Reviews
Archive
This originally started out as a
selection from some of the reviews I've written or prepared for other
publications in recent years. I'm also adding more material as I get round to it
- check it out regularly for further updates... Like on the other pages, CD
catalogue numbers are listed along with contact details for the more "off
the beaten track" items.
As far as I know this guy's got no previous track record,
but the presence of Dan Reed singing lead vocals on one track and producing
another grabs the attention pretty quickly!
"Talk You" is the first of the eight songs
featured and is, only slightly, funky rock that gives you the same goose-pimples
you got the first time you heard the Dan Reed Network! "The Hardest
Part" is cut number two and is interesting different sounding sort of
Mellencamp-ish with its acoustic basis, but with much more melodic, clean
vocals.
"Back to Love" - the track with Dan Reed singing -
builds into something quite awesome almost like a more inventive, more varied
version of his own work. All the other tracks are highly enjoyable with "G.M.I.",
"Midnight Blue", and "Hold Back" being funk-rock/westcoast
crossovers.
Variety is obviously high on Rob's agenda as closer
"Burn" really rocks out and gets closer to be a more refined, less
earthy version of Living Colour! I'm most impressed with the songs displayed and
the top notch production which belies its self-financed status - spread the word
on this one, its variety and integrity is refreshing and it doesn't deserve to
be overlooked anymore.
click here to e-mail Rob for more details
DAKOTA-
"The Last Standing Man" (Escape Music ESM023,
1997)
This fourth studio outing for Dakota marks a crucial change in
the band’s line-up. Gone is co-founder Tom Kelly with Jerry Hludzik taking
over all vocals. He’s also now joined by ex- Synch/Jimmy Harnen guitarist Jon
Lorance, son Eli on drums, and long-time keyboard comrade Rick Manwiller. Kelly
and Hludzik seem to have been a durable team since the mid-1970s, so I was left
wondering if Dakota might have lost something without him. Other sources had
suggested that this release would mark a new start for Dakota, but I wasn’t
really sure what that meant.
Opening song is "Hot Nights" which some of you might
be familiar with from the Magnum (from Pennsylvania, not the British band)
"Hot Nights" EP (Allentown International, 1983) which just so happened
to be produced by Hludzik and Kelly. The arrangement is a little different from
the original but is still archetypal AOR and cool in the extreme. I’m struck
by how much more organic than "Mr. Lucky/Lost Tracks" this sounds and
how it sounds like a true band rather than a accumulation of individuals.
Once you move on to "Somebody’s Hero" you really
notice that Jon Lorance’s guitar playing is fairly virtuoso-like: a heady
mixture of sharp, melodic edges and scintillating melody. However, with some
genuine aplomb, his playing keeps itself in a true supporting role and always
contributes in the context of the whole song, rather than dominating the whole
affair needlessly. To me this is not exactly a new start for the band, but it
certainly does sound like fresh life has been breathed into the sound and the
cobwebs have been brushed away. On "Mama Teach" the vocals sound very
late 1970s or early 1980s and the song wouldn’t sound out of place on their
first album. In many ways this sounds like a much more logical progression to
the first Dakota album than either "Runaway" or "Mr. Lucky"
and reaffirms their base musical values. To me this defines the term "radio
rock", but it’s miles away from anything you would ever hear on the radio
now!
The production and mix is effective enough, it really
emphasises midrange and the bass is also satisfyingly deep and resolute. The
kick drum is lacking in ultimate weight and the drums sound a little lacking in
scale here and there, however, that seems to add to a slight raw edge which
makes it sound more like a live band than any other Dakota release.
With just the one vocalist, the band seems more assiduous and
cohesive. A great collection of songs - one of the best recent "old
school" AOR albums that isn’t repackaged old material.
Contact: Hah Daddy Productions, P.O. Box #72, Dalton, PA. 19414, USA.
The Pennsylvanian duo of Jerry Hludzik and Bill Kelly have
continually popped up at irregular intervals both as musicians, songwriters, and
producers. Previously they've released two LPs as Dakota: the self-titled album
(Columbia, 1980) and "Runaway" (MCA, 1984) - both of which are
excellent. There was also an earlier album - "Somebody Else's Dream"
(Columbia, 1978) - which was released under the name of "Jerry Kelly".
"Mr. Lucky" is essentially an expanded version of
their highly obscure late 1980s third Dakota album "Lost Tracks". The
sound is just as you'd expect if you're familiar with any of the previous
releases, except there's a bit more emphasis on guitar than I remember. It's a
very AOR sound, almost like a supercharged version of Peter Cetera and similar
in many ways to bands like Le Roux and Duke Jupiter.
All the songs are of a uniformly high standard and have the
absolute refinement of widely experienced songwriters. The only nagging doubt I
have is the way that the programmed drums have, surprisingly, dated the sound to
the mid/late 1980s, but the sheer quality of the songs makes up for this. If you
missed out on Dakota first time around, make up for lost time and start right
here!
