Great White - 'Elation' (frontiers) 4.5/5

It's sad that after all Great White have been through and achieved over their long and illustrious career, from the highs of such tracks as Face The Day (still one of the greatest hard rock anthems of all time in my mind) to the tragic low of the Station Night Club disaster, that they have now entered a period of schism and we have two incarnations of the band suing the pants off each other for material usage rights and use of the band name. Still they do take time out of litigation from time to time to remind us they are infact musicians and here we have have the latest album from the version of the band that doesn't feature Jack Russell.

Now I gotta say that despite my frustration of seeing a band I really admire implode this is still a damn fine album. OK vocalist Terry Ilous is no Jack Russell, but he still does a great job and his vocals are distinctive enough to carry it off in fine style. As for the rest of this version of Great White, well, they sound like Great White. Nuff said.

There are some great, and I mean great tunes on offer here, You get some wonderful sleaze rockers in the likes of Lowdown, some first rate classic GW type hard rockers such as I've Got Something For You and Shotgun Willies, spot on slices of Americana like Love Train... hell even the power ballad Love Is Enough is not as bad as it could have been. In fact the only thing iffy about this album is its cover art work.

So all in all a pretty good release from a classic band, and one good enough to help me forget all their legal handbags for a while.

Recommended

For fans of... Whitesnake, Crazy Lixx, Beggars And Thieves, Trixter.....

Crazy Lixx - 'Riot Avenue' (frontiers) 5/5

Swedish sleaze fueled rockers Crazy Lixx have been together since 2002 and along with the likes of Sister and Royal Republic are one of the big players in the glam side of Sweden's current classic rock revival. This is their third album.

Now I've been living with this one for a couple of weeks now, and this is the fourth time I've sat down to review it, but I've been having problems with this album, its so damn good and infectious, every time I've played it I've ended up head banging around the flat like a demented teenager, air guitars, the works. So this time I've got the girlfriend to tie me down in front of the computer and beat me with a whip until I've finished writing this one up.

As you can guess I'm like this one big time. From the up tempo double whammy opening of Whiskey, Foxtrot, Tango and Youngblood through to the almost southern boogie closing epic of Only The Dead Know, this album just drips class. It's like all your fave glam and sleaze rock acts rolled into one glorious eleven song package. You get the the classic riffing of Ratt (Youngblood), the mob yell choruses of Poison (Fire It Up), the late night sleaze of Dogs D'Amour (Downtown), the strut and swagger of Skid Row (Sweet, Bad & Beautiful), the full works and its formed into a down and dirty whole that makes this one of the best glam rock / hair metal albums of the past 10 years at least.

I really cannot praise this album enough, the performances here are spot on. Danny Rexon's vocals are distinctive, direct and remind me somewhere of the great Sebastian Bach (Skid Row), Guitarist Andy Dawson is a rare talent, a glam metal guitarist who knows exactly how to read a song and knows when to go OTT and when to rein himself in. Chuck in the rhythm section of Loke Rivano (bass - now sadly departed from the band) and Joél Cirera (drums) who are as tight as a ducks chuff and as driving as Finnish Rally driver in an old group B car, and you do have a band who knows not only how to rock out like a bastard but also how to bring the best out in each other.

In short this is a great album and with glam rock getting a new audience thanks to the likes of the Black Veil Brides,  an outfit that really could go places.

A True Classic
 
For fans of... Moltey Crue, Ratt, Kiss, Skid Row, Black Veil Brides, Sister etc....

Tyketto - 'Dig In Deep' (frontiers) 3/5

Another US East Coast outfit on the comeback trail, Tyketto first emerged out of New York in the late 80's and like many of the second wave of US hair rockers had their careers cut short by the whole grunge movement of the early 1990's. They first split in 1996 after four albums, reformed in 2004 and broke up 'for good' three years later. However less than 12 months later they reformed and have spent the last four years touring their butts off world wide and preparing for this, the first album of new material in 16 years.

