FALLING RED "Hasta La Victoria Siempre EP"

(c)2011 Rocksector Records

1. Come On Down
2. My Little Vice
3. The Last Kiss Goodbye
4. Ain't Down With The Rock

Rozey--Lead Vocals, Guitar
Shane Kirk--Lead Guitar, Backing Vocals
Millsy--Bass, Backing Vocals
Dave Sanders--Drums, Backing Vocals


Not even a full calendar year has passed and we have already been graced with a new release from one of the hottest, most-energetic sleaze bands of the modern generation.  Perhaps not wanting to risk being lost in the shuffle of new bands that come and go on a seemingly weekly basis, of perhaps simply because they like to do things their own way, Falling Red have decided to put out this incredibly high octane EP to tide fans over rather than wait another year or so to release a new full-length album.  I, for one, and dang glad they didn't wait!!!

Hasta La Victoria Siempre picks up exactly where Shake The Faith left off...and then twists the knobs a little higher.  This is four tracks of pure balls-to-the-wall adrenaline charged attitude.  Right from the first punkish-buzz of the guitar on "Come On Down", there is no doubt that Falling Red was not a simple one-shot act.  The sleaze just drips off the chords of this track and the band's collective middle fingers are raised to the modern rock establishment that simply couldn't contain a band of this caliber.  It's easy to see why these guys are sometimes referred to as the Guns N Roses of this generation, although I think such labels are dangerous as they rarely do justice to the bands being compared.  However, the attitude presented here, along with the gritty, ballsy performances, certainly lends itself to such a comparison.

"My Little Vice" backs off ever-so-slightly, but it is still an uptempo rocker with just a bit more mainstream Sunset Strip charm than Hollywood underbelly slime.  The guitars are once again the dominating feature on this track and Rozey's rhythm work coupled with Shane's leads offer up a nasty little teaser for anyone who missed out on Shake The Faith (if that's you, go get it...NOW!).

"The Last Kiss Goodbye" is the one song here that I think has true GnR worship written all over it, but it never goes into rip-off mode.  The guitar tone is very much in the same style as that which Slash used to such over-the-top excess on "November Rain".  With a bit of Skid Row in the vocal stylings, this is a monster of a power ballad that just screams for lighters to be held high when it's performed live.  I can honestly say I have not heard a ballad performed with this sense of power and urgency in a LONG time.  This is an awesome track that is not to be missed.

"Ain't Down With The Rock" is another nasty rocker that closes out this EP in true sleaze fashion.  Think of a much more highly charged antithesis to AC/DC's "For Those About To Rock (We Salute You)".  Falling Red already salutes their fans on a regular basis, so, in their words, if you "Ain't Down With The Rock...F**K RIGHT OFF!"  Whether you view this as a warning (you know...in case YOU ain't down with the rock...), or as a kind of personal anthem, this is Falling Red at the top of their game attitude-wise, and is a great way to close out this EP.

Checking in at just shy of 16 minutes, this is almost too much of a tease, to be honest, as I was begging for a hidden track or something.  I simply didn't want this EP to end!  I truly hope that Falling Red has some other stuff already in the can somewhere, because this is one band that I do NOT want to have to wait a couple of years to hear from again.  These guys have their sound down to an absolute artform and I would rate them with the Crashdiets and Vains Of Jennas of the world...if not a bit higher, to be honest.

Rating:  Despite being an EP, you MUST crank this little tease to 9!

Back To Reviews Index

WASP "Babylon"

 (c) 2009 Demolition Records

1. Crazy
2. Live To Die Another Day
3. Babylon's Burning
4. Burn
5. Into The Fire
6. Thunder Red
7. Seas On Fire
8. Godless Run
9. Promised Land

Blackie Lawless--Lead Vocals, Lead & Rhytm Guitars, Keyboards
Doug Blair--Lead & Rhythm Guitar
Mike Duda--Bass, Vocals
Mike Dupke--Drums

To say that Babylon is not a Christian metal record is to flatly deny what he has said and what the lyrics to (most of) the songs speak themselves.  No, there is not an error in what I am saying here...yes, this is the same WASP, but there is no denying the fact that Blackie Lawless is a completely new man on this album, and that man is a man of faith.

First, I feel it is important to note that not all of these songs are originals to Blackie and his band, and as such all do not lyrically fit the rest of the album. "Burn" is a cover of a Deep Purple song that was actually supposed to be on a previous album but didn't make the final cut. "Promised Land" is a Chuck Berry song that was also recorded by Elvis Presley, although WASP has definitely metal-ed the tune up considerably, while still staying true to the root sound. These songs don't specifically fit with the Biblical and Christian themes of the rest of the album, but "Burn" at least has a similar substance and feel; "Promised Land" is just one of those random, oldies covers that Blackie seems to like to throw out there every now and again.

As to the rest of the album, it is impossible to deny where Blackie is headed here. From the album artwork's depiction of the Four Horsemen of the Apocalypse, to the lyrical content of the original songs, Blackie is obviously on a trip through the Bible and prophecy, especially as presented in Revelations.

"Crazy" starts the album out with a riff that longtime WASP fans are going to swear they have heard before...largely because Blackie basically rips himself off, using a blatant "Wild Child" riff for the intro. The vocals, the guitars, the drum sound...pure classic WASP here, and this is, in my opinion, the perfect lead in for this record, because I am sure there are a LOT of WASP fans out there who think Blackie may just be crazy when they dig into the lyrics of the songs that follow.

"Live To Die Another Day" is another classic-sounding WASP track that starts off with a slight lyrical rearrangement of Psalm 23, with Blackie then singing, "Hellhounds are running close to me, On the trail of my life... I was hellbound but now I'm running free, From Satan's angels of light...". This song is followed by yet another pure WASP-sounding song in "Babylon's Burning", which is lyrically straight out of Revelation. In the liner notes, Blackie makes it clear that he thinks so many of the things that have been going on around the world are directly tied to Bible prophecy and with this song, he really strives to make his point. He even goes so far as to tell the listener/lyrics reader where the last part of his lyrics come from: Revelation 13. Powerful stuff....

"Burn", as previously mentioned, is a cover of a Deep Purple song, but after being given the WASP treatment, it fits perfectly here, although I will admit it was a bit odd having "Babylon's Burning" followed by "Burn"...that's a lot of burning going on, especially since the next track takes us straight "Into The Fire"! This song is the band's first hint at a ballad, although like a lot of WASP "ballads", it isn't exactly a slow, plodding song by any means. One of my top two or three favorites on the album, this is yet another strong effort, especially lyrically, and Blackie's voice continues to remain strong and easily recognizable.

"Thunder Red" picks up the pace once again, and "Seas Of Fire" continues that pace before "Godless Run", the true gem of this album, slows things way down once again. Musically, "Godless Run" sounds like it could have come off the WASP masterpiece The Crimson Idol, but lyrically, there is no WASP song past or present that more speaks to where Blackie is at now. This is an achingly personal, autobiographical song that finds Blackie pouring his heart and soul out, explaining the life he once led.

I truly wish the album had ended with "Godless Run", as I think that would have made the album a nearly flawless 10. However, as Blackie has often done, he throws out an oddball cover here with the Chuck Berry track. Not terrible, but it is a distraction to say the least.