Contact: Escape Music, 4 Cavendish Court, Dean Bank, Ferryhill, Co. Durham,
DL17 8PY, Great Britain. Tel/fax. 44-1740-655675
click here to e-mail Escape Music for more details
DIVISION STREET- "Harbour
in the Static" (Plaid Cat PC 1003, 1997)
I’ve only picked up on this band very recently - this is their second
release, following up 1995’s "Standing on Ceremony" which also came
out on the magnificently named Plaid Cat label.
More than most, this is a band where the music should be allowed to do the
talking. "Carry the Blame" is a cool opener, it might be midwest in
sound but it has much more musical and lyrical depth than that genre can often
suggest. Not unlike Larry Tagg’s solo work in fact, which is some sort of huge
eulogy. "Follow me there" and "No Mercy" have the same
Tagg-esque feel and really allows the fine production to shine.
"Confessions of Truth" starts acoustically, but moves more into the
territory of Faith and Desire in a more midwest style, a great song with truely
broad appeal, while "Never Enough" is like a more diversely influenced
Hooters. "Losing my Mind" helps me to formulate the point, this is the
sort of music that can rise above fashions and be good in its own right anytime.
It has so many good qualities it can appeal to lots of different rock audiences
yet still remain contemporary.
For an independent release the production and mix also really know where they’re
going as can be seen on "Let it Flow" with its up front drums and
hugely absorbing bass.
Without deliberately bringing up Larry Tagg again, this album has the same
qualities as his solo work of great songs and overall creation of a sound image
rather than needlessly finding inconsequential elements to emphasis for little
reason. A shining midwest jewel waiting to be discovered.
Hmmm, not exactly an obvious combination here: ex- Whiteheart
guitarist Gordon Kennedy and ex- RPM bass player and Christian producer Jimmie
Lee Sloas. Both handle vocals on this project which I found, initially, rather
difficult to describe.
Don't get me wrong, I really like this album and find the
music most involving - it's just the sound is somewhat unique. Let me see if I
can create an intimation of the sound for you: if you can imagine a combination
of "Great Wide Open" period Tom Petty and The Rembrandts mixed with
the quirkiness of Larry Tagg and a hypnotic version of Whiteheart, then you
might be close to the sound of this 10 song album. It's a little like some of
David Zaffiro's solo work, but just can't be pidgeon-holed.
It's all very interesting and Kennedy's guitar work is both
clever and original throughout. As I listen to it more I find myself wanting to
compare it more and more to Larry Tagg though that still wouldn't be a strickly
accurate comparison - what is definitely similar is the way the emphasis is
purely on songs and presenting them to the listener in an open, honest fashion.
There's no point singling out individual tracks on this one as
they're all uniformly excellent! Definitely not run of the mill and as
invigorating as a bath in ice-cold water!
DROWNING
NOT WAVING- "...look at it
this way..." (Big Chill Music, 1997)
A British band that seems intent on letting their music
do the talking. Fair enough, "Panic Stations" starts the conversation
with its controlled melodic rock pedal-to-the-metal style and is well written,
well played: although a lot of programming has been used (for bass and drums), I
guess due to lack of budget, it doesn't sound too synthetic. The singer sounds
like a less soulful version of FM's Steve Overland - maybe there isn't a lot of
budget behind it (the dryness of some of the vocals belay this), but what there
is has plainly been carefully spent and it's clear that a good deal of prudence
has been taken overall.
The title track is second and not unlike a UK version
of Cannata - quite clever and better than you'd expect from most UK bands.
"I used to be" is progressive and lugubrious in a similar vein and
emphasises that the lyrics are a cut above most. In fact, the lyrics seem to be
on a different mental plain than most European bands and verge on the cerebral.
Even on the instrumental "Caution: Abnormal Geometry" intelligence is
clearly evident, and while its progressive in instrumental body the guitars are
pure melodic rock.
None of this would be effective without variety, and
the Diving for Pearls like "Backwards in the Fast Lane" and the early
FM influenced "The dark side of your Smile" prove they can raise
adrenaline levels as well as eyebrows.
On tracks like "Waiting for the Rain"
although it's still nice poppy AOR with lots of keys in the style of Device, the
programming does get a little too intrusive. And, on some tracks a little more
variety in the vocal delivery might be more effective. But these are only really
suggestions for a follow-up rather than criticisms.
Contact: Drowning Not Waving, 156 Loxley Road, Malin Bridge, Sheffield, S6
4TE, Great Britain.
Can't say I've heard of the stubbly-chinned Timothy Drury
before, but he sounds like a toughened veteran on this wondrously good debut
release (at least I presuppose it's his debut).
Musically he reminds me rather alot of the band New Frontier,
and material along the lines of the best bits of Don Henley and Jimmy Ryser.
Vocally he's more like a cross between Westcoast labelmate Tim Feehan and Jeff
Paris.
