PAUL SABU - Bangkok Rules (2012)

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PAUL SABU came on the scene in 1984 with Kidd Glove and in addition to being an Emmy Award-winning singer, songwriter, producer and guitarist, his list of credits is stunning.
"Bangkok Rules" is the title of Sabu's latest solo album, his first on Z Records and after 5 years of recording hiatus.

Part of the material in this new effort was written with Vince O'Regan (Bob Catley), while Paul's support band in the studio is more than capable.
The album opens with title track "Bangkok Rules", a stompin' hard rocker with a modern Whitesnake vibe. Sabu puts forth a good array of vocal ranges and screams that highlights the track plus the guitar work here is killer.
It's followed by the CD stand out track "Rock Don't Run", featuring Frankie Banali (ex- Quiet Riot) stepping in to handle drumming duties. This one should be a crowd pleaser. Love the keys in the middle section which gives a heavier sound to the overall effect.

Although there's plenty of other impressive tracks ("Live Or Die Trying" has an awesome chorus) are these two first songs that stick in the mind the most.
It's hard not to enjoy a song called "Rocked & Loaded", especially when Sabu is singing it. A pure power rock to the fullest with tantalizing melodies and strong chords.
"Race To Nowhere" is another good kickin' track. Paul really turns it up a notch on this one, in his way of singing and on the heavy tone of this piece.
I also liked a lot the ballad "Read My Eyes", a midtempo in the classic Paul Sabu style, with nice guitars and orchestration in the background.
So yes, there's plenty of good stuff here for Sabu and melodic hard rock fans, but it's not all plain sailing, as there's some weak moments. "Black Star" is pretty boring, while "Back The Jacks" is dreadful in its growls.


"Bangkok Rules" isn't going to shatter anyone's preconceptions of Paul Sabu, and stays true to the brand with big choruses, skyscraper riffs and the man himself's throaty vocals.
Talking about his vocals, 'em have turned more raspy with the years, not powerful as used to be. The songwriting is solid for the most part, and so the musicianship. But I don't like production. To my ears it's muddy and confusing, and the mix does not help as well.
Out of the ten tracks, only three don't do much to move me, with the rest more than making up for it with their energy and fun.
I can't see Sabu fans being disappointed with the overall product, but would have preferred a few more bouncy anthems.


01 - Bangkok Rules
02 - Rock Don't Run
03 - Race To Nowhere
04 - Live Or Die Tryin'
05 - Love's Got a Mind Of Her Own
06 - Read My Eyes
07 - Rocked & Loaded
08 - Black Star
09 - Code Blue
10 - Back The Jacks


Paul Sabu - Vocals, Guitars
Linkan Andersson - Guitars
Martin Karlsson - Bass
Lee Morris - Drums
Special Guest;
Frankie Banali - Drums on "Rock Don't Run"



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www.amazon.com/Bangkok-Rules-Paul-Sabu/dp/B007M09RGO

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LIBERTY N' JUSTICE - Forever 'Till The End (2012)

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The mastermind of LIBERTY N' JUSTICE project Justin Murr has been busy at work trying to complete there yet to be released double CD, “The Cigar Chronicles”.
Meanwhile, on Tuesday June 12th, Liberty n’ Justice just released a new single, and also is re-issuing there 1996 release “Forever Till The End” via digital outlets.
The album was remastered and new artwork was added for this special release. “Forever Till The End” shows a earlier poppier sound of LN'J, and features the vocals of ex-CBS recording artist Gregg Clemons.

Liberty n' Justice was founded in 1991 by Justin Murr and Patrick Marchand. Between some line-up changes, the band recorded two albums ('92 & '94) while toured the States to support them.
Murr and Marchand thought they were building momentum and decided to go back into the studio in 1996. By this time, the music scene was already changed, every major label passed on Liberty n' Justice, and the band was drawing very few people to its shows.

Just as Murr was about to trash the project, former CBS recording artist Gregg Clemons (a long-time recording buddy and co-writer of most of LnJ's songs) said he would sing leads on the new album.
Clemons took the recording of “Forever Till The End” to the next level.
At this time Liberty n' Justice was just a studio group, but the songs caught the attention of a publishing company in Nashville. At dinner they offered a very 'bad deal' which Murr turned down.
He gave up on music and the album remained officially unreleased.
After four years out of the music scenario, in 2000 Marchand called Murr and the two got together. After talking, they decided to record a fourth album, 'Bargain Bin', for Innate Records.
The tour presenting the disc was successful, but after that Liberty n' Justice disbanded again.