I have been a fan of WASP since the very beginning and it has been very interesting to watch Blackie's progression and searching ever since the Headless Children album (check out the Four Horsemen reference in that title track...). Blackie has shown an anger with religion in the past, as he has stated in interviews, but things have changed. That is not to say that all of WASP's material from this point on will be Christian-based or Christian-themed, but it would seem fairly safe to say that Blackie knows where he is headed personally and spriritually, and one has to expect that his band will head in a similar direction, or at least steer clear of a lot of the territory it travelled in the past.
Rating: Crank this to a very powerful 9! Were it not for the Chuck Berry cover, this would likely be a 10...

For any who wonder if Blackie preaches what he now practices, check out the following video:

Return To Reviews Index

STEPHEN PEARCY "Sucker Punch iTunes songs"

 (c) 2011 Top Fuel Records

1. Too Much Is Never Enough
2. Don't Want To Talk About It
3. Over & Over Again

I have no idea who is playing on these three tracks, which are the first preview songs from the upcoming Sucker Punch release from Ratt frontman, Stephen Pearcy...but I can tell you it ain't Ratt...but it ain't bad!  Sure, this is Pearcy's voice, and there is no mistaking the fact that these songs have a definite Ratt feel in the writing, but the musicianship is a good notch below that of DeMartini, Blotzer, Crane, and Cavazo.  That is not to say that these songs sound bad, because they are actually pretty good.  They are definitely lacking some of the punch and style that Ratt fans may come to the Sucker Punch project expecting, but let this could be due to the production on these three tracks which MAY NOT be the final mixes; it would not shock me at all to find out that Stephen went back and remixed these songs before the Sucker Punch album is released. 

So, what do we have here?  All three are uptempo tracks and have a definite Ratt-feel to the writing.  For those who have been following Pearcy on the 'Net, that should not be a surprise, as he has repeatedly, and somewhat bitterly, stated that he had several songs written for Ratt's Infestation album that were eventually cut from the final product.  He has stated that he took those songs to record for himself, and it would not shock me to learn that all three of these had originally been written for that Ratt disc.   

"Too Much Is Never Enough" contains a classic Ratt sounding riff that sounds like it could have been intended for the Out Of The Cellar or Invasion Of Your Privacy albums, and is my favorite of the three.  The production is a bit weak to my ears, as the background vocals are pretty flat and drums, the cymbals in particular, sound overly out front in spots, which gives them an odd sound.  The guitars are solid, and Pearcy's voice is in fine form, which has often been a problem on his other solo efforts.

"Don't Want To Talk About It" is another solid rocker that sounds more in-line with the Infestation sound.  The backing vocals are better on this one, and the drum sound is more solid as well.  The guitar tone he chooses to use for the solo on this, and the previous song, is a bit unusual, as the distortion is turned way down and the tone has almost a 60's rock n' roll feel to it.  It's an interesting contrast that doesn't harm the song, however,

UPDATE:  As I mentioned in the opening paragraph, it wouldn't surprise me if Stephen went back into the studio and touched up some of these songs, and it appears he did just that with "Don't Want To Talk About It", as the guitar tone is beefed up and given more of a modern sound, as is evidenced in this video.  I'm liking what I hear...see what you think....

The last of the three pre-release songs is "Over & Over Again", which again has a VERY classic Ratt-sounding riff to it, not totally unlike the riff in "Back For More" once it switches from acoustic to electric.  Another solid effort that is far superior to just about anything Pearcy has recorded outside of Ratt or Arcade.

Based on these three songs, I can say two things for sure.  First, I am very excited for Sucker Punch, as I think it will tide me over nicely until the new Ratt album comes out sometime in 2012 or 2013 (Pearcy says 2012 is to be devoted entirely to Ratt).  Secondly, if these songs were intended for Infestation, I think he does have a case when he says that these were stronger than the weakest material on that last Ratt album.  I would love to hear these three tracks given the full Ratt treatment.  As they stand, two of the three have a very strong 80's Ratt feel to them, and the other sounds like more recent Ratt, with all three being solid tracks.  Some minor production issues could easily be fixed before this album is released, but even if they are not adjusted, I will be all over this album like a Ratt on cheese, because if these three are any indication, Sucker Punch is going to be a great album.    

Rating:  Tough to rate just three songs, but I would give each track a crankable 7 or 8 on their own merit, with only minor production issues I mentioned in the review.

Back To Review Index

DESYRE "Warning Of The Night"

(c) 2009 G.L.A.M. Nation Records

1. Warning Of The Night
2. Dreams
3. Can't Let Go
4. Yule Night Brightness
5. Calling
6. Mr. Hyde In Delite
7. Ransom
8. No One Knows
9. Undoings Of My Life
10. The Battle
11. Burning In The 3rd Degree

Mazi Bee--Vocals, Lead Guitar
Coco Tommy--Lead Guitar, Backing Vocals
Mike Seeker--Bass, Backing Vocals
Jayce Prime--Drums, Percussion

It's not often that I "want to like" a band.  By that, I mean that rarely do I get a CD from someone I have talked with, that I enjoyed getting to know, and just hoped and prayed that the CD was good because I really like the person.  I was in that situation with Desyre's debut effort, Warning Of The Night, because I had met and chatted with Mazi Bee on-line, and found him to be a very likeable guy, very dedicated to his music and band, not to mention very dedicated to the task of spreading the Gospel through his music.  When he told me the band was recording their debut CD, I pre-ordered it, anxious to get it in my hands and give it a few spins.  I couldn't wait to like this CD.

Sadly, my desire to like it does not match up with what I actually feel about it.

It is not that the music is bad, because it is not.  In fact, the musicianship on the CD is very good for the most part. The guitars, especially, have a great glam/hair metal feel to them, and this band knows exactly the sound they are after, even labelling their sound "Hair Metal Madness" (also the title of their first demo) on the inlay of the digi-pack.  The rhythm section is pretty tight, also, although the sound of the drums is a bit "echoey" (is that a word?) and hollow at times, which I attribute to what was likely a very small redording budget.  Even the song structure is generally sound and very much a throwback to the 1980's.  Lyrically, for those who find these things important, the band is also very up-front about their faith and only occasionally struggle with translation from their native Finnish to English.  All of these things are average to above average, or even very good, as in the guitar department.

The vocals are a completely different story.

Part of the problem, again, is the limited recording budget.  The vocals alternate between being too out front and almost buried in the mix.  For example, on ""Yule Night Brightness", a Christmas metal song, Mazi's vocals are so low on the verses that I honestly can't make out what he is saying without the lyrics sheet.  The chorus is fine, but the verses are just a mish-mash of mumbling in Finnish-accented English and very hard to make out.  Mazi also falls out of key on several occasions, which I am not 100% sure in unintentional.  When he is on, he has a pretty good, if somewhat limited range-wise, voice for this type of material, and pulls some of these songs off very well.  Some, however, are rendered almost unlistenable by the clash between Mazi's lead vocals and the also frequently off-key backing vocals.  To his credit, Mazi has been very respectful of the criticism he has received about the vocals, and he vows that they will be better on the next album (which is being recorded as I review this effort). 

