LYNCH MOB "Sound Mountain Sessions"

(c) 2012 Rat Pak Records

1. Slow Drag
2. World Of Chance
3. City Of Freedom
4. Sucka

George Lynch--Guitars
Oni Logan--Vocals
Robbie Crane--Bass, Backing Vocals
Scott Coogan--Drums

I don't know what it is with George Lynch and EP releases.  Following up his own solo release a few months ago, George dusts off the Lynch Mob monicker, calls up his buddies Oni Logan, Scott Coogan, and Robbie Crane, and treats fans to one of the most satisfying mini-releases of 2012 so far.  Sound Mountain Sessions is a logical follow-up to the last full-length record, 2009's Smoke And Mirrors, but I think this EP is actually superior despite its brevity.  Oni Logan is in top form vocally, absolutely nailing the 70's-tinged bluesy, gritty feel of the four tracks included here, and the groove that is locked in by Coogan and Crane provides a solid framework for Lynch to work his magic upon.  In fact, I would say that this is Lynch's most inspired sounding (albeit not most technical) work in quite some time, relying on soul and feel more than flash and speed and tricks.

"Slow Drag" opens things off with a very Lynch-esque riff, but a much blusier vocal approach than Logan has used in past efforts.  In fact, I don't recall Logan spending this much time in his lower register for an entire song, let alone for an entire release.  That's a shame, as I feel this is the best Logan has ever sounded, tackling the 70's styled approach, a la Badlands, Red Sea, or other similar bands, with power and confidence.  As one would expect, there is a very nice Lynch solo on this track, but it's a cleaner-sounding, more understated type of solo that enhances, rather than dominates, the track.   

"World Of Chance" has another big vocal effort from Logan, especially on the chorus, but the dirty sound of the guitars on this mid-tempo groove-heavy rocker is what grabbed me the most.  Again, a perfectly-fit solo really connects this song which also features some excellent rhythm guitar and bass work.

"City Of Freedom" is probably the closest the album comes to an "anthem", if you will.  It still never reaches break-neck speed or anything like that, but the power of this track is impossible to deny, and the positive lyrics, propelled by Logan's powerhouse approach and Crane's adept backing vocals, really drive this track home.  Lynch takes a bit of a southern rock styled approach to the guitars here while still utilizing the bluesy style that is prevalent throughout the disc.       

For me, the real treat on this effort is the EP's closing track, "Sucka".  Featuring a scorching solo, "Sucka" also incorporates some rather unique tribal rhythms from Coogan during the chorus, and some pretty intense double-bass work near the end of the track.  I can imagine that this track will instantly find its way onto Lynch Mob mixes on iPods and mp3 players across the country, as it has that definitive Lynch Mob feel that I think has been at least partially absent since Wicked Sensation.  As such, this is probably the most "familiar" feeling of the tracks here, especially from Lynch, and really sets the stage for the next Lynch Mob effort, which I hope is next up after the T And A project Lynch and his former Dokken bandmates Jeff Pilson and "Wild" Mick Brown are completing.  I'm also hoping that Lynch keeps this particular version of the band intact, as Crane and Coogan are the perfect bottom end for this style of hard rock and the band sounds like a BAND, and not just a George Lynch backing vehicle, for the first time in a long time.  Perhaps this is due to the fact that every member of the band had a hand in writing the music on this disc, with Logan writing or co-writing all of the lyrics.

For those who care, the album comes in a digi-pack of sorts, with no lyrics, but a couple of nice photos and full credits.  Don't let that hold you back, however; get Sound Mountain Sessions as soon as you possibly can.  Just jump over to Rat Pak Records to snag your copy! 

Rating:  Crank this little gem to 8!

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SHIT THE COW "Volume/Cow"

(c) 2012 Independent Release

1. Head Over Wheels
2. Darkness Never Ending
3. Shit The Cow Is On Fire
4. Holy Cow

Daniel Kjellberg--Guitar/Bass
Peter Soderberg--Guitars/Vocals

Umm, no...this isn't a joke.  Shit The Cow is a very real, surprisingly good, two-man project from Sweden.  Labeling themselves as "scrapyard rock", Shit The Cow combines an Iggy Pop-meets-The Pet Shop Boys-meets-The Refreshments sound with some lo-fi garage rock sensibilities and a fair dose of 80's New Wave music thrown in.  If this sounds like an eclectic mix, it is.  If it sounds like it could be a train wreck of epic proportions....it certainly could be if not handled properly!  Perhaps it's a good thing this is just a 4-track EP, because I am not sure where this band would end up sonically if they went another four or five tracks!

The album opener has a punked-up surf rock sound to the guitars with synthesized vocals that really recall a lot of the 80's New Wave scene.  The raw bass thumping along with the programmed drums help provide the foundation for a lyrically-repetitive song that, for some reason, I find oddly catchy.  "Darkness Never Ending" continues the band's New Wave worship, but this time taking a darker musical slant that gives a nod to The Velvet Underground...as performed by Monster Magnet!  "Shit The Cow Is On Fire" is a sparse number that recalls some of the music recorded by the Refreshments, but with vocals that are a DEAD RINGER for those of Boys Don't Cry a la "I Wanna Be A Cowboy" from 1986 and one of the most ridiculous choruses I think I have ever heard.  And then, with the EP's closer, "Holy Cow" is the darkest sounding material on the disc, with quasi-angry vocal, fuzzed-up bass, and some noisy guitar tones muddling along through this 80's retro romp.  Do you get what I'm saying here?  There is really no simple way to identify what the band is doing here other than to say you likely haven't heard anything like it in quite some time, if ever.  This EP reminds me of the soundtrack of an 80's movie that would always feature one or two top 40 singles and then all sorts of underground garage rock.  In fact, I think you could take Volume/Cow and plug it into the background for Christian Slater's Pump Up The Volume, or Kiefer Sutherland's Lost Boys, with very few people knowing a difference at all as long as you left "Lunatic Fringe" and "Lost In The Shadows" in their respective movie's soundtrack!