The majority of songs are acoustically based but they are far
from lugubrious, as they're built up in some excellent tumescent layers to
produce an excellent AOR sound. There's also the odd slight intimation of
westcoast and country in the sound sometimes, but overall it's an AOR show all
the way.
The highlight for me is the fourth track "Kiss you like
This" with its ardent hook and excellent variance of light and shade - that
one is essential listening. A good introduction to a new talent.
Contact: Westcoast Records, Eriksbergsgatan 1B, 1 tr., S-11430 Stockholm,
Sweden. Tel/fax +46-8-6119901
I guess it's probably fair to call Les Dudek
"semi-legendary" - he's been around along time and been involved with
alot of different projects. From an AOR point of view his finest moment was back
in 1980 when he teamed up with Cher to record the "Black Rose" album
that was produced by James Newton Howard.
I'm not exactly sure when this 1994 release was recorded as
it features Toto's Jeff Porcaro on drums on all tracks and he died two years
earlier. Moreover, the Toto connection dosen't stop there as David Paich plays
keyboards on all tracks also. Now you're probably saying to yourself,
"Judging by the title this should be a fairly boring blues album" -
far from it! Overall the best reference point is Steve Lukather's "Candyman"
release as the approach is very comparable.
For sure there are still blues elements present but they are
very controlled and the songs for the most part are very direct. Opener "Leavin'
my Blues Behind" is quite like the best bits of Pat Travers (which come to
think of it was a heck of a long time ago!) or Eric Johnson when he wants to
rock out, and sets a good tone for the album. "Maybe Forever" and
"Moulin Rouge" also slap you about the face pretty quickly with their
big guitar breaks to make sure you're paying attention - those tracks are
excellent and are actually not that far removed from "Mr. Big" - very
nice indeed!
But it is the fushion-tinged instrumental "Assault and
Battery" that is my favourite track. Jeff Porcaro puts in a breath taking
performance on this one and the end result is not a million miles away from the
"Dixie Dregs" with a very slight bluesy tinge. Fans of long lost AOR
classics might also be interested to note that Jerry Riggs, of the modestly
titles "Riggs" and later of the aforementioned Pat Travers band, also
appears on "Your Love" though this is a more bluesy workout.
To sum up, a very pleasing release that's been, so far,
surprisingly overlooked that shouldn't be pigeon-holed as just another blues
album.
Contact: GeoSynchronous Records, Box 540962, Merrit Island, FL. 32954-0962,
USA.
Click
here to e-mail the record label for more details
What a divergent group of musicians this lot are! Singer
Michael Flexig used to be with Zeno (pretty good) and Electric Sun (yuk!), while
guitarist Herman Frank used to be with Victory (pretty bad) and Accept (even
worse!), and bass and keyboard player Klaus-Peter Matziol is a member of Eloy.
Strangely enough is the Eloy affiliation that I've heard most people react most
detrimentally to, people forget that Eloy aren't just about regressive prog rock
they have also produced some fine contemporary rock albums check out
"Performance" and, particularly, "Metromania" to see what I
mean.
But what of Echo Park? They are very, very high tech in their
approach and present a very technical, polished sound that is instantly
recognisable as German. It is highly enjoyable though, I found myself making
comparisons to the approach Saga were taking on their "Wildest Dreams"
and "Heads or Tails" releases, but with even more keyboard elements!
Other resemblances that come to mind are the fellow German band Balanx and
Rupert Hine's Thinkman. However, Echo Park have a real edge in Michael Flexig as
his, almost operatic at times, vocals really shine here.
Somehow Echo Park pull off a practically unattainable task,
they manage to be musically complex and mentally stimulating, yet they still
retain a poppy edge with commercial melodies that results in a superbly
tumescent sound which has many, many layers of appreciation to it. They even
throw in the odd little atmospheric and spacey interlude between tracks. Highly
recommended....
Contact: Melle-Music, Rothenberger Str. 22, 31655 Stadthagen, Germany.
First impressions are important aren't they? Well my first
perception of this release was "what tacky and cheap looking artwork"
suggesting that the music within would be something more akin to inspiring
hippies to say "far out" in a mystical fashion while rubbernecking up
at the sky! The information sheet within also seems to provide more questions
than answers, like who the hell is in this band? Canadian Rick Livingstone is
credited for lead vocals (he also sang on the excellent "Agent" album
on Virgin in 1986, which is now being re-issued on CD by Long Island Records in
Germany), but if I read this right he is only a guest performer! Chang Kim and
Martin Samuel could be the guys behind it all - they write and produce all the
music, but they are not listed as playing anything, I better listen to it to
find out what's going on....
Hmmn..., this isn't easy to evaluate..., we do appear to
have some fine AOR on offer here with a reasonably incisive production. At times
it motors along like something from Jimmy Barnes' "Freight Train
heart" album, at other times it rocks out like Autograph, and at other
times it just plain meanders. On closer examination things aren't quite what
they seem.
While the songs have good elements, are well played, and
seem to be well constructed it just doesn't quite gel together as it should.