Some of the songs are very strong in their structure, performance, and sound.  I think the up-tempo rocker "The Battle" is probably the best song on the disc and Mazi's vocals actually sound incredibly on-key and on-target here.  Perhaps the mid-to-lower register most of this song is performed in is where he is more at home.  "Burning In The 3rd Degree" is actually a cover song and is another good track with some solid lead guitar work and touches of 80's New Wave-ish keyboards, which is logical since the song is a lesser-known track from the Terminator soundtrack originally performed by Tahnee Cain & the Trianglz (tell me that isn't a New Wave name!).  There is a hidden track at the end of "3rd Degree" which is actually a Finnish-language version of "The Undoings Of My Life", which is, in both forms, a fairly decent mid-tempo number that gives Mazi and Coco some time to flash their guitar talent and again finds Mazi singing in a more comfortable middle range and not straining to hit higher notes he struggles with.


The packaging is pretty good for an indy product, with full lyrics, photos, credits, and thank you's.  Again, I hate digi-packs, but since there is nothing I can do about it, I will stop my commentary there.  One little added bonus for those of us who pre-ordered the album was this sticker which came with the disc.

Overall, I think the potential is there and the love for this sound and style of music is definitely present. Also, most importantly, the heart for the band as a ministry is strong, which cannot be understated. There are just some kinks to be worked out. Had this been a self-professed demo, I think it would have been more kindly accepted by most people, as we all know demos quite often sound nothing like the finished product. For this to be a first studio effort can be looked at as either a really bad offering with nowhere for the band to go, or as a starting point for the band to build. I choose to go with the latter.

Rating:  Turn this down to 4.5 but keep an eye and ear out, because I truly feel the next effort will be far superior. 

Back To Reviews Index

SAINTS OF THE UNDERGROUND "Love The Sin, Hate The Sinner"

(c) 2008 Warrior Records

1. Dead Man Shoes
2. Tomorrow Never Comes
3. All In How You Wear It
4. Good Times
5. Exit
6. American Girl
7. Signes Of Life
8. Bruised
9. Moonlight Mile
10. Jimmy

Jani Lane--Vocals

Bobby Blotzer--Drums, Backing Vocals

Keri Kelli--Guitars, Backing Vocals

Robbie Crane--Bass, Backing Vocals

Additional Musicians:

Chuck Wright--Bass

Rick Flores--Keyboards

So-called "super groups" always have me a bit apprehensive.  Are they going to be anywhere near the quality of the members' other bands?  Is it going to turn into some sort of bloated, self-exploiting car wreck?  Will one of the members eventually kill another?  Or, will the "super group" label actually fit and the band will put out a solid product?  I mean, it has happened...HSAS and Contraband being a couple that spring to mind...it just doesn't happen often. 

Saints Of The Underground is made up of Jani Lane (ex-Warrant...duh), Keri Kelli (ex-Alice Cooper, Ratt, LA Guns, Skid Row, Slash's Snakepit...and on and on...), Robbie Crane (Ratt), and Bobby Blotzer (Ratt), with contributions from Chuck Wright (Quiet Riot), and Rick Flores (ex-Mystic Cross, Stride), so I think that the qualifications for the "super group" label are fairly met.  Originally conceived by Blotzer as an outlet for music that he had written while away from Ratt, S.O.T.U. really came into being as a full-fledged project sometime in 2006 when he recruited Kelli to help him put his musical ideas together.  Lane, and then Crane, were also brought on board, but outside of doing a few gigs as a cover band, not much really came of it at first.  However, after it became obvious that the chemistry was there, they decided to go ahead and record this album to see where it led.

Where it led was straight to my CD player as soon as I found out about it, and it has made frequent return trips in the past couple of years.  This is a very good album that, while having elements of all the members' other bands, really sounds nothing like the members' other bands.  Oh sure, Jani Lane is going to sound like Jani Lane, but there are no songs that make you say, "oh yeah...that's a Ratt (or Warrant, or Alice...) song."  These are S.O.T.U. songs, period...well, with the exception of the Tom Petty song...and the Rolling Stones cover...oh, and the album closer, which I will get to in a bit.

The album kicks off with one of the best tracks here, the short-but-sweet rocker, "Dead Man's Shoes" which is the closest the band ever comes to what I think could have possibly also been a Warrant song.  That is rather unexpected, since this is also a song that Blotzer had previously written and recorded on his own solo project, Twenty4Seven with John Corabi handling the vocals.  Regardless, it is a good song and one that pretty much lets the listener know what to expect from the rest of the album.

The solid rock material continues with "Tomorrow Never Comes", "Good Times" and "Exit", all mid-to-up-tempo rockers, with "Good Times" being a fairly modern-sounding track complete with guitar effects.  The album's single "All In How You Wear It", is another good rocker, but something about it just seems a bit off to me; perhaps it is the angry style of delivery that Jani uses here. 

The Petty cover is interesting, as this is easily one of his best known songs yet the band chooses to speed up and tweak just enough to update the song.  This is, of course, a risk as purists always get ticked off when bands alter beloved cover songs, but I think it works pretty well, especially the way Blotz tackles the drums and how Lane phrases the lyrics to fit the updated sound.  This is pretty high praise from an admitted non-Petty fan!

My personal favorites are both found on the last third of the album.  First is "Bruised" which features some frantic drumming from Blotzer and some pretty introspective lyrics from Lane.  The other fave would be "Jimmy", which a lot of Warrant fans will likely swear they have heard before.  That is because they have.  Warrant performed this song on-and-off for several years in the mid-to-late 1980's, but they never got around to recording it, so Jani took it upon himself to do so.  Stylistically, it easily could have come from Cherry Pie or possibly Dog Eat Dog, but it doesn't stick out like a sore thumb in this collection and the band does a good job of making it fit with the rest of the material.     

Am I saying this is a perfect record?  Not at all.  I am not particularly enamored of the Stones cover, to be honest, as I don't really like the inclusion of a acoustic guitar-and-keyboard song on an othewise rocking album.  It's not a terrible song, but if you aren't a Stones fan (which I am not), this is just a ho-hum ballad that the disc could do without.  "Signs Of Life" is decent, but not write-home-about-it material, and, as I already mentioned, there is just something a bit off about "All In How You Wear It".  Still, considering the potential for disaster that a "super group" brings to the studio, I think this is a commendable effort and one that I found myself enjoying a great deal.  I hope that the band manages to find time to regroup and record some more music of this caliber.  Perhaps with Ratt back on hiatus, Blotzer and Crane can find the time to hook up with Kelli and Lane and give us S.O.T.U. round two!

Rating:  Crank this at a solid 7.

Back To Reviews Index

ADRENALIN KICK "Bad Reputation"

(c) 1991 TAB Music

1. Dehumanize
2. She's Got Me Runnin'
3. Get Up
4. Turn Me Off
5. Rough Stuff
6. Beware The Stranger
7. Million Miles
8. All I Want
9. Cold, Tired, And Hungry
10. Bad Reputation

Mick Pritchard--Vocals
Darren Richardson--Bass
Andre Kania--Guitar
Dave Cooke--Guitar
Mac--Drums

Adrenalin Kick (that is how they spelled it) was a rarely heard of band that released this hard rocker in 1991, then disbanded after releasing what is generally accepted to be an atrocious follow-up about 6 or 7 years later.  While there is nothing exceptionally special about this band, there is also nothing terrible about them or this album.  They remind me a bit of a lesser-talented Kik Tracee to some degree.  The lead vocalist, Mick Pritchard, is more than competent and is what I call a power-vocalist, using a lower tenor range for most of the tracks.  He is not a screamer by any means, nor does he ever get up into the high singing range that a lot of bands employed during this era.  The guitar tandem of Kania and Cooke is competent, if not overly flashy, and the rhythm section is generally pretty tight.  So why has no one heard of them?

