT.KILL impressed last year with their strong Melodic Hard Rock debut CD.
The new album was once again produced by Ehre and mixed by the expert hands of Markus Teske (Saga, Vanden Plas).
Great single from a CD promising to be another very good release by this European combo.


Restless Heart (4:58)


Jan Manenti – vocals
Michael Ehre - drums, percussion
Stefan Ellerhorst - guitars
Christian Stover – guitars
Jogi Sweers – bass
Sascha Onnen - keyboards


BUY IT !
www.amazon.de/dp/B0098GD55O

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CYANIDE 4 - Everyday Is A Masquerade (2012)

*

CYANIDE 4 started a few years ago and played the bars around Athens, Greece, gathering a small but considerable following.
They released a couple of demos and were featured in 'Reborn In Sleaze; A Tribute To Dave Lepard' last year that showed both a bit of promise as well as a flair and love for the neo-Scandi glam.
Four years since their formation, they are having their debut "Everyday Is A Masquerade" released by Perris records.

With many and more than many bands emerging from the Northern and Southern edges of Europe after the first wave of Sleaze Rock/Metal outfits like Crashdiet and Hardcore Superstar spotting the music map with their own revival sting, it would no longer be a separate flirt but more of a whole movement dedicated to what the '80s brought in this style.
And, of course, there would be noble imitators, bands that would try to distance themselves a little bit and others that would try to find a way somewhere in between, which seems to Cyanide's case.
The music in this CD goes from classic sleaze paving the Vain, Pretty Boy Floyd and Crashdiet lane but also put some claws in speedy uptempo tracks and sees some darkness lurking in between the main guitar melodies and the moody yet soaring chorus lines.

“Hide in the Shadow” opens the album and has a good hook - probably the best song here - driving by a solid rhythm and fluid guitar parts.
On the first single and promo video “Live The Life” the band reminds you '80s Vain with simple but catchy harmonies, fine riffs and a good chorus.
has a good idea, but the vocals lack conviction and command... being rather nasal and weak. The guy, could have done so much better, had he taken a couple of lessons, but… I guess, nevermind that. The instrumentation is rather spartan, and while the song could have benefited, if it was a bit faster and tighter, that ain’t the case.

“Temptation Failed” starts with a somewhat offbeat riff, and while it’s pretty catchy, the vocals lack conviction and command being rather nasal and weak.
The band turns into a really Sunset Strip sound in “Innocent Alibi”, a wimpy midtempo, followed by “Anything for Fun”, style-wise with a foot on each continent.
“Parody” starts off blasting fast and loud and shows a more hard attack, “Cyanide” sports a quite introspective sound with a cool hook, while “FFL” (fuck-face-look) is a good commercial rocker in the Shotgun Messiah vein.
“Illusion” is the ballad here, a heavy one with a fine melodic line and some keyboards in the background although a bit repetitive.
“Wasting My Time” starts off fast, and feels like you've heard it before as it shares ideas from previous tracks but is a pretty damn solid song. Actually, it's the closest thing they have to a hit – but it doesn't have a chorus, not a proper one at least.


For the most part "Every Day Is A Masquerade" will please fans of the new wave of Swedish sleaze metal and the eighties Sunset Strip scene as well.
There's good ideas and several influences at the same time, good instrumentation and a singer that has quite a few shortcoming but shows signs of improvement on certain songs.
Cyanide 4 is a young band and still needs work to cook their own personality but if we bear in mind this is their first full studio attempt the result is acceptable.
Promising new band from Greece.


01 - Hide In The Shadow
02 - Live The Life
03 - Temptation Failed
04 - Innocent Alibi
05 - Anything For Fun
06 - Parody
07 - Cyanide
08 - F.F.L.
09 - Wasting My Time
10 - Illusion
11 - Bad Love Parade
12 - Amnesia
13 - Midnight Heat


G.A. Sinn: Vocals, Rhythm Guitar
Johnyy Slut: Lead Guitar
Nasty George: Bass
Alex Rated: Drums





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www.cdbaby.com/cd/cyanide4

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MAGNUM - On The Thirteenth Day (2012)

*

British legend MAGNUM has been 40 years in the music business delivering quality.
Although the band's sixteenth studio album "On The Thirteenth Day" isn't likely to see Magnum occupying the lofty heights of their pomp, pop and prog glory years, that's no fault of their core duo: vocalist Bob Catley and guitarist/songwriter Tony Clarkin.
Time moves on and fashions change, and the kind of lush, melodic fare that Clarkin composes is now appreciated by a more discerning audience than in the band's heyday.

