NIGHT RANGER "Somewhere In California"

(American Release)

(Japanese Release)

(c) 2011 Frontiers Records

1. Growin' Up In California
2. Lay It On Me
3. Bye Bye Baby (Not Tonight)
4. Follow Your Heart
5. Time Of Our Lives
6. No Time To Lose Ya
7. Live For Today
8. It's Not Over
9. End Of The Day
10. Rock N Roll Tonite
11. Say It With Love
12. L.A. No Name (Japanese Bonus Track)

DOWNLOAD ONLY Bonus Tracks

1. Dirty Deeds Done Dirt Cheap (AC/DC cover from iTunes)
2. Coming Of Age (Damn Yankees cover from Amazon)

Jack Blades--Bass, Lead & Backing Vocals
Kelly Keagy--Drums, Percussion, Lead & Backing Vocals
Brad Gillis--Lead & Rhythm guitars, Backing Vocals
Joel Hoekstra--Lead & Rhythm guitars, Backing Vocals
Eric Levy--Keyboards, Piano, Backing Vocals

Now, THIS is Night Ranger!  Forget those last couple of releases that found the band wandering around musical styles, sounding lost both musically and lyrically most of the time.  Heck, I was even starting to question whether Blades had lost some of his vocal skill as he just didn't sound right most of the the time on Neverland, Hole In The Sun or Seven.  Their live album, Rockin' In Shiyuba gave me hope, however, as the band sounded like they were having fun and were completely at home with their past hits, which, let's be honest, were all about fun lyrics, catchy hooks, Gillis' under-appreciated guitar prowess, and Blades and Keagy trading off on lead vocals.  1980's and early 1990's Night Ranger was FUN...late 90's and 2000's Night Ranger was BORING, tedious, and, well, not Night Ranger any longer.

Somewhere In California is FUN Night Ranger again!  This is the album that should have followed 1988's Man In Motion album or even 1987's The Big Life.  Opening track, "Growin' Up In California" is a catchy song to get things rolling, but it is nowhere near the best this album has to offer.  "Lay It On Me" finds Night Ranger, and especially Gillis, ripping through an uptempo rocker like they haven't done in years!  This is full-speed ahead hard rock with a scorching solo in the middle that brings to mind Blades "other band" Damn Yankees with its power and crunch.  The same can be said for "Follow Your Heart" which again has a Damn Yankees feel to it and showcases the best Gillis guitar antics since Dawn Patrol, in my opinion.  In fact, the last 1:30 of this song is practically nothing but a massive Gillis solo and it is fantastic to hear!

Of course, no Night Ranger album would be complete without a couple of big time ballads, and the band does not disappoint in this area, either.  While there is only one true ballad here, it is a big time effort.  "Time Of Our Lives" starts off as a piano-based ballad before the big, layered power chorus kicks in and the rest of the band crashes in on what would have been a major power ballad on rock radio in 1989.  This is a killer ballad and may be the follow-up to "Sister Christian" that I think the band was always looking for. 

From here through the rest of the album, it is nothing but adrenaline-charged rock that finds Night Ranger catching a full second-wind on their sound, as this is pure 1980's hard rock with some modern production to really bring out the sound.  "No Time To Lose You" sounds like it was ripped straight off an MTV playlist from about 1987, and "Live For Today", while a bit more mid-tempo, is a nicely polished track that really showcases Blades' vocals.  "Rock N Roll Tonite" has a similar feel to many of the band's biggest hits, particularly in the not-quite-sung-but-not-really-spoken vocal delivery.  You will know what I mean instantly upon hearing this song.  Keagy takes vocal duties over on "End Of The Day" which is a melodic rock track again worthy of anything the band has done in their storied past.   If you snag the Japanese import or find the bonus song for download somewhere, it is an all acoustic number that is just Gillis and his guitar and shows the exceptional talent that the former Ozzy guitarist possesses.  

So far, this is a summer of incredible comebacks, especially where Frontiers Records is concerned.  For me, it is very difficult to rank Night Ranger with anything other than a 10, as I feel this disc is every bit as good, if not slightly better, than Journey's comeback.  This is simply a must have for not only Night Ranger fans, but for fans of the 1980's hard rock scene.  An incredible return that I do not forsee worming its way out of rotation anytime soon for me!

UPDATED 7/11/2011:

As if the Japanese bonus track was not enough, Night Ranger, in a slick marketing move, has made two more bonus tracks available via download only.  If you go to iTunes, you can download the band's cover of AC/DC's "Dirty Deeds (Done Dirt Cheap)", while Amazon has a new version of Damn Yankees' "Coming Of Age" featuring none other than Uncle Ted Nugent! 

The AC/DC cover is solid, if not overwhelming, as it stays pretty true to the original version.  It is interesting to hear Night Ranger use vocals that are as gritty as these, however, and it is performed very well musically.  Worth paying for the download?  As a Night Ranger completist, I say yes.  I think AC/DC fans might also agree.  For those simply wanting the basic album, however, I don't think it's worth buying independently, as it is a song that we have heard many other bands attempt. 

The new version of "Coming Of Age" is smoking, extended (nearly 8 minutes long), and particularly interesting for a couple of reasons.  First, the solo in the middle has been COMPLETELY reworked and is now something akin to the stuff he did in his "Stranglehold" style, and it makes for a very interesting update.  The second reason for the interest here is, obviously, one has to wonder if a new Damn Yankees record could be being hinted at here.  If you can only afford one additional download, or if you only want the best one, this is definitely the one to get!  Absolutely fantastic to hear this dusted off and reworked.

Rating:  A nearly flawless 10!

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FIONA "Heart Like A Gun"

(c) 1989 Atlantic Records

1. Little Jeannie (Got The Look of Love)
2. Everything You Do (You're Sexing Me)
3. Where The Cowboys Go
4. Mariel
5. Draw The Line
6. Here It Comes Again
7. Bringing In The Beast
8. Victoria Cross
9. Look At Me Now
10. When Pink Turns To Blue

Fiona (Flanagan)--Vocals

Brad Gillis--Guitar

Rod Morgenstein--Drums

Kip Winger--Bass

Additional Musicians (partial listing)

David-Glen Eisely

Nate Winger

Dweezil Zappa

Beau Hill

While this album contains her biggest hit and was easily the best-selling release of her career, a lot of people do not realize that this is actually Fiona's third studio disc and fourth disc overall.  Even more people probably do not realize that Fiona had already starred in a movie (Bob Dylan's awful Hearts Of Fire) by the time this album came out.  And still fewer likely realize that her "band" for the album included Brad Gillis of Night Ranger, Kip Winger and Rod Morgenstein of Winger, Kip's brother, Nate, and plenty of other big names such as Dweezil Zappa and David-Glen Eisley.  How did a relative unknown manage to pull this off?  Simple...you marry one of the most powerful producers in the business...in this case, Beau Hill.  (Interestingly, she would later be in a relationship with a guitar player Reb Beach, also of Winger....).