Somehow the vocals give the impression of being isolated from the music and you
just don't feel particularly involved with what's going on. Give it a try you
might like it, but for me its sort of appetising but unsatisfying.
Contact: Eclipse, P.O. Box 485, Woodbridge, NJ. 07095-0485, USA.
Ex- Kansas man John Elefante is back with his first fully
fledged solo album. Since leaving Kansas, John and his brother Dino have become
one of the most successful Christian rock producers while also recording albums
under the name of "Mastedon".
I never really figured out the point behind Mastedon - the
albums tended to be directionless and almost schizophrenic due to different
singers seeming to be singing each song. And, if you've got a singer of John
Elefante's quality in your camp - why not get him to sing everything? So is this
solo album worth listening to? - I can categorically say "yes".
Overall its quite wimpy AOR sort of Peter Cetera or Mr. Mister territory (on
their "Go On" album) and Elefante's vocals are superb.
Each song is carefully crafted song-orientated,
sophisticated, soft rock with the fine production one has come to expect from
the Elefante brothers. There really are times on this CD when John's vocals seem
to be in another dimension. It's taken ten years (since his last appearance with
Kansas) to see the best of John Elefante again - let's hope it doesn't take so
long again!
Don’t be fooled by this being released as a John Entwistle
solo album: he might have played bass for The Who but in the mid 1980s he formed
a superb AOR outfit called "The Rock" and this is their album. The
Rock actually grew out of an alliance John had with a superb New Jersey band
called Rat Race Choir - I saw that association together in a club in New York
once and they were excellent…. The other main elements of The Rock recording
band are ex-Prism singer Henry Small, much travelled guitarist Gene Bloch/Black
(ex- Device among a host of others), well respected guitarist Devin Powers and
drummer Zak Starkey (yep, Ringo’s son who also featured in the band Lost
City). It should also be noted that the touring band includes keyboard player
Tim Gorman who was in The View with Ross Valory which later became essential AOR
outfit The Storm.
All that pedigree wouldn’t stand for anything if The Rock
couldn’t deliver musically - and deliver they surely do. I think most AOR fans
will be familiar with the first song "Stranger in a Strange Land" as
it was earlier recorded by Eddie Money on his "Can’t Hold Back"
album. And the rest of the album is great rocky AOR too. Henry Small’s
excellent vocals are instantly recognisable and several of the tracks (like
"Love Doesn’t Last" and "Bridges under the Water") sound
rather like Prism or fellow Canadians Streetheart, in fact the superb "Last
Song" is like a best of Prism experience all in one song! Elsewhere the
tracks are rather like some of the material on Paul Rodger’s short-lived
"The Law" project, sort of Bad Company tinged AOR. Gene Bloch’s
playing is as original as ever and he injects a real variety of guitar sounds
throughout.
Basically this is excellent mid-1980s AOR, sure it’s like
many others, but it’s well delivered and very much missed these days. Give it
a chance you’ll love it….
click
here to jump to the Griffin Music home page
This third release from the Swedish vocalist sees little
change in approach. While the sleeve portrays an image that suggests the music
within will be some form of "cleavage rock," Erika is still following
a poppy AOR stance. The poppy (at times very poppy!) overtones of all the songs
on this release lends the music a more original edge than many of the current
Scandinavian AOR hopefuls, and comes across as an invigorating change. As with
the first two releases the same Almqvist/Ljunggren production team is involved.
While not quite scaling the heights of her debut
"Cold Winter Night," where the mix of guitar and keyboards had
slightly more emphasis on guitar, this is still well worth checking out. Anyone
that enjoys the best bits of Tone Norum will be well impressed. Despite a couple
of duff tracks where the poppy side is, practically, rammed down the listener's
throat the overall package is still interesting and well worth a listen.
Contact: Erika Fan Club, P.O. Box 9100, S-10272 Stockholm, Sweden.
FAITH
NATION- Same (Nightworks
FN01, 1997)
I'm not exactly sure why but I didn't really put the debut from this new
Christian band on with much in the way of anticipation. Even the Christian rock
mainstream is getting alternative and a new band with a name like "Faith
Nation" had me prepared for a grundgy onslot. What do I know, the first
song stunned me in mid stride with firm guitars, a melodic intent and a sound
not unlike old (like "Powerhouse" period) Whiteheart with a strong
hint of Survivor also! The production is nicely rounded without being too
polished or too rough either.
Obviously this is no fluke as the second song "We Shall Stand" is
in a similar style and hints also at Petra too. I really like the vocal phrasing
on this one too as it's very melodic and smooth - the singer, Chris Gilberston,
does not fall into the trap of over extending himself for no reason and the pace
of his delivery is very like Jimi Jamison.