Liberty n' Justice had two lives, the band which ended in 2000 and the All-Star projects that started in 2004, more hard rock oriented and only with Murr at the helm.
“Forever Till The End” is part of the lesser known incarnation of the band; the nineties era. It was finally released in 2006 by Murr, but in limited quantities.
Now with this proper re-issue we have the opportunity to listen it.
The style and sound on “Forever Till The End” is not the hard 'n heavy we all know from this project developed during the past decade and continues to these days. This is more radio rock oriented, featuring songs with a rock 'n roll structure but in a more accessible, light sound.
Nothing outstanding, just a pleasant listen, a way to appreciate how this project has evolved with the years.
Cool.


01 - A Fool Says
02 - Forever Till The End
03 - More Than A Pretty Face
04 - Free Will
05 - Lost Soul Cafe
06 - Come Back To Me
07 - Find Your Way Back Home
08 - Shout 96
09 - Love Me Real
10 - My First Love
11 - Christian Man
12 - Little Boy Brave
13 - Yesterdays News
14 - In Good Faith

Gregg Clemons - Vocals
Justin Murr - Guitar, Keyboards, programming
Patrick Marchand - Bass
Various unlisted musicians



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KEN HENSLEY - Love & Other Mysteries (2012)

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For those who do not know, specially the youngs, English born KEN HENSLEY joined the mystical group Uriah Heep in 1969 and left in 1980.
Keyboard player (especially Hammond organ), guitarist, singer, songwriter and producer, Ken was part of rockers Blackfoot before starting a solo career during which he participated in many musical projects.
After his autobiographical CD 'Blood On The Highway' five years ago, this veteran musician is back with "Love & Other Mysteries".

"Love & Other Mysteries" is a laid back album, plenty of acoustics and sweet, soft melodies.
He explains; "No-one is free from emotion and its effects. No one. I am a poet and songwriter with the dreams and ambitions of an 11-year-old boy still running rampant in my heart.
The songs on this CD came to me as naturally as breathing, from the source I have always believed in and in which I now believe more strongly than ever. I think this CD represents a very positive shift in my musical focus and for me it is exciting to travel new and unexplored territory.
It must be every songwriter's dream to be able to make a record in this way. I know it was mine. The lyrics are the single most important thing on this album and it is these words that were permitted to produce and guide the direction of the album”.

"Love and Other Mysteries" sees Ken joined by guest vocalists from different origins, including Glenn Hughes, Santra Salkova, Sarah Rope, Irene Forniciari & Roberto Tiranti.
Perhaps Hensley should not worry about his voice: for all its current limitations, only Ken himself is able to truly inhabit these songs like he does, softly, like in "Eyes (The Girl In The Purple Dress)" or in the melodic opener "(This) Bleeding Heart".
Anyway, the guests add variation and refinements to the songs.
"(Please) Tell Me When", well delivered by Sarah Rope, comes only with a Hammond line and slide guitar.
Glenn Hughes and Santra Salkova bring sterling emotions to the dramatic ballad "Romance", but "No Matter" performed by Irene Fornaciari & Roberto Tiranti fail to convey the feelings inherent to this author's work.

The slide-oiled lift of "Come To Me" is classic Hensley, though - when in romantic mood, at the piano and organ, like here and in "(This) Bleeding Heart", Ken drives his MOR message home.
Roberto Titanti's honeyed pipes render "Respiro Tu Amor" quite well, and on the strings-drenched "Little Guy" and "No Matter", his soulful duets with Irene Fornaciari are a somehow operatic.
But if in "This House" it's the instrumental wrapping - rather than Ken's singing - that holds melodic focus, the acoustic vivacity makes the countrified "Walk Away" an irresistible offer.


Hensley never has followed any trends or a specific genre since he went solo 30 years ago. With this new recording he will surprise many of his fans, for good or wrong.
"Love & Other Mysteries" is a laid back album full of calm moments and breezy melodies. The prog elements are sparingly and the hard rock edge of previous works is gone.
But that's not necessarily a bad thing, this is the kind of album he wanted to do, and it's a good one regarding the styles.
Interesting.