On Heart Like A Gun, Fiona stepped up her sound a little, moving slightly past the more Benatar-ish sound she had on her first two albums, and giving at least a half-hearted shot at the hair metal sound that was burning up the charts in 1989.   There is still nothing even remotely "heavy" on this album, and even when she is attempting to rock she can't seem to pass up the opportunity to slip in some bubbleum pop, a la Debbie Gibson or Tiffany, into the guitar-driven pop-rock she and her band have crafted here.  For example, "Little Jeannie (Got The Look Of Love)" and "Where The Cowboys Go" both have potential to be nice rockers but for some reason Fiona or Beau or someone thought, "hey, you know that "I Think We're Alone Now" song...let's do that!" and they put in a sickeningly saccharine dance beat that should have Gillis, Winger, and Morgenstein ashamed to even have their names listed in the credits!  Her voice wants to rock, it sounds like, but it just never happens.  I have no clue how Headbanger's Ball aired "Everything You Do (You're Sexing Me)", her duet with Kip Winger, because there ain't NOTHIN' head-banging about it!  It's catchy, sure, and she has pin-up good looks, but so did Samantha Fox and she rocked FAR HARDER than this song does. 

I don't like doing reviews that are pretty much all negative, but I truly have a hard time finding much good to say about this record.  I think Fiona had a considerable amount of vocal talent, and the musicians assembled here should have been able to crank out one heck of a hard rock record.  Methinks it was likely her husband (at least I think they were married at the time...) that decided to try to kill to musical birds with one stone, mixing hard-rock and mall-pop, but it just doesn't work, at least for me.  This album has been reissued at least one time, with Wounded Bird Records putting it out a couple of years ago but there is no new material on it that I am aware of. 

Speaking of new material, Fiona announced on her official website, FionaRock.com that she will have new music out in 2011...if you actually want to hear it.  I would say I am hopeful because James Christian of House Of Lords is producing it...but I was hopeful when I bought the Heart Like A Gun record, also.

Rating:  Turn this one down to 4...and make sure your house is sound-proofed so no one knows you secretly still like "Everything You Do (You're Sexing Me)"!  

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CHRISSY STEELE "Love You 'Til It Hurts"

(c) 1991 Chrysalis Records

1. Love You 'Til It Hurts
2. Try Me
3. Armed And Dangerous
4. Loved Don't Last Forever

Chrissy Steele--Vocals

Brian "Too Loud" MacLeod--Guitar, Programming, Vocals

Pat Stewart--Drums

This little EP/maxi-single was actually a promo release designed to gain some airplay in advace of Chrissy's full-length debut album, Magnet To Steele.  Attempting to cash in on the mini-wave of female hair metal acts that were hitting the airwaves at the time, this promo (and the album itself) are actually the brainchild or Brian MacLeod who is possibly better known for his work with the Canadian act Darby Mills and the Headpins.  I say possibly because I am guessing you have never heard of this act, either.  I have read in a couple of places that this was actually going to be a Headpins release but the band broke up, and then MacLeod got sick and was unable to tour, so he took Steele, who had fronted a couple of Headpins tours, and put her vocals to his music, packaged it as a Steele solo effort and voila, here you go!  

I traded off the full-length album a few years ago and kept this EP/maxi-single for a couple of reasons.  One, these promos are much harder to find and are generally more collectible and worth more money should I ever decide to part with it.  Two...well, to be honest, all but two of the good songs from that album are on this EP anyway including both songs that were released as singles.

Chrissy Steele is not shockingly different from most of the women trying to make it in metal in the late 80's and early 90's.  I have heard her compared to Lita Ford, which is a bit of a stretch, but I guess I can see where people are aiming.  Lee Aaron is another comparison I have heard/read, and again, it's a stretch but one I can understand.  Steele never rocks as hard as Aaron does, and she is actually a better singer than Ford ever was, so I am not overly sure how to classify her sound.  If you are familiar with Femme Fatale, I would say Chrissy's sound is more akin to their front lady, Lorraine Lewis.

"Love You 'Til It Hurts" was the lead single from the album and featured Mark Slaughter on backing vocals.  This uptempo rocker has a catchy hook and showcases some pretty smooth guitar work from MacLeod. "Try Me" is more mid-tempo but has a pretty heavy bottom end and showcases Steele getting a bit more gritty with her vocals.  "Armed And Dangerous" is another mid-tempo rocker that is probably the best song on the EP or the album and was co-written by Jeff Paris.  EP closer, "Love Don't Last Forever" was also released as a video and single and was a very good ballad and a perfect representation of the chick-fronted sound that a lot of labels were looking for when looking for another Vixen.  A bit too sugary for my taste, this is still a solid song that reminds me a lot of the stuff Heart was putting out around this time, such as "What About Love", and showcases the high end of Steele's vocal range very nicely.  I am somewhat surprised this song didn't do better than it did, but of course hair metal was starting to die off by the time this song was released in 1992.

Overall, I think Steele was yet another victim of radio's upcoming love affair with Nirvana and Company and she really stood little chance of breaking through on her own.  This is a solid-but not outstanding-effort that I think a lot of Heart and Vixen fans would enjoy.  I believe this is the only album Steele ever released, which makes this promo all the more rare.  Snag it if you find it...you will probably like what you hear and may even have a nice trade piece on your hands.

Rating:  Rock this EP at a 6.5; the whole album would rate a 5.5 for me.
   

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GINGER ROXX "Caught In The Act"

(c) 2008 Retrospect Records

1. Can't Keep Her Down
2. Lady In Waiting
3. Nothin' Lasts Forever
4. Rescue Me
5. Ginger Roxx
6. On The Loose
7. At The Mercy Of A Woman
8. Thrills To Kill
9. Baby Jane

Ray Rikkter--Voices

Richie Rich--Lead Guitar, Vocals

Tony "TA" Romano--Guitar, Vocals

T.K. Foxx--Cannons (drums), Vocals

Matija T. Rose--Vass, Vocals

Some things get better with age, some don't.  Ginger Roxx didn't...not at all.  Originally released in 1989, this album should have stayed there, because it is not good.   There is very little redeeming about this release except it A) preserves a piece of musical history that would have been forgotten otherwise and B) shows that not every band that had the "look" of the LA Strip had the talent to take it to the next level. 

The songs here are very bland with no real hooks or catchy choruses.  The vocals vary from boring to off-key at times, and other than the decent leads and a few catchy rhythms, there is nothing memorable about this album.  The mix is very bad with the guitars buried behind the the overworked bass and the SOME of the drums (you can barely hear the cymbals on some songs...).  If I had to pick a stand-out song or two, I guess the ballad "Rescue Me" isn't TERRIBLE, and "On The Loose" is an uptempo rocker that had potential if the band had a different vocalist and the production wasn't so terrible.  Even on these songs, however, the lyrical cliches are ridiculous and show no depth or originality at all.  It is almost as if the band was simply looking for rhyming words to put together just to complete a song around whatever they thought a clever title would be for a song. 