By now I'm convinced I'm on to something and the Survivor-like balladic
"Then Love Came In" delivers right on cue. The sound is so clean, and
the keyboard string sounds are phenomenally well integrated - the song builds
and builds and is a superb example of what proper AOR with a real US flavour
should be. "Book of Life" is next and I find myself wondering about
the age of the band: they sound like they're real young and if they are it's an
encouraging sign for a new wave of melodic rock. Either that or they're just
really influenced by the mid-1980s sounds of Whiteheart and Idle Cure.
"The Raven and the Dove" might be a slightly bizarre title for a
song, but it's one of favourites! There's almost a Styx and Journey influence
and a real pompy bass and drum stomp that I'm always a sucker for - bit of a
late 1970s vibe but with modern guitar and keyboard sounds. A great song with
elements of Twenty Twenty's (always one of my favourite Christian bands)
keyboard/guitar interaction. Other worthy mentions are "Grace Me" with
its chunky guitars, and the rocky closer "Give me More" which is not
unlike Dann Huff's Giant with keyboards.
A sturdy and strong effort without ever being brash. The band have a superb
sound that's familiar, though not that familiar in new material that's available
at the moment. Short in number of songs at nine, but not in quality - I can't
really find many faults here at all. Turns back the clock a bit and is full of
the depth of quality that the US scene used to be filled with.
Contact: Nightworks, 3414 Upton Avenue North, Minneapolis, MN. 55412, USA.
click
here to e-mail the label for more details
What a gratifying surprise! I wasn't exactly sure what to
expect on this solo album from the former Keel guitarist, I guess standard LA
hard rock, but it's certainly not standard.
"Cardshark" caught me off guard with its blend of
thinking man's guitar rock. Sure it's hard and melodic, but somehow it's never
brash or inelegant, it's more like a 1990s version of old-style US melodic rock
specialists like Montrose, Starz or Legs Diamond, or even a more focused version
of Van Halen in it's slower sections. I was hungry for more, and "Long
Gone" gave it to me with its mature Mr. Big style hard rock sound.
I almost forgot to mention that Marc's roped in lots of
friends to help out here, as the title suggests. Included are former Autograph
singer Steve Plunkett, Balance guitarist Bob Kulick, Coney Hatch frontman Carl
Dixon, Ex- MSG, Grand Prix singer Robin McAuley, and Todd Jensen from Hardline.
And that's just to name a few of them! The track with Plunkett - "She Don't
Wanna See Me" is particularly fine and brought back balmy memories of
Autograph in their heyday, "Blind Faith" with Carl Dixon is also an
extremely praiseworthy effort. The only one that doesn't do anything for me is
"Money Hungry" just because I've never been too enamoured with Robin
McAuley's vocal style. "Run for the Border" also has a worrying Bon
Jovi "Cowboy" period edge to it, but it does its best to shake free
from it!
My overall impression is that this is supremely melodic hard
rock with clever and subtle writing to back it up. Songs are very much the
centre of attention rather than a guitar hero trip. Heavier stuff doesn't always
cut it with me, as it frequently can sound so "by numbers" but there's
no hint of that here. You really can tell there's a genuine belief behind the
music and Marc obviously has a strong conviction for what he wants his musical
direction to be, and that gets the listener much more involved in the music.
Contact: Red Engine Music, 13903 Sherman Way, #14, Van Nuys, CA. 91405, USA.
click here to e-mail Marc for more details
This New Jersey quartet have a rather unusual sound. It's not
at all easy to describe - something like Bon Jovu mixed with Steeley Dan. Every
song is highly melodic and maybe a little old fashioned in approach in that the
band don't employ and "shock tactics" and work on the songs above all
else.
Of the eleven songs offered, "Tell Me" really is the
standout when it rocks in a more obvious New Jersey style.
Maybe the band are struggling for an overall direction: the
potential is definitely there and given a little more bite they could easily be
a band to watch. Give them your support and watch them develop....
Contact: Amhas Records, 28 Kensington Avenue, Jersey City, NJ 07304, USA. Tel
(201) 938-1632
click here to e-mail the band for more details
JAYE FOUCHER- "Infectious
Licks" (Fuism Records, 67676-2, 1997)
I’ll happy admit I’ve a soft spot for all sorts of guitar
fusion and guitar driven jazz projects, and this debut from female guitarist
Jaye Foucher looks like a labour of love.
"Killer Clows" is a little disappointing as its like
a fusion version of Dream Theater and a little phlegmatic, but "Truth"
(which does have vocals) is much more enigmatic and closer to an Eric Johnson
with modern influences. "September" gets my attention in earnest as
its like Michael Dowdle or Dave Uhrich, two of my favourite fusion guitarists.
Satriani is plainly also an influence on Jaye as "Stompin’
the Bug" and "Pandemonium" are like some of the more diverse
tracks on "Flying in a Blue Dream". The double bass drum effects on
"Epic" leave me a little cold but even in this heavier Marty Friendman/Greg
Howe style workout, Jaye injects her playing with smoothness and melody than
many lack. In many ways that brings her playing closer to someone like Andy
Timmons as can be seen on "The Real Thing" which features her most
absorbing guitar work.