"On The Thirteenth Day" expands itself upon the impressive catalogue Magnum have amassed over the decades and stands tall and proud alongside their most revered releases. The formula runs pretty close to the last three Magnum offerings; 'Princess Alice And The Broken Arrow', 'Into The Valley Of The Moonking' and 'The Visitation', but considering how pleasing on the ear they all were, the fact that "On The Thirteenth Day" betters them is recommendation enough.
Ease into the uplifting "Shadow Town", the ever building and instantly memorable "So Let It Rain" (the stick in your head song of the album), the wonderfully titled and welcomingly familiar "Blood Red Laughter", or stomping, melancholy intent of "From Within" for confirmation that this is a vintage motor still running at full tilt.
Pleasingly there are a couple of curve-balls, with "Dance Of The Black Tattoo" having a chunkier riff than this band are known for, while "Broken Promises" follows a similar path, but with a bluesier edge.

The voice of the band, Bob Catley, maybe sounds a little lived in these days, but few frontmen can offer up the warmth and emotion of his delivery, while long standing keyboard player Mark Stanway adds the layers of atmosphere that mark out the Magnum signature sound.
The 'most recent' lads also stack up well, with Harry James on drums and bassist Al Barrow proving once again that having the most solid of rhythm sections is priceless in any band of any genre.
However without guitar player and songwriter Tony Clarkin, this band simply wouldn't be, so let's all doff our caps to 'The Hat' and pay reverence to yet another cracking set of songs and another stunning six string performance.

"On The Thirteenth Day" is a fantastic blend of all of the elements with which Magnum have impressed, seduced and won our affection for almost as long as we can remember now.
This is a quite a diverse set of songs but all with the Magnum signature sound, ranging from hard edge rockers, sing along melodic anthems and technically clever ballads with very meaningful lyrics. All definitely melodious and commercial yet in a way sophisticated.
"On The Thirteenth Day" is an impressive statement from a band that would have every right to be sitting with their feet up and living off past glories at this stage of their careers.
The fact that they are not is a reason to rejoice.
Very Good


01. All The Dreamers
02. Blood Red Laughter
03. Didn't Like You Anyway
04. On The 13th Day
05. So Let It Rain
06. Dance Of The Black Tattoo
07. Shadow Town
08. Putting Things In Place
09. Broken Promises
10. See How They Fall
11. From Within


Vocals: Bob Catley
Guitars: Tony Clarkin
Keyboards: Mark Stanway
Bass: Al Barrow
Drums: Harry James


BUY IT !
hmv.com/hmvweb/displayProductDetails.do?sku=910231

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BLOODGOOD - Rock In A Hard Place [remastered] (2012)

*

BLOODGOOD was one of the most underrated American Hard Rock acts of the '80s, perhaps due their Christian origins. But they were a real quality band in the genre.
After two pretty heavy albums, they changed the musical approach to the dominating glossy-sounding Hard Rock around 1988.

"Rock In A Hard Place" is one of my favorite albums in this style from the 2nd half of the eighties.
It's commercial yet defiant, melodic, with catchy songs and that 'big' production; razor compressed guitars courtesy of the great David Zaffiro, shouting vocals, bombastic drums and even some keyboards into the mix.
Talking about the mix, there's was a big problem with the original release of "Rock In A Hard Place": the bass lines were almost completely missing.
It turns out the recording studio had a ton of false low-end and they wasn't aware of when album was mixed, which is why there was such a lack of low end. And no one seemed to catch it when it was mastered, either. Quite strange, as this sounds as a big budget production.

Luckily, "Rock In A Hard Place" is now finally being re-released, remastered and with its crisp sound in full glory.
Remember back in the day when bands could get away with nine good quality songs on an album? These days this is absolutely unacceptable for any greedy company, and you're forced to have twelve or more, and many of those are fillers.
Well, this is not the case with "Rock In A Hard Place". Just killer-no-fillers 9 tracks plenty of '80s magic.
Very Recommended.