The packaging is about as simple as it can get, as this EP comes in a cardboard slipcase with no pictures, notes, lyrics, or anything else.  Heck, had I not been sent what passes for the band's press kit along with the CD, I wouldn't even know who played on the disc!  This is a total indy project all the way. 

Shit The Cow is retro in the truest modern sense, and true children of the 70's and 80's are likely to feel a sense of nostalgia for 1986 Top 40 radio when they spin Volume/Cow.  I will NEVER say that Shit The Cow is going to be a frequent player for me...but I will say I would like to hear more from these two guys, if for no other reason than to see if the train wreck I mentioned in the opening paragraph ever occurs!

Available on iTunes, Spotify, and Amazon.com if you choose to check it out...

Rating:  Rock this to a bizarre...and still charming...6.5.

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ANOTHER LOST YEAR "Better Days"

(c) 2012 Megaforce Records/Thermal Entertainment

1. Better Days
2. War On The Inside
3. All That We Are
4. Broken
5. What I Deserve
6. Angels
7. Runaway
8. Last Goodbye
9. Writing On The Wall
10. Come And Gone
11. Forgot About Us

Clinton Cuanan--Lead Vocals
Adam Hall--Vocals/Guitar
David Whitaker--Guitars
Lee Norris--Drums
Andrew Allender--Bass

Ok, let's get it out of the way.  One of the first things people are going to say about Another Lost Year is how much Cuanan sounds like Scott Stapp of Creed at times.  There.  Said it.  Get over it.  Now, to be fair, I have never been a Creed/Stapp hater like so many others.  Sure, some of their radio material was pretty whimpy, but that was what was frustrating...the best Creed songs were left on the album.  Let's hope that isn't the case with ALY because Better Days has a lot of solid material to offer...and a couple of lesser tracks, as well.

The album's opener is a solid, if unspectacular modern rocker, but the lead single, "War On The Inside" is a definite keeper, as the melodic mid-tempo rocker really showcases the strengths of this North Carolina band, as does the follow-up track, "All That We Are", which really lets the band explore their harder rocking sound.  "Broken" fits this mode as well, kicking off with a crunching guitar riff and pounding drums before Cuanan's vocals power this song into what I feel is a can't miss hit at modern rock radio.  The same can be said for the killer album closer, "Forgot About Us", which may be the sleeper track of the disc, with it's buzzing guitar intro and chugging rhythm which lay the foundation for some of Cuanan's darker, angrier sounding vocals. This, for me, is what more of the modern hard rockers should be shooting for, and I can listen to this stuff all day long!   

For the most part, in fact, all of the hard numbers here are very well constructed and carry the album.  The problem for many people is going to be when the band slows down into what, intentional or not, comes off like pure Creed-worship.  "Angels" is a perfect example of this, as this sounds so much like what Creed was offering up a few years ago, my wife actually thought it was Creed.  One thing that keeps "Angels" afloat for me is the addition of Lish Rimer's soaring vocals.  Her higher range is a nice compliment to Cuanan's lower-range tenor, but the programmed strings and "Arms Wide Open" feel are going to be a tough pill for Creed-haters to swallow.  "Run Away" is a sparse number that again relies too much on the programmed string section, at least for my tastes, and comes off as sounding like a direct stab at pop radio.  "Come And Gone" is an acoustic number that likely would have fit well on Creed's debut My Own Prison album, which I consider to be a compliment as I really like that album.  Again, I don't necessarily dislike these songs because, as I said, I have never been a Creed hater.  That being said, there are so many better songs on this album that I am afraid it is going to be these slower songs that people latch onto and bash the band over.

The packaging is a minor drawback here, as there is only one VERY hard to see band picture, a simple, single-fold insert, and not a single mention of who plays what instrument (I had to look it up on the internet).  All of the lyrics are included, which is a bonus, and I'm guessing the band's budget forced them to worry more about the music than the packaging, which, in today's digital download era, is what's most important anyway.

All in all, Better Days is a solid, if sometimes unspectacular record, that features a couple of sure-fire modern rock radio hits that should keep Another Lost Year in the spotlight long enough to get their sophomore album out.  Hopefully the next one won't run into the typical sophomore trappings of attempting to score crossover appeal and suffering from a case of "sameness syndrome", where several tracks start to run into each other and lose their distinction, which does happen a bit here toward the middle with multiple mid-tempo numbers in a row (although a couple of these are very strong).  These guys need to remember that they are a solid, rocking band, and should play to that strength, as they have a very good guitar tandem and a thumping rhythm section to go along with a knack for writing catchy hard rock songs.  When this album is going balls-out, which is most of the time, it is far above average and better than a lot of what gets passed off as rock today.  People that choose to ignore the talent and go for the obvious Creed-clone bashing are going to miss out on a solid album from a talented band with a good helping of promise.  Their loss, I guess...