Not quite consistent enough to gain an ardent recommendation,
but when it’s good it’s very good. A nice starting point.
BRUCE GAITSCH- "Aphasia"
(Thoughtscape Sounds TSS0001, 1997)
Bruce Gaitsch is one fructiferous guy - if he's not busy putting out King of
Hearts albums with Tommy Funderburk, he's writing, playing on, and/or producing
many, many other projects - they might be varied but they're all of high
quality. And now he's got a second solo album too - he certainly seems to have
jammed a lot into a recording career that started with the "Don't fight the
Feeling" album from the Jim Peterik Band in 1976 - Peterik, as you all
know, went on to form Survivor.
His first solo album "A Lyre in a Windstorm" (1985) maybe wasn't
what everyone might have expected bringing out a more loose, jazzy, and at times
mellow, vibe closer to Richy Kicklighter, Craig Chaquico and even Randy Goodrum
than some of his more well known work with Richard Marx and Timothy B. Schmidt.
But it still had lots of depth and a shroud you in atmosphere sound that was
quite addictive.
The first two tracks on this new effort are in a very similar vein with
oodles of depth and a truly relaxing, genuinely westcoast sound proffered by a
opulent production that has a lot of jazz values about it with lots of
"space" around all the instruments. Track three, which just happens to
be the title, sees Bill Champlin guesting on vocals (as he did on one track on
the first album too). It's a very adult contemporary/jazz crossover not unlike a
more overtly jazzy version of Richard Marx's current stuff. Richard Marx also
co-wrote the plaintive ballad "If I Could Only" and I'm real surprised
he didn't use it on one of his own albums as it's excellent.
Just like on "Lyre", Bruce drafts in some heavyweight friends to
help him out - particularly in the vocal department: Marc Jordan (in fact we
have a sort of laid back, acoustic version of Jordan's "In my Piano"
presented here), Karla Bonoff, Tamara Champlin, Jason Scheff and Cy Curnin.
Someone called Donna DeLory also guests on "Diane" which has a Don
Henley-ish intro - why I haven't heard more of this girl is beyond me as she has
a superb voice. "Letting Go" with Jason Scheff is also more than
worthy of a mention. It's probably the most straight forward of all the songs
and Scheff actually sounds surprisingly like Joseph Williams here, the song
could easily be at home on either of Joseph's recent solo albums - which is a
fairly high recommendation as I really rate both of those
To sum up certainly a more rounded, complete and organic album that
"Lyre" which was maybe too diverse for its own good. You can really
wallow in the high calibre of talent on offer and revel in the pure guitar
sounds presented. Indulge yourself in a very westcoast experience.
Contact: Thoughtscape Sounds, 115 North 10th Street, #3A, Fort Smith, AR.
72901, USA. Telephone (501) 783-6868, Telefax (501) 646-6217
click
here to jump to the Thoughtscape web site
It's also worth mentioning here that Thoughtscape also has an
excellent sampler track out with unreleased, exclusive tracks from from both
Bruce Gaitsch and Bill Champlin...
I've always felt that British AOR bands have a been a bit up
and down gallivanting from the superb (like Airrace, and The Outfield) down to
others that were derivative and rueful at best (I won't name names right now!).
However, over the last couple of years British outfits have been emerging with a
much higher level of constancy and quality. Ghost are one of the latest UK
candidates, though their singer is actually from Gibraltar (!).
"Can't Stop" is a good opening cut with soupcons of
Journey right up front, but then it progresses into a fine workmanlike melodic
rocker very much in the mode of late '80s Bad Company, Foreigner or The Law.
"Brand New Start" follows in similar fashion though I can also see
elements of FM's (UK version) best bits in it too, which is to say that it's
very British sounding AOR.
Those tracks essentially set the tone for the whole album.
There's also a hard to delineate, or explain, nostalgic or sentimental edge to
the sound which seems to go hand and hand with the bluesy/Bad Company edge
(particularly on "Should have Been Me" and "Rescue Me"). A
couple of tracks let the side down a little (like the overly clinging and coy
ballad "Send Me Somebody") but on the whole the album is very
accessible and pleasant. While not quite earthshattering, this is a very
pleasing debut which proves that UK bands do not have to be poor relations at
all.
Contact: Now & Then Records, Unit 23, Empress Mill, Ince, Lancs., WN2
2BG, Great Britain. Tel/fax 44-1942-866099
The debut from the Ghost Poets marks a comeback from
Michael Stanley who has spent the last few years as a successful, television
presenter in Cleveland. For this new project he's roped in the services of one
time Michael Stanley Band, Breathless, and Bandaloo Doctors man Johan Koslen,
along with long time MSB cohort Bob Pelander. These three form the core of the
band though other note worthy people helping out include much travelled drummer
Kevin Valentine and Rodney Psyka (ex- Breathless and the Innocent).