1 - Shakin' It
2 - Never Be the Same
3 - The Presence
4 - What Have I Done
5 - Heaven on Earth
6 - Do or Die
7 - She's Gone
8 - The World (Keeps Movin' Around)
9 - Seven

Les Carlsen - lead vocals
David Zaffiro - guitars, backing vocals
Michael Bloodgood - bass, backing vocals
Mark Welling - drums



BUY IT !
itunes.apple.com/us/album/rock-in-hard-place-remastered/id560189773
www.amazon.com/Rock-in-a-Hard-Place/dp/B009736ZPK

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JOSHUA - Days Where I Began (2012)

*

Joshua Munday is an Australian guitar player who has been part of various recording sessions and endorsed by guitar gear companies Roland or Boss, Joshua has demonstrated guitar products to thousands of people in the past few years and co-headlined many festivals including the Sydney Guitar Show.
"Days Where I Began" is his debut album, under the JOSHUA moniker.

Joshua is not only a dexterous guitar player, he's also a good songwriter and a well trained vocalist. If I had to choose a reference to his music, instantly Richie Kotzen comes to mind.
"Days Where I Began" rocks across twelve immediate tracks under the 4-minute mark, mixing bluesy hard rock tunes with some commercial heavy-funk overtones.
Joshua's support band is tight & dynamic, special mention to drummer Nick Pansini who provides an excellent rhythm and great fills, giving to Joshoa a strong foundation for his sharp riffs and interesting solos.

There's some tracks here where if you don't know who is the artist, you would think this is Richie Kotzen.
Check the blazing rockin' "I Believe In Nothing" for instance. Killer power chords and a short but effective solo, while specially the catchy chorus is pure Kotzen.
Other remarkable tracks are the soulful opener "Days Where I Began", the heavy-funky (great guitar sound) "If I Never See You Again" and the bluesy midtempo "What If I Told You".
We have hard rockers as well in the dynamic "I'll Tell You Why" and "Strip You Down". On some tracks Joshua adds a bit of modern songwriting touches as in "Alone" and "Revolution", but all wrapped with classic rock sounds.


"Days Where I Began" is a solid rockin' album from an artist practically unknown in this part of the globe.
Mainly guitarist, Joshua's arsenal are varied delivering high-voltage riffs and jumpin' solos, but what surprises is his nuanced, versatile singing. His back up band is tight and groovy with a bright presence.
Apart from the really good performances and the strong straight to the point songwriting, another hot spot in this release is the accomplished production. All sounds clear and scintillating, sharp mixed as well.
Coming out from nowhere, Joshua has created a debut album that rocks better than many recent works from well known names in the business.
"Days Where I Began" is groovy, catchy and rocks good.


01 - Days Where I Began
02 - If I Never See You Again
03 - Alone
04 - Baby
05 - I Believe in Nothing
06 - What If I Told You
07 - All Of Mine
08 - Strip You Down
09 - I'll Tell You Why
10 - Not That Far
11 - Revolution
12 - I Still Want You


Joshua Munday - Guitar, Lead & Backing Vocals
Paul McShane - Bass, Backing Vocals
Nick Pansini - Drums & Percussion



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STEVE HARRIS - British Lion (2012)

*

STEVE HARRIS, the 'Boss' of Iron Maiden is busy touring the States, reliving some of his main band’s most glorious moments at this time.
He's chosen the same time to release his decade in the making – tracked whenever he could get time, on the backburner of Maiden activities - solo album, which is not entirely him flying solo, but more of a collaborative effort, titled "British Lion".

Apparently, Steve was managing this band in the early '90s and kinda liked them a bit too much and while the project really went no-where at the time and his solo company 'Beast Records' went into limbo, he kept in contact with them and decided to salvage the material which he also got involved with, playing the bass and co-writing some of the songs by issuing it under his name, as a solo album.

"British Lion" is not being pushed as a metal project. Singer Simon Dawson and guitarist Grahame Leslie have recorded in many rock&pop sessions, including The Outfield, so expect vocals quite away to the typical metal stuff.
Without being too long, the songs tend to dwell in mid-tempo territory mostly, and sound a bit long winded. The entire band is fine and British as it comes, but there's a bit of lack of fire and bite.
Repeated spins, make the album grow, but you’d really expect something more upbeat from Harris than an average to good album.