Rating:  Despite a couple of misses, the good far outweighs the bad and I still recommend rocking this to 6.5...
     
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WAYLAND "Welcome To My Head"

(c) 2012 Ironworks Music

 

1. Nobody's Perfect
2. Welcome To My Head
3. On My Knees
4. Fire Down Below

Mitch Arnold--Vocals

Phillip Vilenski--Guitars

Tyler Coburn--Drums

Dean Pizzazz--Bass

 

Named after their hometown, Wayland is a modern hard rock band that throws a definite nod to the past.  But we aren't talking the 90's or even the 80's here.  Wayland seems to be more infused by the 1970's southern rock sound than anything, as is evidenced throughout this little teaser of an EP.  If I had to pin the sound down further, I would say you could almost label Wayland as a heavier Black Crowes in their approach, but that isn't entirely accurate, either, as Wayland carries enough of a modern take to their sound that they really don't sound like anyone in particular.  You just know where their sound is coming from when you hear it. 

 

Each of the four songs presented here are just a bit different in approach from each other, but all fit together well.  Does that make sense?  Whether it is the current modern hard rock radio single "Welcome To My Head", the more commercial sounding melodic rock of "On My Knees", or the guitar-driven, classic AC/DC styled "Nobody's Perfect", each track has it's own identity.  In the end, however, Arnold's powerful vocals, and the band's workman-like approach to their music, mixed in with that southern rock swagger I mentioned, brings everything back together on an all-too-short EP that is almost cruel in the way it teases and tempts the listener.  I have left this EP playing on repeat for multiple listens both out of enjoyment and frustration as I keep hoping there will be a hidden track I have missed somewhere!

 

Packaged in a simple cardboard slipcase, there are no notes, no lyrics, and I had to hunt down the band members names on-line, but there is a lot going on inside, and that is really what counts, right?  I just hope that the next time these guys decide to send me something, they send MORE!!!

 

Rating:  Crank this little temptress up to 7.5!

 

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THE LAST VEGAS "Bad Decisions"

(c) 2012 FrostByte Media/eOne Entertainment

1. Beat To Hell
2. Other Side
3. Bad Decisions
4. Evil Eyes
5. Don't Take It So Hard
6. She's My Confusion
7. It Ain't Easy
8. My Way Forever
9. Leonida
10. Devil In You
11. You Are The One
12. Good Night

Chad Cherry--Vocals

Nate Arling--Drums

Johnny Wator--Guitars

Danny Smash--Bass

Adam Arling--Guitars

 Chicago's The Last Vegas has returned with their most ambitious, cohesive set to date in Bad Decisions.  Picking up where they left off with 2009's Whatever Gets You Off, The Last Vegas beefs up the sound on this one, but they don't alter who they are.  Combining definite 1970's hard rock overtones with a modern take on the sleaze style, The Last Vegas continue to impress with their songwriting abilities, their musical performances, and their overall recorded sound despite not receiving backing from a major label. 

For me, the major improvement on Bad Decisions is the overall songwriting and delivery.  In the past, albums by The Last Vegas typically consisted of about 4-6 really strong songs with a handful of lesser tracks that were propped up by the attitude and style of the performances. While that attitude is still present, the songs don't need to be salvaged any longer; the lesser tracks have been weeded out for the most part and we are treated to (mostly) nothing but top-shelf songs.  There are several stand-out tracks for me, including the single "Evil Eyes", which is easily the most modern sounding cut which Cherry states in concert is "about his hobby of voyeurism".  Other outstanding cuts would include "She's My Confusion", the crushing, riff-driven album opener, "Beat To Hell", the Aerosmith-inspired "Other Side", and the title track, "Bad Decisions".  "Leonida" has a definite 70's swagger to it that most fans will find instantly catchy, and "It Ain't Easy" has a groove and sound that you will swear you have heard before but can't quite place. 

The only song on the disc that misses at all for me is the closing ballad, "Good Night".  Perhaps I have just come to expect my Last Vegas music to have me bobbing my head/tapping my toes/pounding on my steering wheel, and this slow album closer just doesn't do much for me at all.  The performance is not the issue...I just don't care for the track.  Maybe that will change with time.

Cherry's vocals are as unique and pronounced as ever, but there is a bit more attitude to the delivery this time around, even if the production on the album has taken a bit of the rawness out.  He continues to slip between a higher, almost Tom Keifer-like rasp and a bottom end that reminds me quite a bit of Axl's lower range. The guitar tandem of Wator and Adam Arling is tight and feeds off of each other, which is especially noticable in a live setting.  Whether riffing through the rhythm guitar parts or tearing into some quick and tasty leads, the guitars are definitely a plus for this band, especially in a musical world that seems satisified with sub-par axework most of the time.  As always, the rhythm section of Nate Arling and Danny Smash really delivers throughout, pummeling the bottom end of each of these tracks. 

Really, there is very little to not like about this album, in my opinion, even down to how the album was made and released. The production is crisp with all of the instruments easily discernable from each other and no one buried in the mix. The packaging, despite being a dreaded digi-pack, is upper-tier with multiple full-color photos, full lyrics, wiritng credits, contact listings, etc. 