01 - (This) Bleeding Heart
02 - Romance
03 - (Please) Tell Me When
04 - No Matter
05 - Come To Me
06 - This House
07 - Walk Away
08 - Eyes (The Girl In The Purple Dress)
09 - Respiro Tu Amor
10 - Little Guy


Ken Hensley / Vocals, Keyboards, Guitar, Percussion

Guest vocalists:
- Glenn Hughes & Santra Salkova / lead vocals (2)
- Sarah Rope / lead vocals (3), backing vocals
- Irenere Fornaciari / lead vocals (4, 10), backing vocals
- Roberto Tiranti / lead vocals (4, 9, 10), backing vocals
- Claudia Flores / backing vocals

Musicians:
- Pau Schafer / pianos & accordion
- Juan Carlos Garcia / drums
- Antonio Fidel / bass guitars
- Ovido Lopez / principal guitars
- Dani Saiz / guitar, backing vocals
- Matt Dela Pola / string arrangements
- Paco Garcia / classical guitar
- Angel Diaz / percussion
- Armando Garcia, Herbert Perez Jones, Lesste Meija Ercia, Romany Cana Flores, Patxi Urchegui / strings



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hmv.com/hmvweb/displayProductDetails.do?sku=653451

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LIBERTY N' JUSTICE - Give Em' A Light (2012)

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The multi-star combo LIBERTY N' JUSTICE has been busy at work trying to complete there yet to be released double CD, “The Cigar Chronicles” (13 cover tunes/ 13 original tunes).

Meanwhile, on Tuesday June 12th, LN'J just released a new single via digital outlets of a song that did not make the final cut of “The Cigar Chronicles”.
The song titled “Give Em’ A Light” features Paul Shortino (King Kobra / Rough Cutt / Quiet Riot), JK Nothrup (King Kobra, XYZ) and David Henzerling (King Kobra / Steelshine).
Justin Murr of LNJ had this to say; ”Being a huge music fan, having the chance to reunite Shortino & Northrup with Henzerling playing a cranking solo just blows me away!
I thought we would continue letting people hear music they would not have heard otherwise.”


Give Em' A Light (4:05)

Paul Shortino: Vocals
JK Nothrup: Guitar, Bass, Keyboards
David Henzerling: Guitar solo
Justin Murr: Guitar, Drums



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www.amazon.com/Give-Em-A-Light/dp/B0089QNKCW

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OZ KNOZZ - True Believer (2012)

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There's few bands in the rock scene that has been active for more than forty years. One of them is Houston based OZZ KNOZZ, which came together around a core of Westbury High alumni — Duane Massey, his brother Bill and Marty Naul.
The group has survived periods of inactivity, innumerable lineup changes (even the band doesn't know how many) and shows with up to 25 people onstage at once to arrive at new album "True Believer".

Their first recording came out in the mid seventies, and plenty of touring followed. It wasn't until 2008 that the follow-up emerged, and that makes new album "True Believer" only the 3rd album in 42 years.
The Oz Knozz sound definitely nods to the past. The production is mostly modern, but the vibe is firmly rooted in the '70s and '80s keyboard-driven pomp and arena rock with some slightly proggy moments here and there.
The promotional information that accompanies the CD describes the album as more progressive than before, but in my opinion the grandiose closing track "Kings And Treasures" is the only true Prog piece contained within.
I wouldn't say that the majority of this album was anything more than the Pomp previously mentioned, but with a healthy dose of good ol’ Rock 'n' Roll at its heart.

The glorious "Goodbye Again" is reminiscent of prime time Styx, the awesome mega pompy Kansas-like "Far Away" and the catchy, weirdly contagious title track "True Believer", all have that classic elements we love, both in sound and instrumentation.
In amongst all the Pomp and circumstance there are some wonderful moments that lean towards a more commercial U.S. '80s / '70s Rock sound.
The sublime opener "Empty Room" is a moody, rocking melodic gem that is straight out of the Foreigner book of hits, the semi-ballad "Always There" hints at a little of Journey’s ‘Who’s Crying Now’, and "Here Comes The Night" reminds me of early Reo Speedwagon, and even has some vintage Whitesnake in the guitar parts (see if you can spot it!).