One of the most surprising things about this release, for me, is the fact that Retrospect put virtually no effort into it.  The insert is a single sheet with no extras at all.  There is no history of the band, no new photos, no shots of flyers or gigs or anything.  There aren't even any lyrics, live tracks, or bonus songs on this CD.  To top it all off, this CD sounds like it was burned straight from a cassette that the band likely recorded on about a $1000 budget, as the sound is very muffled, very basement quality, and doesn't sound like it was properly mixed originally, and was certainly not remixed or remastered for this release.  This is a VERY disappointing release that, had it been the very first Retrospect release I had bought, would have definitely had me questioning whether to buy one of their other reissues.  Luckily this is definitely the exception and not the rule, as Retrospective releases tend to be some of the best reissues available and of generally high quality.

Rating:  Turn this off!  3 is the best I can do for this, and that may be generous...

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TATTOO RODEO "Skin N' Bones"/"Skin"

(c) 1994 Black Horse Records

1. Too Daze Gone
2. Feels Like Love
3. Charity
4. Can't Keep My Woman Down
5. Chamber of Mary's Gun
6. Waiting For You
7. Blackened

(c) 1995 Mausoleum Records

1. Too Daze Gone
2. Feels Like Love
3. Chamber of Mary's Gun
4. Can't Keep My Woman Down
5. Charity
6. Train
7. Sure Enough
8. Waiting For You
9. Blackened

Dennis Churchill-Dries--Lead Vocals

Rick Chadock--Guitars

Richard Wright--Drums

Michael Lord--Hammond B-3, Piano, Mellotron

Robert Berg--Bass

If the above names look familiar to you at all, it is quite possible that you are (or at one time were) a fan of White Sister, as Churchill-Dries, Chadock, and Wright were all members of that band before adding Lord to the fold and then changing their name to Tattoo Rodeo.  Churchill-Dries gave up bass duties following the band's debut album, Rode Hard And Put Away Wet, and Berg was then recruited.  Got all that?  No?  Doesn't really matter...not very many people remember White Sister OR Tattoo Rodeo, for that matter, which is a shame.  To me, Tattoo Rodeo was every bit as good as bands like Tora Tora or Sweet F.A. that took their bluesy, southern hard rock sound and mixed in just enough metal, and a pinch of country, to make things interesting. 

I really don't know why Tattoo Rodeo didn't sell better than they did, as they had a major label deal for their first album, released a couple of singles, and even had a video on MTV.  Why some things work and some don't is a mystery to anyone, I guess.  Regardless, Tattoo Rodeo lost their contract and found themselves with two options:  hang it up or go it on their own.  To their credit, they took the hard road and in 1994 released an independent record called Skin N' Bones.  That album caught the attention of the folks at Mausoleum Records who repackaged the album with new artwork, a couple of additional songs, and a new tracklisting, and re-released it as simply Skin.  

While not quite as good as their debut album, the follow-up is still exactly what you would expect from Tattoo Rodeo.  "Chamber Of Mary's Gun" and "Too Daze Gone" both sound like they could have come from that first album, and are excellent mid-tempo Southern hard rock far better than anything Jon Bon Jovi could ever dream of coming up with, no matter how good you may think the Young Guns II soundtrack is.  The soul and feel in the guitarwork on "Chamber..." is something that is missing from nearly all music today and cries out to be heard here.  Musically, "Feels Like Love" has a Zeppelin vibe to it with Chruchill-Dries topping the track with his blues-soaked souther drawl and is a really cool number, which is odd considering my general dislike for all things Zep.  "Blackened" is a great ballad of pain and betrayal that is worth the price of admission all by itself.  "Can't Keep My Woman Down" doesn't do much for me, to be honest, nor does "Charity", although neither is a terrible song...just album filler material.


The two tracks added to the Mausoleum version are both worthy additions.  "Train" is a very good song, in my opinion, one of the better tracks of the overall package.  This uptempo rocker is the only one written with outside assistance and features some nice harmonica work on it.  "Sure Enough" is a bluesy, smokey ballad that falls into territory dang close to "She Talks To Angels" by the Black Crowes. 

Again, I prefer the excellent debut record to either version of this album...but not by much.  This/these are very solid efforts, especially considering their independent nature, and the performances are top notch on both versions.  It is truly a shame that a band like Tattoo Rodeo faded into obscurity while some others...I won't mention names...became top of the charts residents no matter what kind of cookie cutter schlock they put out.  Do yourself a favor and track down Skin (Skin N' Bones is virtually impossible to find at a price below $30 or so...) and treat yourself to some truly quality hard southern blues rock. 

Rating:  Crank Skin N' Bones to 7 and Skin to 7.5 because of the great extra songs!

FIREHOUSE "Hold Your Fire"

(c) 1992 Epic Records

1. Reach For The Sky
2. Rock You Tonight
3. Sleeping With You
4. You're Too Bad
5. When I Look Into Your Eyes
6. Get In Touch
7. Hold Your Fire
8. The Meaning Of Love
9. Talk Of The Town
10. Life In The Real World
11. Mama Didn't Raise No Fool
12. Hold The Dream

CJ Snare--Vocals, Keyboards

Bill Leverty--Guitars, Backing Vocals

Perry Richardson--Bass, Backing Vocals

Michael Foster--Drums, Backing Vocals

Hold Your Fire is one of the very last hair metal albums to have any true impact, as grunge was already starting to make itself felt by the time this album really got things rolling.  In fact, at the 1992 American Music Awards, Firehouse beat out Nirvana and Alice In Chains for best new hard rock band.  Something of a last hurrah for the hair metal scene, to be sure.

These North Carolina boys had already made some noise with their debut, self-titled album, but I have always preferred this album, their second, as it is cosiderably heavier in places while still maintaining the cathcy, pop-oriented hooks that drove the first album to multi-platimum status.  Nowhere is this more evident than on the smoking album opener and lead single "Reach For The Sky", follow-up track, "Rock You Tonight", and the title cut "Hold Your Fire".  While the band will never be mistaken for Megadeth or Metallica, they certainly show that despite their pretty boy looks with massive hair, leather jackets and cowboy boots, they can rock out with the best of the hair genre.  "Life In The Real World" is another rocker that, while not quite as punchy as the others mentioned here, definitely leans more toward the hard rocking side than many of the other slickly produced, radio-friendly up-temp numbers here. 

The sassy "Sleeping With You", the third single released from this album, was more in-line with the first album, featuring a more pop-flavored hook but still infused with plenty of guitar and pulse-pounding drums to keep the hard rock fans satisfied.  "Mama Didn't Raise No Fool" has a boogie feel to the hook which even the most devoted rocker will likely find themselves tapping their foot to.  "Get In Touch" follows a similar formula, as does the cutesy "You're Too Bad (For Your Own Damn Good)", both of which employ a snappy hook, a short but sweet solo, and Snare's vocal antics to their maximum value.   Again, these are not bad songs by any stretch, and they certainly packed more punch than some of the hyper-watered-down clone rock that had stagnated radio by this point, kicking open the door for the harder, darker grunge that would soon consume the airwaves.

Of course, Firehouse is probably best known for their big power ballads, and this album features a couple.  Chief among the ballads here is, of course, the Top 10 hit, "When I Look Into Your Eyes", but album closer, "Hold The Dream" is actually my favorite the band has done, featuring CJ's distinct, soaring voice, layered vocals on the chorus, a little bass fill about halfway through, and both acoustic and electric guitars throughout.  I think that the fact that this song sneaks past the 5 minute mark is what kept it from being released as a single as well. 