Frankly, the songs themselves are nothing overly special and sound like songs you have heard from dozens of other lower-tier bands on several dozen albums.  There are flashes of talent, such as on "Cold, Tired, And Hungry", which has a nice hook to it, or on the rocking title track.  As far as other good material, "Dehumanize" rocks pretty hard but is not overly memorable.  "Beware The Stranger" might be the best track on the disc and has some nice guitar work on it, and I would have liked to hear more songs in this style.  "Get Up" is decent, if not spectacular, and "Rough Stuff" is an above average effort as well, but that is about it. 

"Turn Me On" is a rather lame ballad, and "Million Miles" is pure filler material.  "All I Want" has potential, again showing some nice guitar flashes, but the lyrics are pretty lame and cliche with no real vocal hook or catchy chorus to help the song along.         

Should you get this?  Well, first off, you are going to have a hard time finding it, as it is on a TINY label.  That makes it fairly collectible, so for that reason, I would snag it if you can find it for a good price (sub-$10).  It is not a terrible album and you are probably going to find a few tracks you like.  It is a decent "mix in" disc that breaks up the monotony of all of your favorites strung back-to-back, but that is about the best it will ever be for me.  Adrenalin Kick had potential but they never brought it fully into being, at least on an album.  I have heard they had a GREAT live show, however.

Rating:  Rock this at 5.5 or so, but snap it up if you find it cheap...it makes good trade material on the internet!  

Back To Review Index

PAUL SHORTINO featuring Jeff Northrup "Back On Track"

(c) 1993 Bullet Proof Records/Music For Nations

1.  The Kid Is Back In Town
2. Body & Soul
3. Girl Like You
4. Pieces
5. Bye-Bye To Love
6. Everybody Can Fly
7. Give Me Love
8. Remember Me
9. Rough Life
10. Forgotten Child
11. Where There's Smoke

Paul Shortino--Vocals

Jeff Northrup--Guitars, Backing Vocals, Sitar

Additional Musicians:

James Kottak--Drums

Carmine Appice--Drums
Glenn Hicks--Drums, Backing Vocals
Sean McNabb--Bass, Bbacking Vocals
Jeff Pilson--Bass
Matt Missenette--Bass
Larry Hart--Bass
Richard Baker--Keys
Brant Harradine--Keys

Who knew that when he was fronting Rough Cutt, Paul Shortino made so many friends?  Calling in favors from members of Great White, King Kobra, Dokken, and several other bands, Shortino and his friend Jeff "JK" Northrupp put together this excellent record, which would turn out to be the first of several collaborations between the two.  While rather difficult to find, as it is on a very small label, this gem in the rough is well worth tracking down if you are a fan of any of Shortino's work, past or present.

For a lot of people, Shortino is something of a poor-man's David Coverdale, and while I can understand the comparisons, I actually prefer Shortino's voice.  I was never a huge fan of most of his stuff with Rough Cutt, to be honest, as the musical style just never grabbed me; it wasn't terrible, just kind of "there".  However when he is given more of a chance to showcase what I feel to be his true style, which is a smokier, blusier style, Shortino really shines.  Nowhere is this more evident than on tracks like the mid-tempo, inspriational rocker, "Everybody Can Fly", or equally powerful "Rough Life".  Both songs not only showcase Shortino's vocal prowess but they also give Northrup the chance to really cut loose on some excellent, extended solo work that rivals anything he had done with King Kobra on the King Kobra III album. 

There are several up-tempo numbers as well, with the best two being the album opener, "The Kid Is Back In Town", and the closer, "Where There's Smoke".  Again, these songs give Shortino a chance to stretch the vocal chords and for Northrup to show some flash and flair.  "Where There's Smoke" also incorporates several guest appearances which add a bit of flavor to the song.  "Give Me Love" is another excellent rocking number that has a bit of hook-and-groove to it, giving it a definite 80's sound despite the fact that this album was released almost half-way through the 90's.

The only real ballad on the disc is a strong one called "Forgotten Child".  Once again, Shortino's voice really works for this kind of number and the background vocals here really lend to the overall sound of this largely acoustic number.    "Pieces" teases you into thinking it is going to be a ballad with its into, but it turns into a full-fledged rocker with a monster of a solo embedded in the middle, so "Forgotten Child" is your only chance to take a breather during this rocking album.

For fans looking to hear Northrup really go off, check out the amazing instrumental, "Remember Me", which is roughly four minutes of nothing but emotional, soul-searing blues metal guitar at its best.  This track definitely deserves inclusion here and is a shoo-in to be included on any instrumental mix disc you might decide to burn for your own listening pleasure.  Killer, killer stuff here...

There are truly no weak songs here, and this disc really shows the musical kinship that Shortino and Northrup have when working with each other.  Thankfully, this is a partnership that sees multiple album releases as the more democratically named Shortino/Northrup.

Again, this is a very difficult album to find, but it is well worth the money if you do manage to score a copy.  I paid $20 for my import copy, only to find out the disc had been reissued in 2003 with bonus tracks on it (which I don't have).  Needless to say, I am working on finding that version now!

Rating:  An absolutely crank-able album!  8 is the minimum level for this disc!

Back To Reviews Index  

CRAZY LIXX "New Religion"

(c) 2010 Frontiers Records

1. Rock And A Hard Place
2. My Medicine
3. 21 Til I Die
4. Blame It On Love
5. Road To Babylon
6. Children Of The Cross
7. The Witching Hour
8. Lock Up Your Daughter
9. She's Mine
10. What Of Our Love
11. Desert Bloom
12. Voodoo Woman

Danny Rexon--Vocals

Andy Dawson--Guitars

Luke Rivano--Bass

Joey Cierra--Drums

Is there no end to the talent pool in what I like to call the Swedish Strip scene?  While many people, myself included, would consider Crashdiet to be at the top of the heap, there are any number of excellent bands that are vying for the number two spot...if not trying to dethrone Crashdiet as the top dog.  Hardcore Superstar is certainly one of the bands you have likely heard of, and Reckless Love is another.  However, Crazy Lixx may be the best band you have not heard of (unless, of course, you are into this scene) and they may be the band with the best chance of unseating Crashdiet.

This is actually the band's second full length album, to go along with an EP, but it is easily their best output so far and it just screams 1980's, albeit with a bit more modern production.  In fact, the production on this album is the one thing I hear people complain about the most, claiming that it is simply too slick, too polished, to really fit into the scene.  I disagree completely, pointing to "21 Til I Die" as a perfect example of the band at their rocking best, with "Lock Up Your Daughter" and "Road To Babylon" also being strong rockers.  "My Medicine (R.O.C.K.)" reminds me of a Firehouse boogie number at first before settling into a Def Leppard-esque song, a la "Let's Get Rocked".  "Voodoo Woman" also falls into this category, but not all songs are Leppard worship, however.  "She's Mine" and "Blame It On Love" will draw as much comparison to a harder-edged Nelson as to Leppard, as the songs perfectly blend the pop sensibilities of the Nelson Twins with the hard rock attitude and big, layered choruses both bands employ. 