"What The…?" is a rocking blues number replete with an almighty extended guitar solo from the talented Robert Guinea, and has it's tongue planted firmly in its cheek.
"Visitor" leans to Classic Rock territory, driven by a dry riff and a persistent cowbel percussion, including a hot guitar solo.
Really interesting is the uncommon six and a half minute track "Fox Paws", which bursts forth with a chugging riff, and has a quite wonderful long instrumental section, with keyboards, guitars and trumpet (yes you read well, trumpet, and works wonderfully) all getting their chance in the spotlight.


"True Believer" offers a lovable collection of '70s and '80s keyboard-driven Pomp and arena rock songs with some slightly proggy moments.
As fan of those genres, I really enjoyed this album from start to finish, arranged, played and delivered in the way that none do these days. It has the modern production standards, but with the magical essence of the glorious era.
Milton De Coronado has an immensely powerful voice, the rhythm section of bassist Bill Massey and drummer Marty Naul is as tight as they come, and Robert Guinea's riffs are solid as his soloing.
The keyboards of songwriter Duane Massey are fantastic, mixing an arsenal of Moogs, Hammonds, Prophet synths, Wurlitzer electric pianos all over the place without swamping it. And as good as the musicians are, they're nothing without the songs, and here you have the perfect combination.
"True Believer" is an awesome retro-biased album that should bring a big smile to anyone with an ear (and his heart) to the '70s and '80s good, classic Pomp.

You've seen it first here, at zerodayrockz


01 - Empty Room
02 - Goodbye Again
03 - Far Away
04 - Fox Paws
05 - Always There
06 - Here Come The Night
07 - Visitor
08 - What The...
09 - True Believer
10 - Kings And Treasures


Milton Coronado: Lead Vocals, Keyboards
Duane Massey: Keyboards, Backing Vocals, Winds
Robert Guinea: Guitars
Bill Massey: Bass, Sax
Marty Naul: Drums, Percussion, Backing Vocals



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www.therecordlabel.net/pop-rock/oz-knozz/true-believer/
www.amazon.com/True-Believer-Oz-Knozz/dp/B007PKDVK4

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THE TREATMENT - Then & Again + bonus (2012)

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THE TREATMENT, the Cambridge five-piece hard rock band who recently completed a full European tour with Steel Panther, are releasing new material.
Originally recorded as a special EP for Record Store Day in April, "Then & Again" was limited to 300 copies and only made available to buy from an actual record shop (not online) on the day itself, each copy signed by the band.
Now his label have announced that the EP will be widely available again for those who missed out the first time and for international fans.

Before getting to the music, let's start with the packaging. There's a nice Star Wars style cover, and inside it doesn't just tell you what the songs are that are on the EP, it tells you why they chose to do each of the songs (all are cover versions).
That for me was a really nice touch - there are thousands of great songs out there, so to get some insight into why a band has chosen a particular song to cover is unusual and interesting.

The songs are covers are from the seventies which in itself is a surprise given that none of the band was actually born 'till after the seventies ended.
Five iconic rock songs, so you have to be foolish or just young and talented to tackle them. Songs like this have weight, gravitas, a life of their own. Like swimming with sharks, if you can't keep up, they'll drag you under.
Fortunately, The Treatment have the talent, the chops and an instinctive way with a rock song, and all versions success.
"Evil Woman" is a surprise choice - ELO have a very different sound / style to The Treatment, so it's definitely not an obvious choice of band or song to cover (whereas the others are more guitar led and are a more natural fit). Matt Jones brings more of a rocky edge to the track while the the strings are replaced by cranked up guitars with great results.

"Run, Run, Run" (Jo Jo Gunne) is just brimming over with youthful abandon. The joy is almost palpable. You can almost sense the band’s incredulity that they are actually recording this all time great rock song.
Although the collection is book ended by the tracks apparently most favoured by the band – a reverential version of Chris Spedding’s "Motor Bikin" and a full blooded take on Slade's "Take Me Back ‘Ome" – the standout cover is that of Canned Heat's classic "Let's Work Together". The song’s relentless groove and the universal appeal of the lyrics, simply drawn and almost introspective, combine to edge the band toward a fuller, more mature sound.