Musically the Ghost Poets carry on right where the Michael
Stanley Band left off way back in 1983 with the "Can't Fight Fashion"
release. There's quiet a lot of variety throughout the thirteen tracks on offer,
from the out and out pomp of "Everything" with huge slabs of keyboards
and stabbing guitars herding the listener between the speakers to the plaintive
ballad of "Two Hearts." Several of the songs, where Johan Koslen takes
on the lead vocals, sound like the could have been at home on the first
Breathless release which is also a very pleasant surprise.
Overall excellent, sincere middle-American AOR with a
refreshing, very layered production also a big plus point. Hopefully the Ghost
Poets won't disappear into thin air!
Contact: Razor & Tie Music, P.O. Box 585, Cooper Station, New York, NY.
10276, USA.
Been rather a long time since there's been a new Good Rats
project, so I was rather surprised when this new one appeared. Original singer
and main songwriter Peppi Marchello (who you might also remember produced the
first Fiona album) is still there along with his sons Gene on guitars and Stefan
on drums along with bass player Dean Giuffrida. Guests include Joe Franco, Bruce
Kulick, Schuyler Deale, and David Rosenthal.
So I was little unsure what to expected when I pushed the
remote's play button: now "Cover of Night" is a stupendous slice of
pop metal/hard rock more akin to Gene Marchello's 1989 album
"Destiny". "Evil Little Boy" follows and sounds much more
like the original Good Rats with its quirky edge, but with a thoroughly more
modern guitar sound. Now my interest is really galvanized - "Major Minor
Chords" is next up and is positively bizarre and is undeniably the Good
Rats - a couple of listens and you'll be addicted to its twists and turns and
tongue-in-check lyrics.
A lot of the balance of the album is very close to the clever,
melodic hard rock of the aforementioned Marchello - "Destiny" album
and often reminds me of Harem Scarem, which is a huge recommendation in itself.
And, don't overlook "Feelin' Good Again" which is a hugely expansive
power ballad burner.
Some of the guitar work is positively arrogant and makes you
remember the fine old days when alternative hadn't turned the mainstream
insipid. Highly recommended!
Contact: Good Rats, P.O. Box 585, St. James, NY. 11780, USA. 24-hour
telephone hotline (516) 696-0707
click here to jump to the Good Rats home page
I've always had a soft spot for Canadian based Larry Gowan,
and not just because he's an exiled Scotsman (although that does help)! Like the
album before it, "But you can call me Larry" it's a close
collaboration with the respected songwriter Eddie Schwartz. It's kinda
interesting that away from an major record label (he was previously with
Columbia and Atlantic), Larry seems to be exploring some directions he's hinted
at on his previous (all high quality) releases and explore them with more depth.
The overall direction is still similar to his "Lost
Brotherhood" album, though the instrumentation has become more acoustic.
Larry also continues his tradition of writing some very interesting, and thought
provoking lyrics, which are given even more meaning through his fine vocal
delivery which always hides slightly folksy inflections and accents:
"Laura" and "Pigeon" are prime examples of how interesting
his lyrics can be.
On the title track and "I'll be there in a Minute"
it's Larry's piano playing that really drive these dynamic songs in grand
fashion - sort of like an AOR version of Billy Joel pumped full of adrenaline.
"Get it while You Can" and "Put it where the love Don't
Shine" are more what you expect from Gowan, and "You'll be with
Me" is one of those emotional ballads similar to those employed to such
fine effect on the "Great Dirty World" album (probably my favourite of
his releases), though here he gives it an almost jazzy feel.
A strong release from a talented musician and songwriter
confident and secure in his own abilities.
Contact: The Bob Roper Company, P.O. Box 43147, 325 Central Parkway West,
Mississauga, Ontario, L5B 3X0, Canada.
Steve Grimm used to be leader of the interesting Milwaukee
hard rock band Bad Boy who did five excellent albums from the late 1970s through
to the mid 1980s. This is actually his third solo release, though the second was
a cassette only EP.
One of the things that really slaps me in the face about this
release is that it conspicuous sounds like a series of demos pressed up on to
CD, some of the tracks are obviously from different recording sessions and this
gives the album a slightly disjointed feel. However, if you concentrate on
viewing each song individually it’s worth it.
"Be Somebody" is the opener and is a little more
poppy than I expected but in a hard 1970s way like Nick Gilder or even Cheap
Trick. "Running out of Tomorrow" also hints at the tempered AOR of Bad
Boy with a poppy slant like The Producers (for anyone who can remember them!).
There’s lots of other hidden gems here with the mildly dated, yet classically
AOR structured "How Many Times", the Survivor-ish "Change of
Heart", the ‘70s hard rock of the title track and the Bad Boy trademark
power rock of "Flames" all worth getting to know a little better.
The production is a little limp in places and some of the
vocals could have been mixed with a bit more projection, but there’s some good
songs here. Overall the sound might be a little nostalgic, but there’s nothing
wrong with hearkening back to better days!