Firehouse is a band that simply got caught up in a storm that even their massive popularity couldn't weather here in the United States.  Despite being the last hair metal act to chart in the Top 20 without changing their sound ("I Live My Life For You" from 3 reached Billboard #20), the band opted out of their record deal in America and signed with a Japanese label.  As such, they continued to record and tour, primarily in Asia and specifically in Japan where they maintained a large following and recorded their live album.  Through it all, Firehouse has remained Firehouse, and this remains their hardest hitting, if not top-selling album.

Rating:  Crank this to 9 and wonder what might have been if not for grunge....   

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VAMP LE STAT "Bloodline"

(c) 2010 XXX Records  

1. Madame Blue
2. Swing Child
3. Bitch
4. She's Not In Love Anymore
5. Guns 4 Hire
6. Chain Around My Heart
7. Madame Blue (studio reference mix)
8. Swing Child (studio reference mix)
9. She's Not In Love Anymore (studio reference mix)
10. Guns 4 Hire (studio reference mix)
11. Chain Around My Heart (studio reference mix)

Jimmy Tuttle--Lead Vocals, Guitar

Jeff Jones--Lead Guitars, Vocals

Brian Boozer--Bass, Keyboards, Vocals

Bret Blackburn--Drums

Back in 1991, Vamp Le Stat was formed in Sacramento, CA when Jeff Jones, formerly of St. Elmo's Fire, joined up with Tuttle, Boozer, and Blackburn.  The quartet took an odd approach to their music as they refused to do live performances, instead choosing to hole up and do nothing but write and rehearse in a warehouse they called the "Batcave".  By 1993 they had enough material to complete their first album, Bloodline, which became something of an underground cult classic, as only 2,000 copies were pressed.  I had been looking for a copy for quite some time as I had been a fan of St. Elmo's Fire and had managed to score a pretty crappy CD-R bootleg that sounded like a copy of a copy of a copy.  However, they either sold for a LOT of money on eBay (saw one go for $127 once), or the copies I found were, once again, just copies. 

Fast forward to 2010 when Jeff Jones formed his own label, XXX Records, and managed to fully secure the rights to all of the Vamp Le Stat material.   He then remixed, remastered, and repackaged this limited edition release which contains the original 6 tracks as well as 5 "studio reference mixes", as well as some rare photos of the band. 

For those who have never had the chance to hear Vamp Le Stat before, I would describe their sound as "horror hair", I guess, although I don't think that really does this band or this conceptual album justice.  The methodical, chugging opening track, complete with some very "Dracula"-inspired keyboards and a Keifer Sutherland monologue from The Lost Boys, sets the story of Madame Blue, a vampire-turned-stripper whose real name is Suzie.  "Swing Child" has an acoustic guitar thread running throughout it, giving it a feel not all that far removed from some of Jon Bon Jovi's Young Guns II material, but heavier.  "Bitch" is easily the heaviest and angriest tune on the album and features a group shouted chorus and a scorching solo from Jones. 

The next two tracks are my favorites on this album, with the big-time ballad "She's Not In Love Anymore" starting off with the gentle roll of thunder, an acoustic guitar, and a piano before kicking in with the drums and another big guitar solo from Jones.  This song has a very catchy chorus to it and is on par with (or above) most anything released on those "Monster Ballad" releases of the past few years.  "Guns 4 Hire" picks things back up full-speed ahead as Blackburn opens the albums's fastest number with a nice machine-gun-fire quick drum intro with Tuttle's snarling vocals and Jones' guitars kicking things up yet another notch.  Album closer, "Chain Around My Heart" is a moody-feeling song, again featuring some almost gothic-sounding piano over some synthesized strings for the first 90 seconds or so, which are then buried by an onslaught of thick guitar chords and pounding drums with Tuttle in full-Vince Neil vocal mode on this track.  Another solid, solid tune that rounds out (for now...hint, hint) the story of Madame Blue/Suzie.             

The last five tracks here are the "studio reference mixes" of all the previous tracks with the exception of "Bitch".  "Madame Blue" is missing the keyboard-and-movie intro, but is otherwise much the same other than the mix.  In fact, the only notable difference between the first six tracks and these last five "studio reference mixes" is just that...the mix.  I honestly could have lived without these tracks, as I prefer the fully mixed, fully produced versions, but they are not major distractions or anything, and were likely added to get the disc to that magic ten-track number that so many people seem to demand they get when they buy an album.

As I have mentioned, lead vocalist Tuttle sounds at times like Vince Neil, at other times like Bret Michaels, and even occasionally like Sebastian Bach, but it is a combination that works very well throughout the album.  Jones is the primary songwriter here, but its his guitar work that is of particular note as it shows more depth than a lot of material put out by Vamp Le Stat's contemporaries, especially since so many bands had decided to catch the grunge wave that was ripping through the nation.  Heavy and melodic at the same time, Jones' talents are on display throughout the album, although his sound is more bluesy/hair metal-styled than the typically classic metal sound he delivered with St. Elmo's Fire.  Boozer and Blackburn are a more than competent rhythm section for the band, and the overall sound is very clean and tight and the production is top-notch, especially considering the indie nature of the release.  I truly feel that had this band been able to release this album a couple of years earlier, Vamp Le Stat would likely have been pounced on by a major label.     

I am very glad I was finally able to score a proper sounding version of this album because it is truly a lost gem.  I do wish this was in a jewel case, as we all know about my complete disdain of digipacks and slip-cases, but the music is what I was after here, and that is what counts.  For those who want to hear what they are missing, check out the videos posted HERE.  Otherwise, just get over to the XXX store and order this great release!

Rating:  Crank this one to a long-awaited 8.5!

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GUARDIAN "Fire And Love"

(c) 1990 Pakaderm Records, Word/Epic

1. Power Of Love
2. Send A Message
3. Time Stands Still
4. Forever And A Day
5. Takin' On The World
6. Fire And Love
7. Turnaround
8. Time And Time Again
9. The Rain
10. Never Say Goodbye

Jamie Rowe--Lead Vocals

Tony Palacios--Lead Guitar, background vocals

David Bach--Bass, background vocals

Karl Ney--Drums, background vocals

While I realize that no band will ever top Stryper in the minds of fans as far as who the biggest of the Christian hair metal acts was.  But if Stryper is number one, it would be hard to put anyone above Guardian for the number two slot.  It would be even harder to find another Christian band from that era that had more potential for radio crossover than Guardian...or an album more equal to that task than Fire And Love.  Yet, as with so many great bands and great albums from that era, things just didn't work out like they should have.

Guardian had already been around for a few years prior to this record.  However, following a change in lead vocalists which saw Rowe leave his previous band, Tempest, Guardian exploded with what I consider to be one of the top Christian hair metal albums of all time, if not the best.  From the very first note it is obvious this is a different, more powerful band with far more mainstream appeal in sound than the band had been with Paul Cawley behind the microphone.  Add in the slick, stylistic production skills of John and Dino Elefante, and this album just pulses with energy and charisma that is not found on other Christian releases of the time.