As you can see, my copy was autographed (yeah they misspelled my name and had to write over it!!!) when I was fortunate enough to meet the band when they performed at Sculley's Shooters in North Platte, NE on Sept. 7, 2012.



 As of this review, Bad Decisions has only been out for a couple of weeks, so if you have not yet had a chance to track down a copy, by all means DO SO, either from the band's own site (www.thelastvegas.com ) or from any number of on-line outlets, including Amazon and iTunes. 

Rating:  Crank this one up folks, setting the dial to a healthy 9!

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JACKYL "Best In Show"

(c) 2012 Mighty Loud Entertainment

1. Best In Show
2. Encore (It Makes My Bic Dig Her)
3. Screw Driver
4. Horns Up
5. Golden Spookytooth
6. Cover Of The Rolling Stone
7. Walk My Mile
8. Favorite Sin
9. Better Than Chicken
10. Don't Lay Down On Me
11. Eleven
12. It's Tricky (hidden)

Jesse James Dupree--Vocals, Guitar, Chainsaw

Jeff Worley--Guitars

Roman Glick--Bass

Chris Worley--Drums

Like a lot of people, I am sure, when I saw the title to the new Jackyl CD, I thought it was a greatest hits disc.  While technically that is not correct, I can't say that it is completely wrong, either, as this may very well be the best album Jackyl has put out in at least fifteen years, if not their entire career!  Part of this, I feel, stems from the fact that this line-up of the band has been together since 1998, giving the current line-up more time playing together than any version of the band's history.  As such, there is a tightness, a cohesion, in the performance of the songs, that is not always present when bands are constantly shifting members.  Of course, as has always been the case with Jackyl, it's the attitude of the songs that really drives the band, and Best In Show is no different in that respect.  Numerous songs on this fun raunch-fest are sure to find their way into live sets, onto iPods, and onto personal "best of" compilations, finding a home next to "Down On Me", "When Will It Rain", "Locked And Loaded", and "The Lumberjack" in a smooth, seamless fashion.  There is never a doubt that this is Jackyl....

Jackyl has come back full-force, picking up where they left off with the very good When Moonshine And Dynamite Collide from 2010, and adding in even more grit, more balls, and all the sleaze and innuendo that has made whatever version of the band that Jesse James Dupree puts together an absolute blast to listen to!  

From the very start of the album, it is apparent that Jackyl is here to rock your face off, and that attitude continues throughout most of the disc.  Whether it's the guitar work on Jeff Worley on the opening title track, or the thunderous bass playing of Glick, which is especially evident on the jaunty "Encore (It Makes My Bic Dig Her)", Jackyl proves that there is more to the band than a chainsaw and some humorously tongue-in-cheek sexual innuendo-laden lyrics, although there are plenty of those, as well.  I mean, who else but Jackyl would even attempt to write a song with the lyrics "I like poontang better than chicken" ("Better Than Chicken") or compose a song today that is all about extolling the virtues of a particular stripper ("Encore")?  Answer?  No one...at least not the way that Jackly does it.

Oh...and yes, the chainsaw does show up in the excellent version of "Cover Of The Rolling Stone", complete with a "stomp-stomp-clap" rhythm section that Queen would have sworn was lifted straight off of "We Will Rock You".  While many people have attempted to tackle this relatively simple song, few have done so with any degree of success, and while I thought Poison did a credible job on their Crack A Smile album, their version misses the mark when compared to Jackyl's take.

The band makes no attempt to update or alter their sound at all, which is refreshing, but that does not mean there is no growth on this album.  A perfect example of this is the track, "Walk My Mile", which has a bluesier feel than what most people are going to typically associate with Jackyl, but at no time does this song feel like it doesn't fit this set.  It's darker and angrier in tone than anything else in the band's catalog, and yet the listener will still find a comfort level here that will have him or her nodding along to the groove as they not along to the concept of the lyrics as well.  Jeff Worley's guitar work on this track is stellar and really adds a soulful feel, and Jesse cranks up the soul as well, but at no time is there any doubt as to who is singing this track.

There is also a slower moment or two on the track, but they are more mid-tempo southern rock in nature than true ballad material.  The best example of this is "Don't Lay Down On Me", which is a great ode to friendships and love, that is, again, probably more lyrically mature than much of what people are going to associate with Dupree and his gang.  They make it work, however, and at no time did my finger even flinch toward the skip button.

Always looking to shake things up a bit, Jackyl closes out this album with a hidden track, choosing to update the Run-DMC rap classic, "It's Tricky".  Before you cringe, I have to tell you that you really should give it a listen.  Not only do they add a couple of lyrical lines themselves, you can hear the grin that is plastered on the faces of these guys as they rock their way through this odd cover choice.

Stand out cuts are difficult to pin down, as there are no real off numbers here.  My personal favorites would be "Eleven", "Horns Up", the title track, "Walk My Mile", and "Screw Driver".  If I HAD to pick a song that doesn't work as well for me, I guess it would have to be "Golden Spookytooth" which just never grabs me for some reason.  Other than that very minor hiccup, however, this album is pretty much flawless, and, as I stated in the opening paragraph, quite possibly the best, most complete album in the band's 20 year history.  Here's to 20 more years from this seemingly tireless band, as Best In Show is definitely a mid-year contender for Album Of The Year here at Glitter2Gutter...even if it does come in the dreaded digi-pack!!!