People who may have already been fans of the band are likely to be curious about how the band's sound may have changed with Dawson taking over on guitars for Vic Zino who jumped ship to join Hardcore Superstar.  To me, Dawson is actually a step up on this type of sound.  Zino fits the sleazier sound of Superstar, at least to my ear, and Dawson is perfectly suited for this poppier, hair metal sound.  His leads are crisp, his solos, while not mind blowing, are sharp and melodic, and his rhythm playing is spot on, so the personnelle change should not deter anyone from picking this disc up.

Of course, since this release is on Frontiers Records, the production (provided by Chris Laney) is top notch, as is the packaging.  Of course, since it is on Frontiers Records, it is a bit tougher to come by at non-import prices, but sharp-eyed buyers may manage to snag this off eBay or while it is on sale through some on-line vendor for $15 or so.  Personally, I wouldn't hesitate to pay that kind of money for this effort, as New Religion is truly top notch and a definite step up, albeit a small one, over Loud Minority.  

Rating:  No question this is top-notch stuff that should be cranked to 8.5!

Back To Reviews Index

DIRTY WHITE TRASH "Life In The Redlight"

(c) 2011 DWT Music

1. Breakin' Down The Walls
2. Get Dirty
3. Sweet Addiction
4. Hollywood Honey
5. Queen Of Sleaze
6. Freaks And Weirdos

Sin--Vocals

Lyxx--Guitars

Thrusty--Bass

Crash--Drums

This is what I love about the music scene now...and also what I hate about it.  Because of current technology, ANYBODY can put out an album on their own, no labels required.  The internet gives you an instant sales opportunity through iTunes and Amazon, and your marketing department is Facebook, MySpace, Twitter, etc.  Now, the reason I say I hate this is because there are some REALLY CRAPPY bands that have no business thinking they are recording stars putting out inferior, sub-garage quality music.  On the flip side, you have a band like Dirty White Trash that has definite talent, a handful of very well written, very catchy songs, and the drive to do things their own way, even if a big label isn't going to give them a hand.  So, I guess I will take the good with the bad because when you hear something as good as Dirty White Trash, you can get past the garbage that isn't filtered out by a label.

Dirty White Trash, as the name would imply, is pure, unadulterated sleaze, plain and simple.  These four Brits know the sound they are after and they get right to it from the get go with "Breakin' Down The Walls".  Big gang-style choruses, hard-hitting drums, and some great, high-speed rhythm guitar push this song along before Lyxx lays into a frenetic solo that should have most listeners snapping their necks.   "Get Dirty" slows the tempo just a tad bit but does so with a bump-and-grind rhythm that sticks in your head in a "I swear I have heard this before!" type of way.  While this appears to be the band's stab at something at least remotely radio-ready, this may still be my favorite track on the disc...or that distinction may belong to "Hollywood Honey", which seems to be the band's ode to a smoking hot hooker or groupie they may have come across. 

While those listed above are my favorites, no songs on this album are weak.  The lickity split quick "Sweet Addiction" is full of raw power and grit, clocking in at just over 2:30.  This song just rips from note one, with my only complaint being that the solo is just not long enough for me to fully appreciate.  "Queen Of Sleaze" could have been written by a hungry young GnR back in the day, but there are absolutely no vocal similarities between Sin and Axl, as Sin tends to have a bit more snarl to his voice and doesn't have nearly the high-end screech that Axl could pull out at any given time.  EP closer "Freaks And Weirdos" has a Crue-ish feel to it, harkening back to the "Live Wire" era, and pretty much sums up how the band feels about themselves, which is not a bad thing, as they seem to wear this distinction with pride.  This is an excellent track to close with and leaves listeners screaming for more.  

I can only come up with three complaints.  First is the length of the EP (just a hair over 20 minutes total), but I knew that going in (doesn't mean I can't want more music!).  Secondly, the production is just a tiny bit thin at times, lacking some of that big production bottom end to the drums that I think would really bolster the overall sound.  These complaints are minor, especially since I knew going in that I was taking a chance on an indy EP, so my expectations weren't really all that high.  To say that Dirty White Trash meets or exceeds what I was hoping for is not giving this English quartet enough credit.  My third complaint is one that is going to come up any time a band releases download-only material:  GIVE ME A CD!!!  Call me old-fashioned if you want, but I want something tangible to hold in my hands.  Perhaps a CD is in the making, but for now, the only way this material is available (that I am aware of) is through Amazon and also at iTunes. 

This is an excellent little sleaze teaser that has me anxiously awaiting a full-length project in the very near future...hopefull also in CD format!

Rating:  Crank this sleazy project to 8!

Back To Reviews Index 

GLITTER BOYS "From Gutter To Glitter (Tour Edition)"

(c) 2010 Retrospect

1. Rock N Roll Time Machine
2. Backstage Pass
3. She's Red Hot
4. Hold Me Tight
5. Wasted Again
6. Do You Believe In Rock N' Roll
7. Take Me Out West
8. Heidi
9. Bop Bop Baby
10. Lost Highway
11. Another Lonely Night

Johnny Sparkles--Lead Vocals

Jody Row--Drums

Chase "Babyface" West--Lead Guitars

William Dr. Haygood--Rythm Guitar

Jon Jon The Phenominon--Bass

First off, I SWEAR I didn't steal their album title for this blog!  Heck, I had never even heard of the Glitter Boys until I ran across this CD on eBay and thought I'd take a chance on it.

After doing some research, it seems this band from Mississippi got their record deal after they played Rocklahoma in 2009 and 2010 and got huge crowd responses.  They claim their influences are Skid Row, Motley Crue, Warrant, Jackyl, AC/DC, Twisted Sister, GnR...you know, the standard "we loved the 80's" list of influences.  You can hear bits of those influences, especially on songs like "Hold Me Tonight" which has a very definite old school Crue feel to the guitars, or on "Wasted Again" which goes so far as to steal AC/DC's "Oy, Oy, Oy!" chant...but their sound is a definite blend of the late 1970's and the most glam sounds of the Sunset Strip, such as early Poison.

There are no terrible songs on this disc, nor are there any real "must hears", but a few songs do stand out more than others.  "Bop, Bop Baby" is almost a Poison rip-off, but not of a specific song; the drums and guitars and delivery just reek of Bret, CC, and the boys.  "She's Red Hot" has a simplistic T. Rex/The Sweet sound to the music, but the vocals, especially the gang-shouted parts, are straight out of the 80's.  "Rock N Roll Time Machine" has a similar blending of styles, but leans more heavily towards the 80's musically and 70's lyrically.  Make sense?  Nah, probably not...better just buy the disc!  One thing of note is that Chase is a master shredder when he is allowed to fully cut loose.  The material I have read says that he is only 23 or 24 now, but he can definitely rip some leads and is worth listening to. 

On the flip side, there are a couple of songs I could do without.  "Another Lonely Night" is the only ballad on the disc and would have really benefitted from a big power chord coming crashing in about halfway through, but the band maintains the song as an acoustic offering and it just doesn't do anything for me.  Since it's the last track, I just skip it.  "Take Me Out West" is just kind of there, not really doing anything but throwing in a couple of 80's glam cliches. 