“This is my God” really reminded me a bit of Thunder and Zeppelin and while it has a nice groove and generally good ideas, it's a paint-it-by-numbers hard rocker, while “Lost Worlds” has hints of Maiden, in the form of a really long expressive part.
“Karma Killer” is almost how things should have been. It’s got a nasty, groovy and instantly recognizable riff and grooves. Taylor even convinces thoroughly on this one. Good chorus.
“Us Against the World” is one of the best moments here, mixing Maiden with UFO and the Scorpions quite nicely. Taylor’s melodic ideas are very smooth and nice, and there are some very smart guitar flourishes.

“The Chosen Ones” is very Lizzyesque, and simply quite good. But even here, in such a feelgood song, there seems to be a bit of uncertainty. Taylor, exclaims a 'yeah' at some point and it almost sounds forced and not that spontaneous. Another great song, but a little more flair, would have made it an anthem.
On “World Without Heaven” the guitars are lower in the mix than they should, really battling with the bass at point, not because of volume, but because they are just not as fat and sharp as they should.
“Judas” is darker, with a very abrupt drop out in the middle and some acoustics, “Eyes of The Young” is a more carefree, almost a ballad that rocks hard.
The real ballad is final track “The Lesson”, rich in strings that bears resemblances to Dio and maybe even Marillion.


Steve Harris really takes a chance by lending his name to this project, when he could have called it just “British Lion” and be done with, possibly making some people expect something-or-other that’s not a million miles away from Maiden.
What we get is an album with decent songwriting, but a bit lack of bite in the performances & production that ends up being detrimental to the overall result.
A more aggressive sound, tighter playing and more spirited vocal performances in certain songs would have benefited the CD strongly. Even some double vocals, or gang choruses here or there would have worked better.
Harris can do anything he wants and it would do nothing to dent the man's reputation. “British Lion” is just a fine, uncommon hard rock album with some good moments to enjoy.


01. This Is My God
02. Lost Worlds
03. Karma Killer
04. Us Against The World
05. The Chosen Ones
06. A World Without Heaven
07. Judas
08. Eyes Of The Young
09. These Are The Hands
10. The Lesson

Steve Harris - bass, backing vocals
Richard Taylor - lead vocals
David Hawkins - guitar, keyboards
Graham Leslie - guitar
Simon Dawson - drums



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TAVARES - Supercharged (2012)

*

TAVARES bros. broke charts during the seventies with their blend of soul, R&B and later some disco music.
But at the end of the decade a new sound was reaching the radio, and the combo together with their label decided to ride the new musical wave.
The title of this album says all; "Supercharged". Super-producers David Foster, Bobby Colomby (Pages) and Benjamin Wright (Michael Jackson), first class songwriters Gerard McMahon, Bill Champlin and David Foster itself among others.
Add to this top session musicians; Toto's Steve Lukather, David Hungate & Greg Phillinganes, Jay Graydon, Ed Greene (Jeff Beck), Paul Jackson Jr... etc.

This awesomely composed, performed and produced album is one of most hidden gems from the prestigious L.A. factory. Musically combines the - for the era - incipient radio  West Coast AOR, funk, smooth soul and more.
The use of several producers was a meaningful change for Tavares as the multiple-cook approach to "Supercharged" resulted in a collection of wildly disparate songs covering many styles – but yet an album that ultimately worked brilliantly on its own terms.

All the three producers were able to have their own orchestra (real musicians, no samples here) and terrific session musicians to the fore.
David Foster contributed the disc's heaviest and most bombastic production on the uptempo “I Don’t Want You Anymore” and the big ballad “We Both Tried” (co-written with Bill Champlin) and with 'guys' of the highest calibre; Jay Graydon and Steve Lukather to name some.
This contrasted greatly with Randazzo's contribution, the light, late night West Coast ballad “Paradise” a gentle wisp of a song. The key is, though, while the three songs sounded like the product of entirely different groups, they were great compositions and perhaps even better performances.