Rating:  Crank this slab of southern sleaze to a killer 9!

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JOIN THE DEAD "Join The Dead 4 Song EP"

(c) 2012 Roxx Productions

1. Out Of Breath
2. Mask Of Fear
3. Self Inflicted Pain
4. Idol Faith

Paul White--Vocals

Mike Phillips--Guitars

Tim Kronyak--Bass

Ed--Drums

While not normally the style of music covered here in Glitter2Gutter, Join The Dead made me sit up and take notice when the EP arrived in my mailbox.  Playing a rarely utilized, under-appreciated Bay Area thrash style, Join The Dead is the closest thing to a Christian metal supergroup, with guitar player Phillips having previously performed with Deliverance, Fasedown, and The Sacrificed, Kronyak also having been in Deliverance, and White previously fronting the lesser-known Decadence.  From note one, all the way through the end of this all-too-short EP, Join The Dead treats the listener to a tasty sonic assault that will leave fans of old-school Testament, Exodus, Forbidden, and even older Metallica, grinning from ear to ear as they threaten to snap their neck while moshing around the room!  

Fans should appreciate the lyrical content which delivers a Christian message without giving listeners a Bible beating across the forehead, and White's vocals are easily understood and powerfully delivered.  With a tone and style that at times reminds me of a younger Chuck Billy, I really like the phrasing that White uses and the way he half-snarls, half-barks his lines in places.  Equally entertaining for me is the guitar work of Phillips, whom I have always enjoyed in Deliverance and Fasedown.  He brings a bit of a Deliverance feel to the guitars on my two favorite tracks here, the pummeling album opener "Out Of Breath", and the speedy "Mask Of Fear". 

The drumming is an interesting feature here, as a couple of people I have chatted with get the impression that "ED" actually stands for electric drums, which I guess is a possibility.  Regardless, there is some absolutely crushing drumming on this EP, so if these are programmed drums, kudos to whomever did the programming because it is top-notch. 

Thrash fans should find plenty to enjoy on this short tease of an album.  There will be a limited edition release which will feature an additional 13 tracks including some live material and and demos, so lucky fans who are able to snatch that one up will get the chance to hear even more from this band that I think has a very solid future should they decide to go forward from here.  The cool thing about those bonus tracks, at least for me, is that they include performances by some other huge names from the Christian metal scene, such as Greg Minier and Jim Chaffin from The Crucified, and Jimmy P. Brown II from the mighty Deliverance!  To see if you can snag one of these, head over to www.roxxproductions.com and check out their store.

Rating:  Metalheads celebrate and crank this offering to a great 8.5 while hoping that there is more from these thrashers in the not-too-distant future!  

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CRASHING BROADWAY "The Words Crossed Out"

(c) 2011 Vindigo Publishing/Crashing Broadway

1. Crutch
2. Always Angels
3. No Strings
4. Best Of Me
5. Maniac
6. Back To Low
7. Slow Motion
8. Little White Lies
9. Freedom To Choose
10. Love Passes Away

Kacye Haynes--Vocals

Chaise Hubbard--Bass

D Riggs--Drums

Justin Swinney--Guitars

Tee Jay Timms--Guitars

Hailing from Tupelo, Mississippi, Crashing Broadway is a young, modern rock outfit that combines much of the radio rock sensibilities of the day with a definite melodic bent that many more old-school AOR and melodic hard rock fans are likely to find to their liking.  I'm not trying to say anyone will mistake this combo for a newer version of a Sunset Strip band, because they won't; there is far too much modern sound in the way the band approaches their music, especially with the programming and synthesized strings used fairly liberally throughout the album.  However, there is an old soul feeling to much of the music on The Words Crossed Out, one of the better indy debuts I have come across in some time.  Perhaps it's because these guys write songs about normal life and not abstract ideas that lose the listener.  It's an interesting approach more bands might be well-served to use... 

The album starts off with the most radio rock friendly track on the disc with "Crutch", which would play perfectly well alongside the Saving Abels, Evans Blues, Breaking Benjamins, and Shinedowns of the world, even if they are not quite as heavy as a Shinedown or Evans Blue.  Likewise, the truly sang, not screamed, melodic-yet-crunchy "Always Angels" or the snarky "Maniac" are likely to find a home on satellite radio at some point, or perhaps in an edited-for-language version on some of the more gutsy rock stations across the country.  On songs such as these, Kacye really gets to show the power and tone of his youthful voice, showing remarkable control and range belying his age.  This vocal skill is also really showcased on ballads such as the very strong, "Best Of Me", which has radio AND video hit written all over it, and album closer "Love Passes Away".  "Freedom To Choose", which the band dedicates to American troops when they are performing it live, is another outstanding rocker that should garner the band airplay at some point in the near future, and "Little White Lies" is the most aggressive, full-on rocker on this collection, going for an all grit-and-guitars approach rather than filling in the gaps with keys and strings and such.  The end effect is a good one, as this track is one of my favorites. 