The band does have a sense of humor in their lyrics, which is appreciated, as I would think it is hard to play pure throwback music like this and take yourself too seriously.  How can you not chuckle...or maybe cringe...when you hear lyrics like "hold me tight while we do it tonight"?  Yet this is really as raunchy as these guys get, not fully crossing the line into audio porn like a band such as Steel Panther, which is appreciated. 

One of my main complaints would be that the drums sound programmed at times, especially the snare.  I am not sure if a drum machine was used and Jody Row came on board after the fact, or if the mix is just THAT bad at times.  It's not bad to the point of making me want to turn the disc off, but it is a distraction at times.  Similarly, Sparkle's voice sounds a bit flat at times, and I do not mean in a musical sense.  Sometimes it sounds like his vocals were recorded in analog and the rest was recorded in stereo.  It's kind of hard to explain, and maybe this was done on purpose to give even more of a throw back feel to the vocals.  I did read on the Retrospect Records page that this "Tour Edition" is not the final version of the album and was put together quickly to give the band some product to sell on tour, so perhaps these minor issues will be corrected on later versions of the record. 

With a name like Glitter Boys, how could the band play anything but late 1970's/early 1980's glam?  That is exactly what I thought when I snagged the disc, and it is exactly what I got when I popped it in the CD player.  Is it something that is going to blow you away when you hear it?  No, not likely, but it is a good time, even if it is a bit dated sounding and not overly well produced at times.  If you can find this CD at a reasonable price, I would go ahead and pick it up.  I highly doubt you will be disappointed and will likely have a pretty good time listening to these songs.

Rating:  Rock this at 6.5...hang up some Farrah posters, tease the hair up big, and maybe throw in a few episodes of That 70's Show and have a theme party!

Back To Reviews Index

GIANT "Promise Land"

(c) 2010 Frontiers Records

1. Believer
2. Promise Land
3. Never Surrender
4. Our Love
5. Prisoner Of Love
6. Two Worlds
7. Plenty Of Love
8. Through My Eyes
9. I'll Wait For You
10. Dying To See You
11. Double Trouble
12. Complicated Man
13. Save Me

David Huff--Drums, Backing Vocals
Mike Brignardello--Basss, Backing Vocals
Terry Brock--Lead Vocals
John Roth--Guitars, Backing Vocals
Dann Huff--Lead Guitar on 1 and 13

I have held off reviewing this disc because Giant is one of my favorite bands of all time and Last Of The Runaways is a Top 30 album for me, no question.  Huge vocals, excellent guitar work, both rhythm and lead, strong rhythm section, and fabulous songwriting are cornerstones of this incredible, yet mysteriously underappreciated melodic hard rock band.  If you picked up a Giant album in the past, you knew exactly what you were likely to get.

But things have changed....

For starters, lead vocalist/lead guitarist/main songwriter/founding member Dann Huff is gone.  That is an incredibly HUGE void from this band, as Dann was the heart and soul of Giant.  Also gone is keyboard player Alan Pasqua who, while often overlooked, was a big part of the Giant sound as well.  Recruited to attempt to fill the voids were new vocalist, Terry Brock, formerly of Strangeways and Seventh Key, and guitar player John Roth, formerly of Winger and also a member of Survivor vocalist Jimi Jamison's solo band. 

The results...?  Mixed, to say the least.     

Don't get me wrong, Brock is a very good, powerful vocalist, but his voice lacks the range and the emotion that Dann Huff brought to the group.  Likewise, Roth is a more than competent guitar player, but he sounds like he is trying to play Giant songs rather than actually being a member of Giant.  Again, it is not a lack of talent that is the problem...he just doesn't have the style or the sound that Huff has.  Just compare Roth's guitar playing and the two tracks that Dann actually performed on here, and it is obvious there is a difference.  That difference is a large part of the Giant sound.   

Additionally, I think it is pretty obvious the difference in songwriting style.  Dann Huff did write five songs and co-wrote two more, which is roughly half the album.  Is it coincidence that even without reading the songwriting credits I found "Our Love", "Save Me", "Double Trouble", "Two Worlds" and "Promise Land" (all written by Huff) to be my favorite tracks?  I really don't think so...  If you close your eyes and listen to the ballad "Our Love" and imagine Dann's vocals on it, you can just hear how it would have fit with the rest of the band's back catalog.  Meanwhile, "Double Trouble" is a rocker that would have fit very well on the Time To Burn album, which is the hardest rocking disc of the Huff & Huff era.  After going back and looking at the writing credits, I was only off on one, as I truly thought that Dann's hand was in the writing on "Believer", but instead it was his guitar playing that was contributed here.  That leaves just five songs that Dann had nothing to do with (he also wrote "Through My Eyes" and "Plenty of Love").

So what about those five songs?  Are they Giant songs?  To my ears, they are Giant songs in name only.  "Complicated Man", while a nifty rocker, sounds like it is a Van Halen rip-off (can't miss the "Hot For Teacher" riff...).  "Prisoner Of Love" is another song that is not bad, but it might seem like you have heard this before.  I think that's because the chorus sounds like it is something the band Europe might have used at one time, and also because musically it is practically the same as Time To Burn's "Lay It On The Line", at least as far as the guitar goes.  So, I guess that technically does make it a Giant song, huh?  The best of the non-Dann songs is the big-time ballad "Dying To See You" which has a nice, bluesy guitar, some subtle keys in the background, and feels akin to a classic Journey song more than a Giant song, but it is good nonetheless.

So, what is the verdict on Giant with a different lead singer and different guitar player?  This is difficult.  If this had been recoreded under a completely different name, I would say that this is an above average hard rock album with powerful, if not unique, vocals, competent lead guitars, and solid rhythm playing with just the right amount of keys to keep the song textures melodic and interesting yet not overpowering enough to make the album start to drift off into AOR territory.  However, as a Giant album, it is lacking two things...Dann's voice and Dann's guitar...and those are two very GIANT things to be missing.

Rating:  Rock this at 5.5 knowing that if Dann Huff had been a full-blown participant it would have likely been 2 or 3 notches higher...


Back To Reviews Index

OUTLAW BLOOD "Outlaw Blood"

(c)1991 Atco

1. Tower Of Love
2. Body & Soul
3. Last Act
4. Sink My Teeth
5. Every Day I Die
6. Soul Revival
7. I'm N Shock
8. Red Hot 'N' Blue
9. Slave To Love
10. Fall Thru the Cracks
11. Hollywood Babylon

Marc McCoy--Vocals
Rick Harchol--Lead Guitar
Marti Frederiksen--Guitar and Vocals
Larry Aberman--Drums
Nick "The Hammer" Parise--Bass

Outlaw Blood...major label band...big time producer (Jeff Paris)...video on MTV (for "Body & Soul")...  Ever hear of them?  No?  That's okay...very few have, which is a shame because this is a very good band that released just this one, underappreciated disc and then was swallowed up by the crater that the grunge meteor created when it hit the music scene. 