Producer Bobby Colomby has Philinganes, Paul Jackson Jr and Pages' keyboardist Steven George (Colomby produced Pages first one) on Gerard McMahon's "Bad Times" arranged in a WC / funk style and exquisite instrumentatation.
Benjamin Wright contributed behind the desk with a more classic smooth West Coast, Soul and R&B sounds in the laid back ballad “I Just Can’t Go On Living Without You” and the sweet midtempo “Why Can’t We Fall In Love”, a cover of a Deniece Williams album cut (co-written by David Foster) that Butch Tavares handled beautifully on lead vocals and turned into one of the best moments on Supercharged.


Incredibly, "Supercharged" only was released on CD in Japan, but now a specialized European label has brought it in all its remastered glory.
It does not matter at what musical genre are you more inclined, "Supercharged" oozes quality on every note, with a top class production impossible to recreate again.
West Coast fans, this is a real treat.


1 - Bad Times (Theme From Defiance)
2 - We Both Tried
3 - Can't Get Enough
4 - Why Can't We Fall In Love
5 - I Can't Go On Living Without You
6 - I Don't Want You Anymore
7 - Paradise
8 - Got To Have Your Love

Lead Vocals – Chubby, Pooch, Ralph & Butch Tavares
Guitars – Paul Jackson Jr., Jay Graydon, Steve Lukather, Timothy James May
Bass – David Shields, James Jamerson Jr., David Hungate (Toto)
Drums – Ed Greene (Jeff Beck), Harvey Mason (Steve Lukather band)
Percussion – Bobby Colomby, Ed Mann
Keyboards – David Foster, Steven George (Pages), John Barnes, Bill Champlin
Electric Piano – Greg Phillinganes (Toto, Eric Clapton)
Horns – Art Maebe, Brian D.A. O'Connor, William Frank Reichenbach
Sax Soloist – Pete Christlieb (Eric Clapton)
Strings – Albert Edward Gill, Jacqueline Lustgarten, Gina Kronstadt
... and tons more






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http://www.amazon.co.uk/Supercharged-Tavares/dp/B0073GVYLI

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STAN BUSH - The Touch [Power Mix] (2012)

*

AOR legend STAN BUSH has still got the touch.
Hard at work with his live performance group Acoustic Saints in Los Angeles and rumors of a new album in the works, the man is also featured in the newest Transformers game titled Transformers: Fall of Cybertron by High Moon Studios with his new mix of “The Touch” ; Power Mix & Epic Guitar Remix.

The new "Power Mix" for the video game features new heavy guitar layers and a more modern vocal approach than the classic '80s song, with a more sombre feel in line with the new game’s atmosphere. Still, Stan manages to bring a glimpse of hope across with his signature style shining through.

But the gem here is the "Epic Guitar Remix". It's an awesome AOR version with the same vibe of the original but with terrific guitars and 'aural' vocals.
A Must Have for any AOR fan.

“The Touch : Power Mix” Maxi-Single is now available at all music retailers.


1. The Touch (Power Mix) 4:04
2. The Touch (Epic Guitar Remix) 4:21





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V.A. - Trouble; A Tribute to Lynyrd Skynyrd (2012)

*

If ever a band deserved a good tribute, it is what some people refer to as the "real" LYNYRD SKYNYRD, the band as it existed prior to the 1977 plane crash that killed three of its members.
Most of the performances on this CD - produced by no other than Billy Sherwood - really do justice to the iconic band.

With former Skynyrd members Ed King on slide guitar, Artimus Pyle on drums, and The Original Honkettes (John and Jo Jo Billingsley-White, Leslie Hawkins) on backing vocals, "Double Trouble" musicality is true to the original, and blends well with Thane Shearon's fresh vocal interpretation.
Blackfoot's Rickey Medlocke wrote and did the lead vocal on the original version of "Seasons", one of the Skynyrd's few slow songs. He still does it nicely in this century.
"That Smell" and "What's Your Name" are skillfully interpreted by Canned Heat and Jim Dandy's Black Oak Arkansas, respectively.

But my favorite should be the killer version by Charlie Daniels pairing up with Molly Hatchet for "Free Bird", which works awesomely as a tribute to the original. It's a hot and passionate cover.
The sonically updated remakes by Great White on "Saturday Night Special", and later Dangerous Toys' "Simple Man" works well and vivid.
Hughie Thomasson & The Outlaws take on "Sweet Home Alabama" is pretty good. Also, the Atlanta Rhythm Section does an admirable cover of "Call Me The Breeze".
On the downside, Walter Trout and Rick Derringer are excellent guitarists, but their vocal interpretations of "Gimme Three Steps" (Trout) and "You Got That Right" (Derringer) are somewhat lacking.