Contact: The Music Label Connection, P.O. Box 672216, Marietta, Georgia
30006-0037, USA. Telephone 1-(770)-850-9560, Telefax 1-(770)-850-9646.
click
here to send e-mail for more details
This must be a bit of first for the members of GTS, all have
been involved with many different bands over the years, but this is the first
time I think any of them have been involved in a second release!
As soon as the title track gets underway you see an approach
similar to their first album but with a more complete sound, that is much more
confident and self-assured than on the debut. The production is well above
average and the keyboard sounds in particular are very well handled - the short
keyboard solo on "Innocence" is very cool. The sound is very typically
mid-pocket "British AOR" rather like Airrace mixed with vaguely
progressive tinges of Asia - slightly courteous maybe, but the songs are well
structured and exactly delivered.
Songs to watch out for include the aforementioned
"Innocence" which is rather like the material on Wildlife’s (later
to become FM) album for Swan Song, the very John Wetton-ish "I Know what
you’re Searching for", "Here I Am" where they turn into an
ultra melodic version of Giant (!), and the keyboard dominated, hypnotic
"Deeper in Love". Airrace’s "Caught in the Game" is also
covered to fine effect and is just as good as the original, I’ve always
thought Airrace’s "Shaft of Light" album was possibly one of the
best AOR albums the UK has ever produced, and it’s a big plus to hear one of
the tracks from it reworked.
Overall the band’s sound has developed well and is a logical
follow up to "Tracks from the Dustshelf", my only niggle would be that
it is a little too one-paced. A consistently strong release - maybe we’ll even
see a third album from these guys!
Contact: GT Records, 3 Beechwood Close, Church Crookham, Fleet, Hampshire,
GU13 0PT, Great Britain. Telephone/Telefax 44-(0)-1252-620919
click
here to e-mail GT Records for more details
These guys are veterans of the British AOR scene. Essentially
they are a three piece based around guitarist Greg Hart (ex- If Only, Moritz and
writer of several tracks for Asia on the "Aqua" album), keyboard
player Toby Sadler (ex- Airrace, Lionheart, etc), and respected singer Sam Blue
(ex- Emerson, Cyrka and frequent session man).
On the CD’s booklet they set out a very simple (for want of a
better term) mission statement: "Ladies and Gentlemen, welcome to the
return of the Song". And even after one listen I couldn’t contradict
that!
The band are certainly very song orientated and, as a result,
come across as much more cultivated that many of the current UK AOR hopefuls,
and as such show a good deal more integrity. In many ways they’re direction
reminds me of where FM started out from before they heavied up their approach
and, arguable, lost any semblance of credibility - sorry if that seemed harsh!
In many ways the album is quite redolent of John Wetton’s solo work.
All the tracks are very well structured, particularly on the
nicely understated "You" and "Dream On" which comes across
like a superior version of Heartland. A good debut effort that puts many others
to shame.
Contact: GT Records, 3 Beechwood Close, Church Crookham, Fleet, Hampshire,
GU13 0PT, Great Britain. Tel/fax 44-1252-620919.
click
here to e-mail GT Records for more details
I've never really paid much heed to The Guess Who - I heard
some of their early material once (and they have been around for an confoundedly
long period of time!) and thought it sounded like sub-BTO boring Canadian hard
rock that lumberjacks listened to while ironing their checked shirts. So I
didn't really expect much from this brand new album - big mistake.... A quick
look at some of the songwriters involved told me I better throw away my
preconceptions pretty quickly: Gerald O'Brien, Dean McTaggart (from The Arrows),
Gerry Mosby, Alfie Zappacosta, Charlie Midnight, Eddie Schwartz, and Bob
Halligan!
The best track on offer is Alfie Zappacosta's "Sweet
Liberty", and we're talking proper old-style Surrender/Zappacosta material,
it's definitely nothing like his current lounge singer meanderings! That one
really blows me away. Elsewhere the tracks are generally like a much more
refined version of Loverboy and other mid/late 1980s Canadian AOR bands of that
ilk (with the perfectly wimpy "Haunted Heart" being a fine example). A
couple of tracks (such as the title track) move in a slightly superior, keyboard
driven westcoast direction but are still good, the only negative moments I could
find were the, frankly, pointless "Rock 'n' Roll Classic" and the far
too nice and comfortable "I Feel your Pain".
Apparently the singer on this album, Terry Hatty, is new to
the band and I have to say he puts in a sterling performance sounding like a
cross between Mark Free, John Farnham, and Lou Gramm. The production is also
excellent and crystal clear - this is a damn fine AOR record from a most
unexpected source!
(Note- this review is of the US version of the album, the
Canadian version has the same tracks but is titled "Liberty")
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Ian
McIntosh
Copyright © 2004 Ian McIntosh, AOR Basement, all rights reserved
Most recent revision
Monday February 22, 2010 - originally created November 1995.
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LES
DUDEK- "Deeper Shades of Blue" (GeoSynchronous
Records #GSR-00172)