Do not mistake the crossover potential of this album for a lack of faith-based lyrics or generic, watered-down messages.  That is not the case.  Guardian were never "Bible-thumpers" in their music, but they also do not shy away from mentions of God, Christ, Heaven, or other Biblical themes; they merely incorporate those themes into lyrics that do not intimidate the listener or give them a feeling of "turn or burn", much the same as Stryper manages to do on their albums.

Standout tracks from this excellent release include the title cut, which includes a rocking chorus complete with a layered, almost church-choir background vocal sound, albeit done in a very rocking fashion, the rocking "Time And Time Again", and big-time ballads "Time Stands Still" and "Never Say Goodbye", either of which could have found their way onto MTV or rock radio at the time. 

Lead guitar player Palacios is incredibly gifted and as equally underrated as far as his skills go, probably because the talent of so many non-Stryper Christian bands went largely unnoticed at this time.  Rowe reportedly auditioned for/was offered the lead vocalist slot in Ratt once Stephen Pearcey left the band, but I am not 100% sure how that story shakes out, although I think he would have done a solid, if not clone-like job fronting that legendary band.  Jamie's raspy, bluesy delivery style is one of the high points of the Guardian sound for me, and even on later, less melodic/hair metal releases, it is still the one thing that pulls me back to what I consider sub-par material.  The rhythm section of Ney and Bach is every bit up to the task on these tracks, providing a solid backbone for the rest of the Fire And Love beast to be built upon. 

This is just an excellent, well-executed, well-written album full of huge guitar hooks, bluesy-yet-pop metal riffs, and powerful vocals.  There is very little, if anything, to dislike about this album, and it is one that I always recommend to my friends or to people who contact me looking for "some great hair metal I haven't already heard".  That statement alone is a sad one, as there is no reason that people have not already heard Guardian and especially this album and the one that would follow, Miracle Mile.

Rating:  Crank this to 9!

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TUFF "The History Of Tuff"

(c) 2001 RLS Records

1. American Hair Band (radio edit)
2. Not Telling The Truth
3. Don't Complain
4. American Man
5. I Won't Give Up
6. So Many Seasons
7. Who The Hell Am I?
8. Another Man's Gun
9. A Place Where Love Can't Go
10. People They Change
11. Good Guys Wear Black
12. Sinner Street
13. Summertime Goodbye
14. American Hair Band (slang edit)

Stevie Rachelle--Lead Vocals
Darrell Roberts--Guitars
Brian Saunders--Bass
Tony Eckholm--Drums

Additional Musicians:
Jorge DeSaint--Guitars on 6, 9, 11, 12, 13
Gilby Clarke--Guitars on 3 & 4
Nick Nolan--Guitars on 2
Mark Ricciardi--Guitars on 2
Randy Cantor--Guitars and bass on 8
Todd Chase--Bass on 6, 9, 11, 12, 13
Michael Lean--Drums on 6, 9, 11, 12, 13
Michael Raphael--Bass on 5, 7, and 10; keyboards and percussion on 5 & 7
Brian Burwells--Drums on 1, 7, & 14

Tuff is one of the few hair metal bands that refused to lower their flag while grunge was running rampant through the 1990's, so you have to excuse Stevie Rachelle and his pals if they relish in the destruction of that genre with the HUGE satelite radio hit "American Hair Band" on this compilation album.  In case you have somehow missed this song, Stevie incorporates pretty much every major (and some minor) hair metal band into the anti-grunge lyrics he sings/shouts over the main riff of Metallica's "Sad But True".  The very first time I heard it I actually started laughing because it is just so dang catchy...and so dang TRUE!  With an opening stanza that goes:

"Kurt Cobain is gone but I'm back,
Wearing leather pants and a backwards hat
Guitars slung low, where the Down Boys go
The Night Train's back, so on with the show!"

...what's not to love?!  It just continues from there with references to Twisted Sister, Skid Row, Motley Crue, Pretty Boy Floyd, Van Halen, Hanoi Rocks, Guns N Roses, White Lion, LA Guns, Sleeze Beez, and so many more.  Simply awesome!  There are two versions included here, with a radio edit to take out some of the less-friendly language, and the slang edit where Stevie unloads both barrels on his grunge targets.

The rest of the album is made up of songs taken from previous Tuff releases.  Featured here are a couple of tracks which feature former Gunner Gilby Clarke on guitars, including a cover of "American Man" written by Gene Simmons, Jamie St. James, and Tommy Thayer.  As is true with all of Tuff's releases, both major label and independent, the strongest material is the uptempo, rocking material, and there is plenty of that here.  The best of the bunch, in my opinion, is also the oldest material, with "Good Guys Wear Black" from their 1991 debut album being one of my favorite Tuff tracks ever.  "Another Man's Gun" is a very solid tune , as is "Sinner Street" which was written in 1989.  The same can be said for "Summertime Goodbye", which was originally recorded in 1988.

Also found on this disc are a couple of tracks from Stevie's solo album, Who The Hell Am I?  For me, the most interesting inclusion here is Stevie's piano-based acoustic version of "So Many Seasons", which was originally performed by Tuff on their debut disc in a much more hard rock, power ballad form.  "I Won't Give Up", while being more of a mid-tempo number, is a nice inclusion that many fans may not have heard previously, as Stevie's solo disc is not overly available.

Stevie's voice is not one that I have ever been fond of on really slow ballads, and there are a couple included here.  "Who The Hell Am I?" is an example of a song that has just never worked for me, as Stevie seems to struggle a bit, especially on the first verse, with keeping his voice in tune.  Again, my favorites of the slow numbers would also be the older material, with "A Place Where Love Can't Go" being the best one here, as it is a big, power ballad with a really nice hook; this would have been all over radio had it not originally been released in 1992 or 1993. 

All this being said, this album is all about the new single that was included, and that alone is worth the price of the disc.  This does serve as a good introduction to the band for people who may not have heard of Tuff previously, and if it induces people to track down the older, out of print material, that is just a bonus. 

Ratig:  It's always Tuff (sorry, I couldn't resist) to rate "best of" compilations, but "American Hair Band" alone makes this a crank-worthy album!  Crank it at 7.5 and blast the new song while enjoying some of the old as well...

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VIETCONG PORNSURFERS "Restless, Young, Hungry and Free"

(C) 2011 Street Symphonies Records

1. The Flat Is On Fire
2. On Your Own (But Not Alone)
3. Give It All
4. Come Back
5. Getaway Boy
6. Don't Need Your Lies
7. A Song For Jonas
8. Let Me In
9. Cun*s Don't Play Guitar (demo)
10. Spanish Rose (demo)

Tom K--Lead Vocals, Guitars
Teddy--Lead Guitars
W. Affe--Bass
Rackarn--Drums

Just when you thought it was safe to listen to glam and sleaze again, along comes a band like the Vietcong Pornsurfers.  Yes, you read the name right...the Vietcong Pornsurfers...and their sound is every bit as scummy and sleazy as their name!