Outlaw Blood plays a great brand of melodic hard rock that is infused with hints of southern rock and a touch of Memphis soul.  Sure, some of the lyrics are a bit juvenile at times and rather obvious in their intent (anyone who doesn't get the meaning behind "Tower Of Love" probably doesn't speak English as a first language...), but such were the times.  And, let's face it...there were not a ton of overly "deep thinkers" in the Hollywood scene in the 1980's and early 90's.  But don't let this deter you from checking into Outlaw Blood, as they truly are a very good band, sounding more musically related to bands like Tora Tora, Tangier, or Baton Rouge when they are in bluesy-shuffle mode than they ever sound like the majority of the Sunset Strip glamsters.

The music obviously mattered to these guys as the performances are top notch.  McCoy's vocals and Harschol's leads, in particular, stand out on this effort.  "Slave To Love", "Body & Soul", and the previously mentioned "Tower Of Love" are all top-shelf rockers, as is "Sink My Teeth".   "Last Act" is a great southern hard rock ballad complete with a slide guitar and a big power groove that I don't understand how MTV and radio overlooked.   The same could be said of "Every Day I Die", which is another great ballad that has more soul and feel to it than most of the lighter-in-the-air ballads that became radio staples for other bands.

The album has numerous gems scattered throughout, with "Hollywood Babylon" being a personal favorite.  This is a great song that alludes to the entrapments of the Sunset Strip scene at the time, and almost comes off as a warning to the youth who may be dreaming of making it big in Hollywood.  "She Sunset Stripped me, Her high heels kicked me, 'Baby you ain't going nowhere'" the song warns in an unusually honest song.  Additionally, "Fall Thru The Cracks" is a thumping bass line, a catchy chorus, and ripping solo all wrapped up in one mid-tempo rocker that gets stuck in my head whenever I hear it. 

There are a couple of less-than-top-of-the-heap songs here, with "I'm In Shock" coming off as rather formulatic (that is a word, right?), and "Red, Hot, and Blue" sounds like a late addition to the album, not really fitting the same groove as the rest of the songs here.  Neither is terrible, but I also don't envision anyone listing either of these as their favorites on this otherwise very solid album.

Lead singer Marc McCoy became an ordained minister in the mid-90's and then died of cancer in 2000.  Rick Harchol also appears to have followed a similar path of faith, as he and McCoy collaborated on several Christian songs together in the mid-90's. (You can check out some of Rick's stuff here.) I don't know what happened with the rest of the band, but it would have been great if this band could have had the opportunity to enjoy some of the resurgent popularity that many bands of the 80's and 90's received, if that was something they would have been interested in.  As it stands, this self-titled disc is all that remains of an excellent band, and I highly recommend tracking it down.

Rating:  Crank this to 7.5!

Back To Reviews Index

SERPENTINE "Living And Dying In High Definition"

(c) 2011 Victor Entertainment

1. Deep Down (There's A Price For Love)
2. Philadelphia
3. Dreamer
4. Love Is Blue
5. Where Do We Go From Here?
6. Cry
7. Best Days Of Our Lives
8. Heartbreak Town
9. Nuremberg
10. Forgotten Heroes

Tony Mills--Vocals
Gareth David Noon--Keyboards, Vocals
Christopher Gould--Guitars
Gareth Vanstone--Bass, Vocals
Roy Millward--Drums

Occasionally I will put in a new CD without even really looking at who the band is, let alone who is in it; I just grab one or two new discs off the review stack, pop them in, and let them go.  Such was the case with Serpentine, a band that I had never even heard of.  I put the disc in, turned it on, and SWORE I had read the packaging incorrectly in my quick glance.  This HAD TO BE a new Shy CD that was titled Serpentine, because that is exactly what popped into my head when I heard the music, and especially the vocals kick in.  Of course, the reason for my initial reaction is because Tony Mills, the former singer for Shy (and also for Siam), and the current vocalist for TNT, is also the lead singer for Serpentine, and his voice is one that is unmistakable.  However, the similarities don't stop there.  This CD could very easily be mistaken for an updated version of Shy with modern production qualities, as the style of the music is uncannily similar: keyboard-fronted, yet still guitar-driven melodic hard rock with Mills' soaring tenor vocals and a solid rhythm section.

While I generally shy away (pun intended!) from albums that are this heavily keyboard laden, I have to admit to really liking this disc!  Yes, there are keyboards literally everywhere on this album, but they are mixed properly, not overpowering the rest of the band, which is key as the driving guitars are part of what keep this band and album from drifinting into the keyboard-heavy AOR territory that drives me bats.  This is not proggy or fluffy AOR...this is hard rock through and through....and it is performed exceptionally well.

The album starts off with, what else, a keyboard intro for the uptempo, melodic "Deep Down (There's A Price For Love)", and I will admit I was concerned, but once the drums and guitar kick in, and Mills cuts loose with his vocals, that Shy comparison just blasted me in the face.  "Philadelphia", one of the hardest rockers on the disc, continues in uptempo fashion with a solid drum-and-guitar intro and layers of vocals leading up to one of the catchiest choruses on the disc.  There is a Journey-esque quality to this song's melody that will leave a lot of listeners wondering if they haven't heard this classic feeling song before.  "Dreamer" has a galloping rhythm that carries it forward, again somewhat reminiscent of the more rocking moments of classic-era Journey.  Three tracks in and all three are solid rockers, much to my liking.

"Love Is Blue" is the first ballad on the album and it is a strong one with still more Journey mixed with Shy comparisons being evident here, with some very powerful lyrics similar in style to those you might find written by Shawn Pelata of Line Of Fire.  Excellent stuff here!

"Where Do We Go From Here" is a mid-tempo, somewhat proggy song that finds the band using some vocal phrasing that reminds me a bit of classic Queensrhyche, but not nearly as heavy and probably more keyboard influenced than the rest of the album.  There is a nice guitar hook in there, and an above average solo, but this song just gets too...lush is a good word...for me to really enjoy it.  It's not necessarily a skipper, but it really fades into the background for me.

"Cry" is a rocker that has Shy written all over it, with Mills really powering through the vocals on this one.  The keyboards are pushed back a bit and the guitars are allowed to come across as more aggressive and out front than on some of the other songs.  Excellent song that is one of the highlights of the disc for me.  "Best Days Of Our Lives" also sounds like it could have come out of the Shy catalog, as this mid-tempo rocker again showcases Mills' strong voice and a more melodic sounding guitar.  The same can be said of "Heartbreak Town" which, at first, deceives the listener into thinking this is going to be a very slow ballad before upping the tempo into a surprisingly driving rocker. 

"Nuremberg" is a song that I am not really sure what to make of.  It is the darkest sounding song on the album and the chorus sounds a bit clunky to my ears, possibly because it sounds like the middle syllable of the word Nuremberg sounds like it is cut out to make it fit.  It's just odd to my ears.  Additionally, in such a rocking song, it is frustrating to hear a keyboard solo where a ripping guitar solo would have sounded so much more powerful.  Much like "Where Do We Go From Here", it is not a skipper per se, but it is not my favorite by any means.

The album closes "Forgotten Heroes", yet another hard rocker with a deceptively mellow, piano-based intro that once again has Shy fans perking their ears up in appreciation.  Gould rips through a particularly tasty solo near the end of the record that has emotion just dripping out of it, and I can't think of a better way to end a suprisingly great record.