In addition, since June 1 The Treatment now have their latest single / video on release – a 2012 re-recorded version of "Nothing To Lose But Our Minds" (the original of which can be found on the band's debut ‘This Might Hurt’ album released September 2011). This is a much more Melodic Rock oriented take on this very good anthem.
The B-side of the single is the newly recorded cover of the Electric Light Orchestra's "Evil Woman", which can be found in physical form on the "Then & Again" EP as well.


Although a covers album, The Treatment have made these songs own in "Then & Again".
Wisely, producer Laurie Mansworth (Airrace) keeps things simple and soundly structured, giving the songs a rawer, edgier feel. Like he wants it to sound deliberately dated, but yet there is no way you would mistake these versions for karaoke copies.
For The Treatment, it is evidence of their influences. What they listened to during the formative years. The spirit that infuses and informs their music…culminating in last year's 'This Might Hurt'.
Big guitars, big melodies and big, indeed huge hooks, the aurally adhesive kind, the type that resonate, strike a chord, sink in fast and stay in your consciousness forever.
Great Stuff.


01 - Motor Bikin’ (Chris Spedding cover)
02 - Let's Work Together (Canned Heat cover)
03 - Evil Woman (Electric Light Orchestra cover)
04 - Run Run Run (Jo Jo Gunne cover)
05 - Take Me Bak 'Ome (Slade cover)
+
Nothing To Lose But Our Minds (2012 Version)


Matt Jones : Vocals
Ben Brookland : Guitars
Tagore Grey : Guitars
Rick 'Swoggle' Newman : Bass
Dhani Mansworth : Drums



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www.whatrecords.co.uk/items/57782.htm
www.amazon.co.uk/Nothing-Lose-But-Our-Minds/dp/B0086ZDIVY

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DALLAS - Over The Edge (2012)

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DALLAS is the brainchild of Bryan Dallas, a 26 years old musician from Castro Valley, CA, whom composes all of the music and performs the vocals and all the instruments in his debut EP "Over The Edge".

Freshly formed in the beginning of 2012, Dallas recruited 4 local musicians to help spread on stage his gold old fashioned good time rock and roll. But the songs of this recording were written some years ago by Bryan alone, and recorded in different studios totally produced by himself.
Bryan explains, "I think the ‘Over The Edge’ EP is a culmination of several yearsof development and disciplined chaos."

What we have on this EP?
Five tracks of bombastic anthemic stadium rock choruses that bound to be a big summer hit, blaring out of cars everywhere.
Just in time for summer, Dallas is bringing back glammy, hooky pop metal. If the mega-overdubbed choruses of Def Leppard's Hysteria still do it for ya, you're gonna dig this dude.
Bryan Dallas resurrects here the super-slick, catchy anthems of the late '80s when a zillion Def Leppard clones emerged trying to cop Mutt Lange's songwriting and production techniques.

And indeed the first thing that impress you is the excellent production / sound.
Musically, Dallas isn't a Def Lepp clone, but on the extremely catchy "Open Your Heart" (check the video-track below) the influence, both in sound & style are undoubtable. What a great song.
"Bring The Light" and the awesome "I Close My Eyes" have the same vibe, with a hint of Bryan Adams Lange-produced era as well. Both also reminds you 7th Heaven with its more modern arrangements approach, but with much better engineering.
"Devil Is Rock 'N' Roll" is a bit different, a simple track towards a crunchy attack.


On "Over The Edge" Bryan Dallas has nailed the '80s commecial super-produced pop metal sound with incledible results.
Considering he is the only responsible of the production duties, this young musician is more than a great promise for the Melodic Rock genre in years to come. He has the skills, not only behind the desk but also the ability to write catchy tunes.
Give it a listen, you'll love this.
Highly Recommended.


01 - This Love
02 - The Devil is Rock 'n' Roll
03 - Bring The Light
04 - Open Your Heart
05 - I Close My Eyes

Bryan Dallas : everything






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www.amazon.com/Over-the-Edge/dp/B0080R0NW0

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FREAK KITCHEN - Land Of The Freaks (2012)

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Let me introduce you, specially to US listeners; FREAK KITCHEN.
This Swedish power rock trio - the brainchild of guitarist / lead vocalist Mattias “IA” Eklundh - has been in existence since the early '90s. Their debut album 'Appetizer' came out in 1994.
After three additional albums the original formation disbanded, leaving Mr. Eklundh the task of finding two new bandmates. Shortly thereafter a new trio was formed with the addition of bassist Christer Ortefors and drummer Bjorn Fryklundh.