Yet another entry in the Swedish glam/sleaze scene, this punk-sleaze outfit has made the rounds in Europe, touring with the Babylon Bombs, Vains of Jenna, and Sister Sin, and, according to their press release, were "threatened with death if they didn't play more encores" on at least one occasion.  I don't know about that but I could see where these guys could easily end up in a location that might threaten them with death, as these guys play some absolutely fast and furious punked-up-sleaze that is not likely to attract the nicest, cleanest-cut audience in the world.

VCPS, as they are often referred to, start off their debut release at full speed with "The Flag Is On Fire" and they never, ever let up off the accelerator!  There are no ballads...heck, no mid-tempo numbers, either...just pure, raw, balls-to-the-wall adrenaline blasting out of the speakers.  Lead vocalist Tom sounds like a combination of Motorhead's Lemmy and Zodiac Mindwarp as far as his delivery and sound are concerned, and for much of the album the band plays a style that is not all that far removed from the fastest stuff Motorhead has put forth, but with a much sleazier approach to the guitars and production.  Favorite tracks "Getaway Boy" and "Don't Need Your Lies" both feature some furious rhythms and ripping, if short solos, that will leave the listener's ears bleeding if cranked to a substantial level.  "A Song For Jonas" takes a bit of a more radio-friendly approach, and while still an uptempo rocker, it is a bit less abrasive than the rest of the ablum and features some nice fretwork from Teddy and Tom.  Wanting to make sure the listner doesn't think they have gone soft, however, VCPS crank things right back up again on the last album track, as "Let Me In" revs the speed back up and the shouted chorus grinds its way into your head.

Two demo tracks are included on this release, which gives the listener ten full songs for the price of admission.  That being said, "Cun*s Don't Play Guitar" definitely has a more raw, less refined sound to it and I am pretty sure the band is attempting to see how many swear words and filthy terms they can slip into one three-and-a-half minute punk song!  This is definitely more punk than sleaze and is easily the weakest track on the disc, at least for me, although it gives the listener an idea of where the band came from and what they are likely to hear in a live setting.  Likewise, "Spanish Rose" really doesn't fit the feel of the rest of the album as the production quality is significantly different and the sound doesn't have that gritty, sleazy feel the rest of the disc does.  Once again we have a quirky punk song, this time featuring an almost distrubingly-clean guitar tone on the lead parts (think Sublime-quality tuning....very weird).

The Vietcong Pornsurfers are NOT for the faint of heart, as they are unabashed punk oozing out of your speakers on a thick layer of sewer slime, putting out one of the truly sleaziest albums of 2011...so far!  If break-neck speed, shouted choruses, filthy language, scorching lead guitars, pulsating bass, and beat-to-death drums are not your thing, VCPS is not for you.  However, if you have the courage to give Restless, Young, Hungry and Free a listen, the gutterpunk in you is likely to sneer a bit, give the stereo the finger, and then crank the music even louder!

Rating:  Crank this one to a downright filthy 8.5!

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GORKY PARK "2: Moscow Calling"

(c) 1993 BMG International

1. Moscow Calling
2. All Roads
3. Politics Of Love
4. Tomorrow
5. Stranger
6. Volga Boatman
7. Strike
8. Welcome to the Gorky Park
9. Two Candles
10. I'm Going Down
11. City of Pain
12. Don't Pull The Trigger
13. Tell Me Why

Alexey Belov--Guitar
Alexander "Big Sasha" Minkov--Lead Vocals, Bass
Yan Yanenkov--Guitar
Alexander Lvov--Drums

In 1989, MTV aired a video called "Bang" by the first Russian band to gain airplay on the video network.  That band was Gorky Park.  "Discovered" by Frank Zappa and assisted in coming to America by Jon Bon Jovi and Richie Sambora, Gorky Park used their novelty status to gain Top 100 status for their debut album (it peaked at #80 according to Billboard) and a position on the Moscow Peace Festival bill alongside State-side hair metal heroes Bon Jovi, Cinderella, Skid Row, and  Motley Crue, to name a few.  Gorky Park appeared positioned to make a relatively big splash in the United States music scene...and then grunge happened.  Of course, we all know what happened to nearly every hair, glam, and sleaze act of that era, and Gorky Park was swept under just like all the rest.

Unlike many of their contemporaries, however, Gorky Park didn't fold.  Instead, the band went home, changed lead singers (bass player Minkov took over for original singer Nikolai Noskov), and continued on doing what they did best...making catchy, poppy, hook-laden hair metal.  Perhaps a bit oddly, the band never reverted to recording in Russian, sticking instead to the English vocals and lyrics that had garnered them fame and fortune in the North American and European markets. 

In 1993, the revamped line-up released this album, 2: Moscow Calling, often simply referred to as Moscow Calling.  Right from the get-go, it is apparent this is a more aggressive, although still radio-friendly, Gorky Park.  Album opener and lead single, "Moscow Calling", starts off with a computerized telephone busy signal and some digitized "I'm sorry, but the number you are calling..." vocals, but then the gang-shouted "Moscow calling!" kicks in and the band launches into a very catchy track that shows off the band's new musical approach.  Rather than the Bon Jovi-styled sound they had on the first album, Gorky Park has adopted a more Def Leppard sounding approach, owing largely to Minkov's vocal similarities to Joe Elliott, and the band's somewhat heavier sound, although keyboards remain a large part of the band's sound on this second album.

"All Roads" is more of a middle-of-the-road rock number, showcasing the band's more bottom-heavy sound, and "Politics of Love" would be a dead-ringer for a Def Leppard track from the Hysteria album if the keyboards weren't quite so out front.

  "Tomorrow" slows things down a bit with an almost electronica sound, but it isn't until "Stranger" that we get into what would likely be considered power ballad territory that again has Minkov using a very Elliott-inspired delivery over a distinctly Leppard-ish track.  I'm somewhat surprised the band didn't try to release this as a single, but perhaps momentum had died off after the initial single failed to garner any major airplay in the grunge-heavy radio environment.

The instrumental track, "Volga Boatman" is very good and shows the band in a more metal-styled setting that leads directly into yet another Def Leppard inspired song, "Strike", complete with the layered vocals that Elliott and Company used so frequently on Hysteria.  Again, this song retains a bit of an electronica/synth-pop sound to it.  The rest of the album is similarly veined stuff, with "Don't Pull The Trigger" being a power ballad that likely would have been a big hit about five years earlier, and album closer "Tell Me Why" being an acoustic based number not wholly unlike what Extreme did with "Hole Hearted".

While not as commercially successful as their debut, this album did manage to go gold, selling more than 500,000 copies, and I think it is a far superior effort to the debut, which while decent with a few catchy songs was far too slickly produced.  This album is very difficult to come by, at least without picking up a bootleg (which I accidentally did) or the 2000 reissue.  I have seen the original 1993 version sell for nearly $250 on eBay, and Amazon had used copies selling for more than $50 when I last looked, so be prepared to shell out some money if you want the real deal here.  While I would NEVER tell you it is worth that kind of money, I would have no problems shelling out $20 or $25 for this disc due to both its improved quality and its collectibility.

Rating:  Crank this one to 7.