Now I will be honest and say I'm finding this on a little bit of a let down on first listen, I have a copy of the bands first album on vinyl, and find this latest offering a bit light weight in comparison. It's a wee bit too radio friendly for my tastes, a bit lacking in drive and balls. It' not until the fifth track on the album you get anything resembling a real rocker, when the the opening riff of The Fight Left In Me cuts in, but even then that riff resolves into something not all that gutsy and pretty middle of the road. In fact true rock out moments on this one are a bit few and far between. Theres the rather groovy slide blues of the title track and the riff heavy and driving Sound Off (the best cut on offer by a country mile), but thats about it really. The rest of the album is made up of light weight US daytime rock radio tunes, rather cheesy power ballads and sub Bon Jovi lighter wavers.

Shame because this album is well penned and played and you know that Tyketto are a band who can rock out like bastards when they want to, but here they never seam to get out of second gear. Still fm radio stations in the mid west will lap it up ever if the rest of the world may find this album a bit lacking in fire.

Try before you buy

For fans of... House of Lords, Beggars & Thieves, Bon Jovi, REM.....

Trixter - 'New Audio Machine' (frontiers) 4/5

Back in the late '80s / early 90's, New Jersey hard rockers Trixter were a promising new act in the second division of US rock. Their first two albums made small dents in the US rock charts and great things were expected, but following a rather disappointing album of cover versions in 1994 the band fell apart. however 2008 saw a reformation for a live album, a compilation album and reunion tour, and now at least we have the first album of new original Trixter material for 20 years.

Now this one starts of very strongly, the opening cut Drag Me Down kicks off with a sweet little blues fired acoustic moment, that has hints of Soundgarden about it, before cutting off into a pretty impressive Cinderella style hair metal workout, all sleazy strut,' na na na na' hooks and down and dirty riffage.

Having set the stall out Trixter continue with pretty much more of the same, and thats fine with me, cos listening to this album takes me screaming back to those heady days of hair spray heroes like Ratt, Poison, Nevada Beach and the like when the whole glam revival stuff provided the musical counter point to my heavier, more thrashy listening and kept me lurching drunkenly around dance floors well into the wee small hours.

Cuts like Dirty Love, Machine, Tattoos And Misery and Save Your Soul all sleaze from the speakers like a drunken personnel manager at an office party and start a party with your libido that could well end up in a compromising position with the girl from the typing pool and a final warning from the boss. And then there's the fantastic closing cut, Walk With A Stranger a number that sounds like Bon Jovi before they sold out to the MTV big hit single machine. Ok, there are a couple of skippers, namely the two cheese laden power ballads Live For The Day and The Coolest Thing, but I can over look two duff tracks when the other nine on offer are so strong.

Over all this is a pretty damn fine album and one that Trixter should be proud to have recorded.

Strongly Recommended

For fans of... Cinderella, Poison, Tyketto, Black Veil Brides etc....

Blessed By A Broken Heart - 'Feel The Power' (Tooth & Nail) 4.5/5

Canada's Blessed By A Broken Heart are a band who have come along way since their metalcore debut inspired debut album back in 2004, slowly changing over each release until we have this one, their third studio opus.

Now as I've said before in this review blog, my metalhead was fixed on in the 1980's, inspired in equal measures by the NWOBHM, the thrash explosion and the hair metal outfits of the time.  And its from the later wicket that BBABH are now batting. Playing this one through I can't help but notice the thumb prints of Dokken, Quiet Riot and Ratt all over it, and I for one aint gonna moan about that.

Kicking off with the gloriously Dokken fueled Deathwish and the Ratt influenced Shut Up And Rock, this one had me wondering if I could still get away with wearing spandex and bullet belts and if the girlfriend would object to me getting a bubble permed mullet. It's damn infectious, expertly played, packed with feel good rock and roll attitude, produced perfectly for the genre and has immediately become a bit of a fave of mine.

Tracks like Holdin' Back For Nothin', Rockin' All Night, Scream Like You Mean It and Sleepless Nights boogie past in a glorious parade of the best of LA circa 1987, as hats are tipped to the likes of Motley Crue, Poison, Cinderella and the rest. But there is something deeper going on here in a few places such as on the track Love Nightmare the ghost of this bands hardcore past lifts is head to remind us that BBABH have a certain fire so many of the other 80's rock revivalists often lack.

Over this is a great record, highly listenable and is a worthy addition to the current crop of 80's revival albums that are around at the moment

Highly Recomended

For fans of.... Black Veil Brides, Halestorm, Ratt, Dear Superstar etc......