Despite their youth (I'm guessing the average age of the band when they recorded this album couldn't have been even 25...), it sounds like Crashing Broadway has been writing and playing together for some time, as they are a surprisingly tight sounding outfit with no one person or instrument overpowering the other. The guitar tandem of Swinney and Timms provides a nice combination of crunch and distortion mixed with melodic solos that should keep modern rockers happy for quite some time, and the backline of Riggs and Hubbard provides a solid, if not overly complicated platform upon which to craft these songs.

There are a couple of tracks that I don't get into as much as the others, but even these aren't bad.  "Slow Motion" is a bit too poppy for me, although Kacye again gives an impassioned vocal performance on this song.  "Back To Low", is a decent enough track, but it sounds like a rip-off of a Skillet song to my ears and doesn't have the same original feeling that most of the other songs here do.     

While I could go on a bit more about the album, I think it is worth noting that Crashing Broadway really sold me on their skill and energy when I had the opportunity to catch them live at Sculley's Shooters in North Platte, NE earlier this month.  Kacye pull off his vocals in a live setting with every bit as much power and passion as he does on this album, and the energy of Riggs and Timms, especially, is infectious, to say the least.  Crashing Broadway was unrelenting throughout the majority of what turned into a nearly two-hour long set comprised of songs from this album as well as covers of such diverse acts as Tom Petty, Bon Jovi, Rage Against The Machine, and others.  One can only hope that the band, which performed as a four-piece on this night, can pull this energy, excitement, and diversity together on their next album, which I am anxiously awaiting.  In the meantime, if you get the chance to catch Crashing Broadway in the live setting, do so without hesitation...and pick up The Words Crossed Out while you are there.

Rating:  It's very possible I've been biased by meeting the band and seeing a live performance, but I would encourage readers to rock this at 6.5 with the high points far outweighing the few lesser moments on this debut.

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LOVE STRICKEN DEMISE "Psychotrip"

(c) 2012 Down Boys Records

1. Psychotrip
2. Celebrity High
3. This Life
4. Love And Hate

Nikki McKibbin--Vocals
Holly Wood--Bass
Billy Blair--Guitar & Vocals
Rico--Drums

Love Stricken Demise is an interesting collaboration of talent, largely centered around the former American Idol finalist, Nikki McKibbin.  Although not a founder of the band (that distinction falls to Billy Blair and Rico), it is hard to deny that a lot of the attention this band will receive is going to be due to the curiosity of the reality television sector.  Of course, Blair is no stranger to a lot of people, either, as he is something of a "movie star", if you will, having appeard in Jonah Hex and Machete, most recently.  So, I would imagine that the fame of a couple of members could be a good thing, but you still have to have the goods to back it up if you are going to make it past being a one-album or one-hit wonder.

I don't think that is going to be an issue with Love Stricken Demise.

On this little four-track EP, McKibbin and her pals Blair, Rico, and bassist Holly Wood (seriously, I can't make this stuff up...) put together a teaser of what they are all about.  And what exactly is that?  Well, taking things a step beyond the typical radio rock format, Love Stricken Demise dips their toes into multiple styles here, with the album's opener and title track, "Psychotrip" being a bit more glammy in its approach than the rest of the EP.  To me, the most noticable thing about this track, or any of them, to be honest, is the brutal drum assault that Rico lays on the kit!  This guy just flat out pounds his drums into submission on every one of these four tracks, regardless of the tempo or style.  McKibbin is also very noticeable here, as well, as her vocals instantly set her apart from the Evanescence/Halestorm/Lacuna Coil sounds that a lot of modern rockers seemingly go for, and chooses instead to use a deeper, dare I say more sultry sound in her delivery.  I'm not sure that McKibbin sounds like any one particular singer, but more like a combination of Joan Jett, Stevie Nicks, and maybe even Janis Joplin in the way she uses her voice.  The really odd thing, at least for me, is I like this approach even though I am NOT a fan of Nicks or Joplin by any stretch.  Go figure.  By the way, Blair rips out a pretty tasty solo on this one and the overall guitar work throughout the album, including some pretty cool sleazy tones, left me pleasantly suprised, to be honest.

The second track here, "Celebrity High", is also the weakest, in my estimation.  I just don't care for the pre-chorus or chorus at all, as it sounds disjointed.  The topic of drug abuse and rehab is a good one, especially with the approach the band takes with it lyrically, I just don't care for the delivery on this more hard rock-than-metal track.  Not terrible by any stretch, just not my cup of tea overall.

"This Life" is my favorite of the four here.  Taking more of a bluesy-classic rock approach than anything else, this is something I would LOVE to hear this band tackle on a full-album scale as I think they pull it off excedingly well and the style and approach really fit McKibbin's vocal delivery.  Once again, Rico apparently has something personal against his drum kit, and  he and Holly Wood lock down a very solid rhythm section here for Blair to riff away on.  Great song that I would like to hear a lot more of.

The album closer takes us almost full circle, again treading on metal territory, but with a punk attitude.  Once again Blair steps up with some very solid guitar work, showcasing his ability to play at a breakneck tempo, and while not doing anything earth-shattering, leaves little doubt about his skill and his inclusion in the band as something more than just a "name" to draw attention.  Likewise, McKibbin cuts loose vocally a bit more here than anywhere else, really bringing a metallic bite to her rasp.