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STAGE DOLLS "Always"

(c) 2010 Sony Music

1. Always
2. Rainin' On A Sunny Day
3. Rollin'
4. Highway's Open
5. Eye Of My Heart
6. Better Off Pretty
7. Taillights
8. Saturday Night
9. Where The Blacktop Ends
10. My Strangest Friend

Torstein Flakne--Vocals & Guitar
Terje Storli--Bass
Morten Skogstad--Drums

Additional Musicians:
Ronny Wilmark--Keyboards

Perhaps because they hail from Norway, or more likely because they don't have an American distribution deal, very few people that I know have actually heard of the Stage Dolls despite the fact that they have released 7 studio albums, a live album, two compilations, and a solo album from lead singer Flakne.  That is unfortunate because the Stage Dolls are one of the few bands who, if you listen to them now, have not changed their sound significantly just to keep up with the times; the band that used to open for the likes of TNT in 1985 is still the same band that released Always in 2010.  The Stage Dolls know what brought them to the dance and they stick with it, even after more than 25 years of making music together (Flakne and Storli have been together since 1983...Skogstad joined in 1993). 

The Stage Dolls' sound has been described by many, including myself, as Bryan Adams meets Goo Goo Dolls and Bon Jovi, although some of their earliest material bordered on glam at times.  I know that sounds like an odd combination, but it really is fitting.  Never do they rock much harder than the hardest material from Goo Goo Dolls, with a lot of their stuff sounding very similar to Adams in terms of style and delivery.  The Bon Jovi comparison comes in on the band's ballads, as they do an excellent job of pouring emotion into their songs regardless of if they are going for a power ballad sound or more of a stripped down, sparse arrangement. 

The latest album from the Stage Dolls finds the band in fine form, doing what they do so well:  performing middle-of-the-road hard rock intermixed with a handful of ballads.  When they are rocking, such as on opener, "Always", "Better Off Pretty", "Saturday Night", or the bottom-heavy "Rollin'", the Stage Dolls are masters of the hook and catchy chorus mixture, with Flakne's smooth Adams-esque delivery perfectly suited to this material.  "Highway's Open" is another great track that finds the band steering itself into Def Leppard-ish territory and doing it better than Leppard has in years!  This is quite possibly my favorite track on the album, although, in all honesty, there are no bad tracks to be found on Always, especially through the first eight cuts.

The band takes a couple of quirky twists on the last two tracks of the disc.  "Where The Blacktop Ends" has a definite Mutt Lange-countrified sound to it, a la Lange's ex-wife, Shania Twain.  The song is an uptempo number, still firmly rocking along, but also incorporating a fiddle and a country-tuned guitar solo.  It's still a good song, but not something Stage Dolls fans are accustomed to hearing, and not something first time listeners should expect to hear on their older material.  I have a feeling the band was just looking for a fun song to incorporate some new ideas into, and it does work well.  Album closer, "My Strangest Friend", which is really a Flakne solo track, is just the singer and his guitar on an airy acoustic number that has something of a folksy feel to it.   

The Stage Dolls offer up a couple of ballads here, of course, with "Rainin' On A Sunny Day" being the strongest, although "Eye Of My Heart" is a nice song, also.

If this is your first exposure to the band, understand that this is not their "heaviest" album by any stretch, but it is representative of where about 60% of their catalog lies.  That being said, there are some excellent tracks here that work very well and serve as a great introduction to new fans.  My guess is that most older fans, myself included, are very happy to hear the Stage Dolls doing what they do so well, with Flakne and Company still in fine form vocally and musically.

Rating:  Crank this to 7.5.

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GREAT WHITE "Rising"

(c) 2009 Frontiers Records

1. Situation
2. All or Nothin'
3. I Don't Mind
4. Shine
5. Loveless
6. Is It Enough
7. Last Chance
8. Danger Zone
9. Down On The Level
10. Only You Can Do
11. My Sanctuary
12. Let's Spend The Night Together (bonus track)

Jack Russell--Vocals

Mark Kendall--Guitar, Background Vocals

Audie Desbrow--Drums

Michael Lardie--Guitar, Keyboards, Mandolin, Sitar, Harmonica, Percussion, Background Vocals

Scott Snyder--Bass and Background Vocals

Anyone who knows me is going to say that it is impossible for me to be open-minded in my reviews of anything that Great White puts out, as they have long been my favorite band.  In fact, I probably own more Great White music and memorabilia than most of the band members do!  To say it is a passion would be an understatement to most people; most of my friends call it a sickness.  Still, favorite band or not, I don't rate all of Great White's releases as absolute hits, nor do I even rank them all in my top 40 all-time favorite albums.  In that regard, Rising isn't even close...

Rising is something of a misnomer of a title, in my opinion, as the band seems to be taking a step backward in its material, rather than a step forward.  This album does not rock nearly as hard as the previous two albums following the reunion of Russell, Kendall, Lardie, and Desbrow.  It's not a horrible album at all, but it is just kind of "there" if you know what I mean.  There are no songs that scream hit single, although there are several good, if not great, songs.  "Shine" is probably the hardest rocker on the disc, and album opener, "Situation" is another of the few hard tracks here, as is "Danger Zone" (not the Kenny Loggins song, which might actually rock harder!).  "All Or Nothing" has a bit of a toe-tapping rhythm to it and some nice harmonizing on the backing vocals, but it never breaks out of the mid-tempo rut that so much of this album seems to be tracking in.  Even the bonus cover of the Rolling Stones' "Let's Spend The Night Together" is a laid-back rocker complete with some nice piano work from Lardie but no real punch.

"I Don't Mind" sounds like it could have been included on the Sail Away album, as does "Is It Enough", another mid-tempo track that would be right at home on Sail Away.  In fact, as a way of comparison with the rest of the Great White catalog, Rising almost feels like it falls somewhere between Sail Away and Let It Rock, stylistically, but without the former's laid-back intent or the later's occasional edge.

Of course, for a lot of die-hard fans, Great White is at their peak with Russell's vocals soaring over a ballad, and there are only a couple of tracks that even attempt to fit that bill.  "Only You Can Do" is a bit more upbeat than a lot of Great White's ballad material, but its still a pretty good song.  "My Sanctuary" is more of the bluesy style of ballad that Great White is typically associated with, but even this song doesn't have that "pouring out my broken heart in a smokey barroom" feel that make songs like "Old Rose Motel", "House Of Broken Love", and so many classics so powerful.      

Again, I want to state that this is not a terrible record, it just never finds its own way out of the mid-tempo groove it spends much of the album in, never really rocking out and never really hitting that heart-wrenching ballad territory.  The musicianship is top-notch here, and Russell sounds in very good form, and the mix is very solid, also.  The songs just kind of go nowhere fast, making this the kind of album you put on shuffle with a couple of your other all-time favorites just to shake things up.  Here's hoping the next Great White record finds itself back on both extreme ends of the band's spectrum with less time treading water in the middle.

Rating:  Rock this one at 6. 

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RUBICON CROSS "Limited Edition EP"

(c) 2011 Snare/Green

1. Movin' On
2. Next Worst Enemy
3. R U Angry
4. Shine

CJ Snare and Chris Green

Rubicon Cross is the new "band", if you will, of Firehouse frontman, CJ Snare and his new musical partner, Chris Green.  There are ZERO credits in the liner notes, but I am going to assume that Green plays pretty much all of the instruments here, and I am almost 100% positive he is the man behind the guitars because if CJ could play guitar like this, well, we may not have heard of Bill Leverty!  To be fair, there is not much in the way of comparison between Green and Leverty as they play somewhat different styles.