"Land Of The Freaks" is the group's seventh overall album, and the third for version 2.0 of the band. It was published in 2009 in Europe, but as many Scandi releases, hard to find in the rest of the world.
The US label Lasers Edge is announcing a release campaign of the entire Freak Kitchen back catalog, beginning with "Land Of The Freaks". Access to Freak Kitchen's music in North America has previously been limited to expensive imports through specialist dealers.
But enough of the history, let's talk about what's most important…the music!

Freak Kitchen is typically classified as a progressive metal band. I am not going to argue with that. What I am going to do is flesh out a couple of intricacies that make this particular progressive metal band unique.
First of all it is critical to note that the songs contain as many rock & pop / hard rock elements as progressive ones. What does that mean? When you break down one of their songs you will find wacky time signatures, ridiculous playing, grand thematic changes, etc.
But here is the catch. If you don't concentrate on uncovering these elements, you won’t notice they exist thanks to the band's commercial-pop / catchy-rock sensibilities. Nothing, no matter how flashy, disrupts the flow of a song. That means unlike some other progressive metal bands I can name, there is never a moment of mid-song headbanging recalibration.

Second; also stemming from the rock&pop sensibilities, the songs themselves never outstay their welcome. The longest track on "Land of the Freaks" is five minutes and forty two seconds. All of the others end before the five minute mark, most before four minutes.
I'm not trying to imply that epic-length songs are bad (I love them), but I am saying that I like knowing I don't have to specifically set aside a half hour to fully enjoy one Freak Kitchen song.

Third; the contributions of Mattias Eklundh, both vocally and on guitar are spectacular, plain and simple. To say that he is a gifted guitarist is an immeasurable understatement.
His tonality, technicality, timing, and musical IQ are second to none. The fact that he is also a fantastic vocalist is icing on the cake. His clean vocals are able to perfectly match the mood of the song whether it calls for all out aggression or heartfelt tenderness.
So what about the album?

"Land Of The Freaks" is insane, mind-blowing in all aspects.
You can't resist to this band and this CD since the opening track "God Save the Spleen", a killer groovy pop/metal tune with a monstrous guitar tone, devastating main riff, and the bottomless groove cast a magic spell upon you at first listen.
But the thrill does not stop there. Other top-shelf rockin' compositions on this album include the amazing musical skills in the South-Asian flavored "Teargas Jazz", the deceptive "Murder Groupie", and the phenomenally amusing anti-fascist "Honey, You’re a Nazi".
But this band never stop to add variation to their fantastic blend on music. The transformative "OK" begins like a ballad before morphing into a rocker, or the straight up acoustic ditty "Do Not Disturb" is marvelous.
Not good enough? Fine. How about "Hip Hip Hoorah", a danceable metal song. That’s right; danceable (you'll be surprised).
What I'm trying to get across is that there is a chasm-wide variety of material on offer here. No matter what you're looking for, "Land Of The Freaks" will fulfill your order with loads of originality.


Freak Kitchen are a trio of amazing musicians from Sweden that play a style of progressive metal that is full of virtuoso musical technique combined with catchiness, filled with quirky lyrics.
They fuse styles such as metal, rock&pop, hard rock and jazz-rock into brilliant compositions that will boggle your mind. Mattias “IA” Eklundh is a musician with a vision out of this World.
I've been fan of Eklundh since his early days, collecting all his hard to find projects CD's, and although he always has been an incledible guitar player, in "Land Of The Freaks" the man has expanded even further his infinite creativeness.
If you're looking for something original, different, captivating, and at the same time highly entertaining, don't miss this stunning band.
Highly, Highly Recommended.


01 - God Save The Spleen
02 - Hip Hip Hoorah
03 - Teargas Jazz
04 - Sick Death By Hypochondria
05 - OK
06 - Honey You're A Nazi
07 - The Only Way
08 - Murder Groupie
09 - The Smell Of Time
10 - One Last Dance
11 - Do Not Disturb
12 - Clean It Up


Mattias “IA” Eklundh : Vocals, Guitar, Keyboards
Christer Ortefors : Bass
Bjorn Fryklundh : Drums



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www.amazon.com/Land-The-Freaks-Freak-Kitchen/dp/B007IX01DS

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