The songwriting needs some polish, and the band likely needs to pick one specific style and focus on that, but this is not a bad EP by any means, especially as an introductory tool.  Being released on the Down Boys Records label (as in members of Warrant) is a nice boost as well.  I find it interesting that in the band's bio, Blair claims to have been a fan of Warrant since the Dirty, Rotten, Filthy, Stinkin' Rich days, as you can kind of hear a bit of that sleazy glam attitude in some of his playing here.  Also, I have to say it because you all know how I feel...LOSE THE CARDBOARD SLIPCASE!!!  There...I feel better now.

A solid introductory EP that really only has one weak track on it.  As such, I think it is safe to say that Love Stricken Demise has very solid potential and I look forward to a full-length release in the not-too-distant future.

Rating:  Rock this at a solid 6.

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TALKIN' TRASH WITH... Dan Chandler (Evans Blue)

What do Eric Church, baseball, Canada, and a chemical dye all have in common?  Dan Chandler, the lead vocalist for Evans Blue, was cool enough to give us a ring recently and gives us some answers to these questions as he gets his turn to speak his peace with Glitter2Gutter and to Talk a little Trash...

G2G:  Dan, thanks for giving us a ring...

Dan:  Oh man, I appreciate it...good talking to you, too.


G2G:  Dan, I'm gonna put you on the spot maybe, but I have to ask you...there's no one in the band named Evans, and there's no one named Blue, so what gives with the name?

Dan:  (Laughing)  The name came from a medical dictionary.  Evans Blue is actually a dye that a long time ago they used to inject into your body to determine...I don't know...something. (Laughing)  You know what, I didn't invent the name, so we'll say it has many meanings, how about that?  (Laughing)  I know that they quit using it because it was known to cause cancer, so...


G2G:  (Laughing) So your band is carcinogenic, is that what you're telling me?  Listening to Evans Blue could cause cancer?

Dan: (Laughing) Well, I'm trying not to say that, but... (laughing)...

G2G:  ...but that may be how it comes out...

Dan:  You never know!


G2G:  Now, you are the newest member of the band, correct?

Dan:  Yeah, I've been in the band for about three, going on four years now.


G2G:  Did you know the guys in the band beforehand, or how did this all come about?

Dan:  No, I didn't know them, actually.  I was in my own band for quite a long time, umm, and I had heard a couple of singles by Evans Blue, like I knew "Cold" and "The Pursuit", and I also had some friends of mine who were fans of the band.  So, a friend of mine pretty much just told me that the band was looking for somebody to be the new singer, so I went to MySpace at the time, and just asked them what they needed from me.  They sent me some tracks over and we ended up writing a lot of tracks together, before I even met the guys, and, umm, I flew out to Toronto and we got to know each other and we played together live, and the chemistry was really good, so...it pretty much went from there.


G2G:  You guys seem to have a kind of Spinal Tap drummer situation going on.  Do you have a current, permanent drummer on tour with you now, or are you still kind of winging things?

Dan:  (Laughing) Spinal Tap....(laughter)  Yeah, well, we have a drummer for this tour, but, you know, I think that it's just going to take time to make sure that whoever we have is the right guy.  We're going out with a guy by the name of Dusty Saxton, and he's an awesome drummer.  Dusty was referred to us by Jason Pierce, who is on the new record.  But yeah, you know, when it fits and it feels right I think it's going to be good, but I don't think anyone is in a huge hurry to just establish that fifth member yet. We just kinda want to see where things are going, you know.

G2G:  All right.  Now, as you said the band has been together for several years, and there was some success in the past and, as you said, you even knew some of their stuff before you joined the band.  But it seems like, at least to me, things really seemed to start clicking when you came on board in 2009.  Is there a more solid writing chemistry now that has led to some success?

Dan:  Well, its flattering for you to say that, but it's like...it's very painless, which is weird because of the distance between us, but you know, it's easy.  They send me tracks, you know.  We all click when it comes to the same style of music.  After being in the band for a while, you know, obviously the second record has really jumped up a couple of notches because we have a comfort level there and we know what each others' expectations are, and the chemistry is just right.  So...it's, like I said, it's easy, it's painless, it's fun, so yeah, man, we couldn't be happier with it.


G2G:  How bizarre is the world now when you can be in a band and not even live in the same country as the other members?  Isn't that kind of a weird situation, or is it just something that feels normal now?

Dan:  You know, it's definitely weird. The only band, obviously, that I've had this situation with is Evans Blue, but I didn't know exactly how this was going to work.  You know, there's a lot of things that can happen when you're in the same room writing with somebody as opposed to just sending tracks and riffs over the internet.  But, I mean, when we do go out for tours, or when we're hitting the studio, we make sure we have  a couple of weeks where we have a chance to sit down and really tap into the ideas that we have ready to go record or to take on tour.  So, yeah, we do get a little bit of that weirdness, but I think there's pros and cons to our situation.  I mean, one thing, everybody has their own time with the songs without everybody else butting in and trying to change it while you are still working on it.  Sometimes when that happens the song doesn't get anywhere, which I've experienced as well, because everyone wants to go with their own vision of how the song goes, but this way, we are more alone with the song and can get our own stuff out.  Everything just seems to be very...I don't know.  It works, that's all I can say.


G2G:  Have you noticed if there's any difference in the perception of the band or the success level of the band between the Canadian side and the American side?

Dan:  Umm, you mean like as far as the fans' perception?


G2G:  Right...