Dear Superstar - 'Damned Religion' (Blast Recordings) 4/5

Over the past few years Manchester outfit Dear Superstar have been making quite a name for themselves, with a brace of critically acclaimed long players under their belts and an impressive series of gigs that has seen them sharing stages with the likes of Iron Maiden, Aerosmith, Bullet For My Valentine and Papa Roach, they have definitely been turning heads. Now we have 'the difficult third album' on our hands, will it help or hinder their attempt at musical world domination?

Well having lived with this one for a few days now, I can safely say I'm finding it very enjoyable. There are ten tracks on show here, everyone a nice tight and well realised package that blends modern Bullet For My Valentine / Avenged Sevenfold / Royal Republic style modern commercial hard rock sensibilities with a good healthy dose of old school hairy type Motley Crue / Ratt / Poison 80's metal. Over all the tracks on offer here are pretty good, even Tomorrow, a ballad that starts out and ends as a terrible cheese fest is saved some what by some nice heavier riffing in the bridge section in the middle. But that track aside this album is a bit of rocker, and anything that rocks is straight up my street. OK some tracks like Glitter Just Like Gold and Anthem To My Life are very commercial sounding with some extremely slick production, but as Black Veil Brides reminded us on their recent 'Set The World On Fire' opus, you can have something commercial and radio friendly, that still rocks like a bastard.

Highlights include riff heavy workout of Crystalized, the highly headbangable Damned Religion, the mean and moody Our City Sleeps and hard and heavy Turn To Dust. But to be honest this is a pretty strong album over all and marks Dear Superstars out as far more worthy contenders to the next big thing crown than some of their rivals such as The Famous Class and the like.

Worth checking out

For fans of.. Black Veil Brides, Avenged Sevenfold, Bullet For My Valentine, Motley Crue, Royal Republic....

Rose Funeral - 'Gates Of Punishment' (metalblade) 3.5/5

Sadly, these days Ohio death core outfit Rose Funeral are better known for an unfortunate and bizarre series of events from early 2010 that involved an internet flame war, a popular card game and a violent altercation between the band and concert goers, than they are for being musicians. This is a shame for incidents like that can haunt a band for the rest of their career and detract from the music they produce. Anyway 18 months or so on from said incident they have just issued their latest full length album on metal blade records.

Rose Funeral play death metal in the Behemoth, Cradle of Filth vein and they do it fairly well. There are 11 cuts on offer here, and they range in quality from the passable to the fairly noteworthy. There is nothing too out of the ordinary on this album. On the opening track, Legions of Ruination, you have the standard Black Sabbath cloned intro, all doomy and rain soaked sound effects, so beloved of death bands since the beginning of time, that rips into a relentlessly paced Behemoth style work out with death grunt vocals and the obligatory melodic shred guitar solo, which leads into the very similar sounding Grotesque Indulgence. 0/10 for originality, but I'll still give it a good 8/10 for delivery. Beyond The Entombed features are rather short and seemingly pointless piano intro before ripping into more standard deathcoreisms including the obligatory doom plod middle bit.

However it does get better. False Divine (which features a guest appearance from Morbid Angels Steve Divine) couples blindly fast sections that has a touch of the Napalm Deaths about them, with some machine gun vocal delivery with a Corpse Grinder style sludge middle section and a nice dark synth driven conclusion. Arise Infernal Existence has a middle section that heads off into Pallas / Pendragon progressive rock territory; and Malignant Amour (which features another guest vox-box, this time opera diva Kate Alexander) is a tasty cut that sounds like Within Temptation resurrected for a staring role in a George Romero movie.

For me though the stand out track is the closer Gates Of Punishment, a true epic that has touch of the early Slayers and classic Amon Amarth about it and an orchestral section that tips the hat towards Imperial Vengeance.

Now this album is in no way a classic and doesn't stand up to recent releases from the likes of Fornost Arnor, Fortune Favours The Brave and the aforementioned Imperial Vengence. But it aint to bad either. In the blurb that came with my promo copy the band say that they are looking at each new album they release as "a huge climb in sound from now on.", and if they can put the whole 'Uno-gate' saga behind them and consontrate on developing their sound they could, given time turn into an outfit of real note.