This four song EP is an interesting combination of styles, with all songs co-written by Snare and Green.  On the one hand, it should shock no one that Rubicon Cross bears at least a glancing similarity to Firehouse, as CJ's voice is incredibly distinctive.  Nothing has changed, as he sings just like he does with his primary band, not changing his style or altering his delivery at all.  Personally, I think that is a great thing because I do not like when a singer goes to another band and then completely changes who he is; it's like selling me a new band under false pretenses, teasing me that it might sound like something and then not even being close.

Rubicron Cross combines that Firehouse vocal sound with a bit more modern musical approach, especially on the opening track, "Movin On".  To me, this sounds a lot like what I would expect Zakk Wylde's band, Black Label Society, to sound like if CJ sang for them.  The guitars are big, they are angry, and they bear a striking resemblence to Zakk's playing.  While still retaining CJ's vocal sound, the only way this could be mistaken for Firehouse music is if you caught that ENTIRE band on a day when they were in really bad moods!  This is an angry sounding song musically and has much more modern-sounding production than anything Firehouse has done.

"Next Worst Enemy" is not much closer to Firehouse in sound than "Movin On", although it is not quite as dark sounding in the music.  That being said, the lyrics come off as rather angry, as Snare declares "sometimes love is just one big charade" and that he has "been a victim of hit and run, serial monogamy".  I hope this is not written from a personal perspective because it is not a happy song by any means.

Perhaps not-surprisingly, "R U Angry" is not much happier, but it does wade a bit further into the Firehouse sound than the previous two songs.  Again, the lyrics take a very dark slant, asking if "all's fair in love and war, what are we fighting for?" and "How did it get to this, hatred with every kiss."  Musically, this is another very strong effort with a nice lead and some excellent solo work in the middle.

EP closer "Shine" sounds like it could have been taken off of just about any Firehouse record.  This is a far more upbeat track lyrically, encouraging the listener to "let your star shine, keep it burning bright" and that "now's the time to start following your heart and lighting up the dark".  An acoustic-based ballad, this is a very good song that I could see slipping into a graduation ceremony or maybe even a slow dance at a prom or something.  Green adds in a killer solo at about the 2:20 mark of this song that kicks the energy up a notch, really giving the song that big, power ballad feel, and Snare's vocals know exactly what to do with a song like this.  While not a clone song at all, I can hear Snare's vocals trying to sneak over to "Love Of A Lifetime" or similar Firehouse ballad.

Snare and Green handle the production, and Snare co-engineered the record as well, with excellent results.  The mix is absolutely perfect to these ears, nice and crisp with just a touch of modern production to keep it from sounding like a totally retro project.  The packaging is very basic with no photos or thank yous, but all lyrics are included.  Since this is a limited edition EP, I have to wonder if we are going to see a full-blown project in the very near future.  I sincerely hope so, as this is a great little EP to tide fans over until Firehouse does something new OR until Rubicon Cross comes fully into being with a full-length disc.  Let it be known, however, that Rubicon Cross is its own entity and a very entertaining listen on its own, and outside of the last track, there are more contrasts than comparisons between this band and Firehouse, with each band warranting a listen on its own merits.      

Rating:  Crank this interesting and enjoyable project to 8.5!

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LIPSTIXX N' BULLETZ "Bang Your Head"

(c) 2010 Sleazy Rider Records

1. Bang Your Head
2. Rock Me
3. Liptstixx N Bulletz
4. Do Or Die
5. Scream It Hard
6. My Heart Belongs To You
7. Wild At Heart
8. You Poison Me
9. Be Mine Tonight
10. Love In A Needle

Andy Lipstixx--Vocals, Guitar
Mickey Sweet--Drums
Jaimee Teaze--Bass
Rikki Bullet--Drums

I know the first thing you may be thinking when you see this album cover:  Who stole Nitro's hair?!  Seriously...when was the last time you saw big hair that was THAT big?!  Anyway....

Lipstixx N' Bulletz is another NWoEGS (New Wave of European Glam and Sleaze) band that has improved leaps and bounds over the atrocious demo that I heard a year or two back.  That demos was so bad, in fact, I did something I almost NEVER do...I got rid of it!  Seriously, it was that bad, and it nearly deterred me from even giving this full-length album a shot.  Kind of makes me wonder if that crappy demo was the reason the band had to go to Greece to find a label like Sleazy Rider Records to put out this album.  But I digress...

Lipstixx N' Bulletz has settled into a nice groove of doing what they do best, which is putting out 80's sounding sleaze with a modern production twist.  It's very hard to say that LnB sounds like any one particular band, and that may because they sound like ALL of your favorite bands were dumped into a blender, but it wasn't necessarily the best parts that came out in the mix.  The big, gang-shout choruses are here, especially on the album opener, "Bang Your Head" (NOT a Quiet Riot cover), and follow-up track, "Rock Me" (NOT a Great White cover), although both choruses are so simplistic it makes you wonder why it took a gang to shout them.  Andy's vocals have a nice gravelly quality to them, but they lack huge amounts of range, so he settles into a lower register for most of the album, and comes off like a washed-up punk screamer when he tries to really cut loose, such as on album closer "Love In A Needle".  There are no ballads on the album, which is either a positive thing (because I'm not sure Andy could sing one) or a negative thing (because the album really starts to sound samey after about 5 songs which all have the same tempo).  The guitars are big and up front and are definitely the high point of the album, as Rikki has some very good solos and Andy's rhythm playing keeps the songs moving along well.  In fact, as a unit, the band PLAYS their music very well...it just isn't delivered very well vocally most of the time, and as a result, the listener can become rather bored fairly quickly. 

So does it all suck?  No, not at all.  Personal favorites include their namesake song, "Lipstixx N' Bulletz" which has a definite Crashdiet feel to it musically.  "Wild At Heart" is where Andy's voice probably works the best and is the closest the band comes to even mid-tempo material, so there is some changeup there.  "You Poison Me" works pretty well, also, but is also the most modern-sounding track on the record, losing a lot of its 80's feel in the process.

To say that this is a terrible record is unfair, because it is not.  There are FAR worse albums out there...trust me, I hear most of them doing this review blog!  I think this band has a lot of potential, but they just are not that unique sounding and are a bit of a disappointment, perhaps because they are unfairly compared to bands like Crashdiet, Hardcore Superstar, Bullet,  Black Rain, and some of the other great bands in this glam/sleaze resurgence.  Compared to those bands, Lipstixx N' Bulletz comes off as pretty predictable and almost boring after a full album.  If the previously mentioned bands are the headliners, Lipstixx N' Bulletz are definitely the openers, albeit promisingly talented openers that perhaps just need a bit more seasoning in their songwriting.  Considering how much they have improved since that shudder-inducing demo, it is not hard to imagine that these guys will continue to improve and become that much better.

Rating:  Rock this at 5.           

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