This unexpected album may have wormed its way into my Top 10 releases of the year so far, and to say I am shocked would be an understatement.  Somehow I missed the boat on this band because after doing some additional research, I found out that this is actually the band's second album (Touch Of Heaven came out just a bit over a year ago).  Sadly, I have also read that this will be Mills' last album with the band, which is too bad because I honestly prefer this to the music that he has been making with TNT which has, thus far, been somewhat disappointing for me.  For now I will definitely be enjoying this CD...and hunting down their first...as Serpentine is a truly great melodic hard rock band with excellent songwriting and outstanding musicianship.  Hats off to these guys for Living And Dying In High Definition is one of the absolute gems of the summer...I am greatly impressed!

Rating:  Crank this shocker to 8.5, with just a couple of minor misses holding it back...

Back To Reviews Index 

TESLA "Twisted Wires & The Acoustic Sessions"

(c)2011 Scarlet Records

1. Into The Now
2. Hang Tough
3. 2nd Street (new track)
4. Edison's Medicine
5. What You Give
6. Better Off Without You (new track)
7. Shine Away
8. I Love You (Climax Blues Band cover)
9. Changes
10. A Lot To Lose
11. Caught In A Dream
12. Song And Emotion

Jeff Keith--Vocals
Frank Hannon--Guitar
Dave Rude--Guitar
Tommy Skeoch--Guitar
Brain Wheat--Bass
Troy Luccketta--Drums

Perhaps it is fitting that Tesla chose to use their second unplugged album as a final chapter and reboot all at the same time.  Ater all, it was Tesla that essentially sparked the unplugged craze with their Five Man Acoustical Jam album, so what better way to say goodbye to one of the band's original members, as the second half of the album is the swan song for guitarist Tommy Skeoch.  Likewise, this album gives fans a chance to hear new guitar slinger Dave Rude in the acoustic setting that the band is at least semi-famous for.

To me, what makes this album a great listen is the fact that the band didn't simply rehash all of their biggest songs in an acoustic fashion.  There is no "Modern Day Cowboy", no "Love Song", "Gettin' Better" or even "Signs".  Instead, what we are treated to are versions of some of the lesser known songs in the band's catalog, including recently recorded songs like "Into The Now", which worked surprisingly well as an acoustic track.  "Shine Away" and "A Lot To Lose" are excellent songs for this type of recording and both really show the strength of Keith's unique voice which does not sound at all road-weary or strained, unlike a lot of the 80's singers who are still recording.  Of course the ballads like "Song & Emotion" work well in the acoustic format, but the same can be said of songs like "Edison's Medicine" and "Hang Tough", both of which are some of the harder rocking songs in Tesla's catalog.

There are two new Tesla songs here, as well as a new cover tune.  All three are strong songs, with the cover of the Climax Blues Band's "I Love You" fitting nicely into the set.  Of the two new originals, I would have to say that I think "2nd Street" is the strongest of the two, although I like both.  I would like to hear "plugged in" versions of both of these songs, by the way, so Tesla members...take that as a hint. 

The high point for me, outside of the amazingly well-executed "Edison's Medicine" is the acoustic rendering of one of Tesla's most powerful songs ever: "Changes".  I have loved that song since the first time I heard it on Mechanical Resonance, and that love has not changed or been altered by this new version.  Keith takes his voice down just a slight bit in register, but it does not take away from this great song, and it is a great inclusion on what I feel is a very good set. 

I don't know that Tesla will win any new fans with this Twisted Wires..., nor do I know that they indended to.  I do think, however, that long-standing fans of the band will find a lot to love on this recording and will enjoy hearing fresh takes on some of their favorite tracks as well as a handful of the band's more obscure songs.  The production is crisp and clean, which I will admit I was a bit concerned about with the shift to the Italian Scarlet Records label which is more known for their heavier metal acts like Primevil, Eldritch, and Necrodeath.  No need to be concerned it turns out, as Tesla sounds exactly as they should here...they sound like Tesla!

Rating:  Crank this at 8 and enjoy a bit of the past, present, and what the future has to offer!

Back To Reviews Index   

PETRA "On Fire!"

(c)1988 Star Song Records

1. All Fired Up
2. Hit You Where You Live
3. Mine Field
4. First Love
5. Defector
6. Consel Of The Holy
7. Sombody's Gonna Praise His Name
8. Open Book
9. Stand In The Gap
10. Homeless Few

John Schlitt--Lead Vocals
Bob Hartman--Lead Guitar
John Lawry--Keyboards
Ronny Cates--Bass
Louie Weaver--Drums

For those who may be unaware, Petra is, hands down, the biggest Christian rock act of all time, selling well over ten million albums, rivalling the total sold by Stryper.  By the early 1980's Petra had modified their sound to become more of a straight-forward rock band along the lines of Foreigner or Boston.  But with this, the band's third album with John Schlitt as lead vocalist (and the third album produced by the Elefante brothers), Petra released an album that was full-on hard rock, even bordering on metal on a couple of tracks and their popularity was never higher as the band earned their first Dove Award (think Christian Grammy) and were nominated for their fifth Grammy.

The first three tracks on this album leave no doubt that while the band was largely the same (with the exception of new bass player Ronny Cates), this Petra had an all new attitude and was out to "rock the hell" out of their listeners!  "Fired Up", "Hit You Where You Live", and especially the metallic "Mine Field" are all smoking rockers that really show the strength and power of Schlitt's vocals, the soloing skill of Hartman on guitar, and the thunderous sound that the Elefantes coaxed out of Weaver on drums.  As has always been the case with Petra, there is a fairly liberal dose of keyboards in the mix, but they are not a detraction from the sound on this album and actually provide a balancing point for the fans who may be more enamored by the AOR leanings of some of Petra's older material.  "Mine Field" actually reached number one on the Christian rock charts, as did the album's first ballad, "First Love". 

Personally, I have never been a fan of Petra's ballads, and this album is no different.  Yes, the songs are put together well and performed with great skill, but they are simply too keyboard-driven for me, never reaching the level of "power ballad" status, and, as such, falling pretty flat on my ears.  This is not only true of "First Love" but also "Somebody's Gonna Praise His Name" and "Homeless Few", which are, ironically, among the most popular ballads the band has ever released.

When the band is rocking on this disc, however, they do no wrong for me.  "Defector" is another excellent hard-rocker, and "Counsel Of The Holy", a song about the Bible, is a great, great mid-tempo hard rock song which again pushes the boundaries of metal and showcases some of the strongest vocals Schlitt had delivered up to this point (along with "Mine Field").  "Stand In The Gap", while not as hard-hitting as some other tracks, is still a very good rocker which is not out of place on the record.

Unlike Stryper, who has always had strong crossover appeal to non-Christian audiences, Petra has never really caught on with the secular music buying public, and that is a shame.  In my opinion, the period from 1986 (Back To The Streets) to 1991 (Unseen Power) features some of the strongest material from any of the Christian bands and rivals the material put out by Petra's secular counterparts.  On Fire! may be the best of the bunch, especially if you are looking for the hardest, dare I say "heaviest" material the band had ever released (at least until the Jeckyll And Hyde album in 2003), and it is an album I feel all hard rock fans, Christian or not, would be wise to check out.

Rating:  Despite my lack of love for the ballads, this album is still crank-worthy...juice it to 7.5!

Back To Reviews Index