In short - A good album from a young band on their way up

For Fans of..  Behemoth, Cradle of Filth, Not Above Evil, Berserker... etc

House Of Lords - 'Big Money' (frontiers records) 2.5/5

OK, for those who don't know, a quick history lesson. Back in the 70's there was an American pomp rock outfit called Angel, rock gods in the US, virtual unknowns in Europe, They split in the early 80's and keys player Greg Guffria put his own outfit together under the name Guffria. Two albums later a certain Gene Simmonds decided to sign them to his own label and got them to change the name to House of Lords and brought in vocalist James Christian. From the late 80's til the early 90's they put out a string of three very high quality soft metal albums, made distinctive by Guffiras sharp and edgy synth work, Christians husky but sweet vocalisations and some first rate song writing. The band split in 1993, but since then there have been several reformations with numerous personnel changes.

Which brings us to the bands latest reincarnation and their latest studio release Big Money. Now right from the off you can tell there is something vital missing on this album. House of Lords was always Greg Guffiras band in all but name, it was his song writing and inspired synth playing that made them stand out from the crowd. And sadly Mr Guffira is not involved in this latest incarnation of the band. His replacement, Jeff Kent does a fair job, and on a couple of tracks, most noticeably the songs  Living In A Dream World and Run For Your Life, he does manage to keep the classic of spirit of House of Lords alive, these are two tracks that retain all the majesty and epic soundscapes that made House of Lords a stand out outfit.

But sadly two good songs do not a good album make. The rest of this opus is to be honest a big disappointment. The rest of the tracks are fairly limp hair metal headbangers meets light weight stadium rock anthems, that sound over all like a collection of Warrent b-sides; forgettable, uninspiring and to be honest not very good. Big Money, One Man Down, Hologram, Once Twice... all the rest is a catalogue of disappointment. However the real let down comes from the power ballad, The Next Time I Hold You, one of the most cliche soft-rock-love-song-by-numbers I've ever had the misfortune of hearing, a song that is so sickly it could possibly induce type 2 diabetes in the listener. And it's made all the worse by the fact it's coming from the band who recorded Remember My Name, one of the greatest rock ballads of all time.

Don't get me wrong, this album is well performed by talented musicians, but House Of Lords set themselves a very very high standard over those early albums and Big Money comes nowhere near to the standard the band themselves set.

For fans only

for fans of... Saga, Styx, Loverboy Warrent

Sebastian Bach - 'Kicking And Screaming' (frontiers records) 4/5

Those of you with long musical memories will recall that around the time Guns And Roses were breaking through with their remarkable Appetite For Destruction album there was another outfit also setting the world on fire. They were called Skid Row (not to be confused with the old Irish Blues rockers from the early 70's!!). Now to be honest I always preferred Skid Row to G'n'R, and when Axel and his crew were vanishing into clouds of drug abuse, internal disputes and  over blown self indulgence, Skid Row did bang out a series of really quite excellent hard rock albums. But they never got the deserved breaks and soon vanished off the radar. But now, lord knows how many years on we have this solo effort from Skid Row frontman Sebastian Bach to remind us that the spirit of Skid Row is still very much alive and kicking.

Ok as albums go Kicking and Screaming isn't perfect, but it aint bad either. There are plenty of good old balls out rockers on offer here, Dance On Your Grave, Caught In A Dream, Dirty Power and the like are all classic slices of headbangablity that do have echos of classic Slave to The Grind era Skid Row about them and even the inevitable hair metal power ballad Dream Forever comes over like sleaze fueled nostalgia trip rather than an cliched lighter waver. Then we have the albums stand out track As Long As I Got The Music, a number that shows the likes of Nickleback exactly how modern commercial rock tracks should be penned and performed.

It isn't all good news though, in a couple of places, most noticeably on the song I'm Alive Mr Bach is heading into Theory of A Wifebeater, sorry Deadman, territory (although thankfully without the thuggish sexist lyrics), but these moments are few, and more than compensated for by cuts like Live The Life and Lost In The Light.

Mr Bachs vocals are as fresh and infectious as they were on 18 And Life all those years ago and praise must also be heaped on his side kicks, guitarist Nick Sterling, and former Iced Earth drummist Bobby Jarzombek for helping to make Kicking And Screaming a very listenable and enjoyable album indeed.


Well worth a good listen

For fans of - Skid Row, Guns And Roses, Poison, Ratt, Faster Pussycat etc...