Overall, in this well produced Lynyrd Skynyrd tribute, most the versions are hits than misses, and the CD is a mandatory choice for fans of the "real" Skynyrd.
It's also an opportunity to listen some classic artists out from the music business for a long time.
As in all tribute albums, it's all a matter of taste. Classic Rock lovers won't be disappointed.


01 - The Outlaws - Sweet Home Alabama
02 - Great White - Saturday Night Special
03 - Artimus Pyle, Ed King & The Original Honkettes - Double Trouble
04 - Canned Heat - That Smell
05 - Molly Hatchet with Charlie Daniels - Free Bird
06 - Walter Trout - Gimme Three Steps
07 - Blackfoot - Seasons
08 - Pat Travers - Gimme Back My Bullets
09 - Jim Dandy's Black Oak Arkansas - What's Your Name
10 - Dangerous Toys - Simple Man
11 - Sky Saxon & Joey Covington (of Jefferson Airplane) - Swamp Music
12 - Rick Derringer - You Got That Right
13 - Atlanta Rhythm Section - Call Me The Breeze


Produced by Billy Sherwood
Add. musicians:
Jay Schellen (Unruly Child, Asia) - Drums
Billy Sherwood (ex- Yes) - Organ, Acoustic Guitar, Bass, Guitar, Piano, Horns, Keyboards, Background Vocals





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MONTROSE - ST [SHM-CD remaster] (2012)

ARC-8067

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MONTROSE self titled debut was (and still is) one of the most influential Hard Rock albums of all time, specially for American musicians.
Ronnie Montrose was an in-demand session guitarist before that, but he was searching for a self-directed musical exploration when he met Sammy Hagar.

Sammy Hagar said not so long ago; "The first Montrose album was the first album I ever recorded and it still stands as one of the best recordings I have ever been a part of".
Hagar saw Montrose playing live as part of the Edgar Winter Group, and get flashed.
Then asked for Ronnie's address, went there, and knocked on his door dressed like David Bowie – big old high heel platform shoes, satin pants, with a Les Paul and a notebook pad with all kinds of lyrics in it.
Hagar recalls; "I said; Hi, I'm Sammy Hagar. I heard you're looking for a singer. He said; 'Come on in. You got any songs?'
I played him the first four songs in my life, which were "Bad Motor Scooter", "Make It Last", "One Thing on My Mind" and "I Don't Want It".
We shook hands, and he said; 'Let's start a band. Do you know any drummers? I've got a bass player, Bill Church'. I had a drummer, Denny Carmassi – wasn't in my band, but he was my favorite drummer around town."
I wrote songs with him, but it was his trip. He's the guy that got me to sing with him. I had no experience whatsoever. I went from zero to a hundred."

Within a month Montrose the band signed to Warner Bros. Records, Ted Templeman producing, Don Landee engineering and the first Montrose album was born a month after that.
The disc combines good-time, party rock with a metal edge and slick guitar work, a sound that bands like Van Halen and Aerosmith would later adopt and polish to perfection (Templeman / Landee were Van Halen's initial tech team).

I bet that many of you never heard Montrose's debut.
Well, let me tell you this is a fantastic album ahead of its time, and still sounds fresh today. Think first VH albums with Hagar on vocals instead DL Roth. Production is exceptional for the age, with a crispy and sparkling sound.
Kerrang! readers voted "Montrose" as the 4th best & influential Metal Album of All Time, and I completely agree with that poll.
This Japanese SHM-CD remaster edition is simply outstanding, above the bar for this type of reissues.
A Must Have.


01 - Rock The Nation
02 - Bad Motor Scooter
03 - Space Station #5
04 - I Don't Want It
05 - Good Rockin' Tonight
06 - Rock Candy
07 - One Thing On My Mind
08 - Make It Last

Sammy Hagar – vocals
Ronnie Montrose – guitar
Bill Church – bass
Denny Carmassi – drums

Produced by Ted Templeman
Engineered by Don Landee and Stephen Jarvis





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www.cdjapan.co.jp/detailview.html?KEY=ARC-8067

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