Dan:  You know, as weird as it might sound, we don't play Canada.  For one reason or another, we haven't been up there since I've been in the band.  I know the guys didn't really tour much up there before me, either, but the U.S. to us is really awesome.  I mean, we've toured a lot of different cities, obviously, and when we return to a city the crowds are getting bigger, our fans are incredible and are friends to us as well.  You know, it's what we call the "E-B Nation", because we have a lot of the same people coming out in support of us all the time.


G2G:  I've noticed that satellite radio has really started to embrace Evans Blue a lot, but it seems like a lot of traditional rock stations aren't as solidly on board yet.  Any thoughts as to why, or do you think that's more of a regional thing?

Dan:  Um, well, Sirius/XM has always been awesome to us and even more so now, like you said.  They just really get behind us, they believe in the band and what we're doing, whereas terrestrial radio, we have our markets where we get some great play and some good spins, and there are a lot of stations that are behind us.  But you know, the whole dilemma would be that there's a lot of bands out there that can get on radio stations through label support, or in a lot of different ways, but where we're independent, there's only so many slots for the playlist, you know, and we might not have the ties to some stations that the label bands do.  So, we either wait our turn to try to jump in front of some others as much as we can, but radio is generally pretty good to us, and I think it's just a different world now as far as radio and music goes, and we have to adapt to it and do what we can with what we are given.


G2G:  Changing gears, how has your summer been going, Dan?  I know you guys are gearing up for another tour now...

Dan:  Yeah, we're heading out and this tour will be the biggest production we've ever had as a band.  We're going all out with this one, and we really want to bring this new record and the theme of the record and present it the right way on tour.  So, I think we're all really looking forward to this new tour...

G2G:  Now the new album is called Graveyard Of Empires.  Is there some sort of special meaning behind that title?

Dan:  Yeah, you know, Graveyard Of Empires, to me, doesn't necessarily explain what's going on in the album, but it more or less explains a position in the music industry itself.  It's like, you know, the way that the world is, and things are collapsing, and the music industry is making drastic changes, and it just seems like...you it's kind of like a level playing field now with everything being torn down and everybody is starting to get an equal opportunity and a chance to rise up.  And if that means we have to come up with a new way to do things, then that's what we've got to do.  It's more or less tearing something down to rebuild it.

G2G:  Let's jump subjects again, Dan, and I'd like to know what Dan Chandler was like as a kid.  Did music come naturally to you, was it a priority in life?  What was young life like for Dan?

Dan:  Well, I grew up wanting to be a baseball player.  You know, pretty much as long as I can remember, from elementary school and throughout high school, I was just surrounded by baseball, and I thought that was what I wanted to do.  My dad, obviously pushed me in that direction because he was a ballplayer, but my sisters were all very musical.  They can all sing really well, but I never thought of myself as a singer or a musician, even though I liked to mess around with music.  I just never took it seriously until I picked up a guitar and made a couple of friends who played, and they showed me some chords and, you know, I wrote a song.  Now, that song is probably the most horrible thing I've ever done, but it was a starting point for me to fall in love with music, and once I did that, it just seemed like it wasn't a chore, it was something that I did because I wanted to.  And that's huge.  That's the one thing that I can say that stands out to me, you know.  I've never been forced to do this, or felt like it was a chore or a burden, you know, I love to play.  It's one of the things that I choose to do that nobody has to tell me to do.  So, you know, it stuck.  Once I chose to do it, it stuck with me.

G2G:  Who did you grow up listening to?

Dan:  I grew up on a lot of country music believe it or not.  I still like country music.  I grew up on country, but I like music from every genre, really.  I like some hip-hop music, I like rock...  You know, I think that Rob Thomas and Matchbox 20, when I was younger, was a really big influence to me as a songwriter, and there was always this passion in his voice.  Then, when I got a little older, I really got into Incubus, and I completely fell in love with that band with the album, Science.  That right there, to me, was the turning point for my thought process on music.  From there to Rage Against The Machine to Tool to...you name it...man, I just fell completely into all kinds of hard rock, and that is just what I was all about after that.

G2G:  How about any current favorites, or do you even have time to listen to music other than the music of the people you are touring with?

Dan:  Um, no, I listen to a lot of stuff, man.  Like I said, you know, depending upon who I'm with, I'll go from some of the new country, like Eric Church's stuff, then I'll go over to stuff like Three Doors Down, Three Days Grace, Breaking Benjamin, you know...  It's weird, you know, because you become friends with these bands you've been out playing with, and if you grew up listening to their stuff and now you're out playing with them...it's weird sometimes, but it's cool.  I don't know if it's bias or what, but you hear them differently once you know them, and you end up finding something new in them all, you know what I'm saying?

G2G:  Do you ever worry that listening to other stuff is going to influence you, or is that something you embrace rather than concern yourself with?

Dan:  I don't think I ever worry about it.  I think you've got to get your influence from somebody, and for me it's not really a riff or a topic, but it's more of a mood, you know what I mean?  A vibe.  Those are the things that I think can kind of influence you.  A lot of these tracks the guys send me, it's really just the mood that will bring the lyrics out for me.  I don't know exactly where I'm heading with it when I start to write a song, but then it's like when you go back and re-read what you've written, it's like the song is telling you something, you know.  It's very strange, but...  I don't know man, I think influence is awesome wherever you can get it.

G2G:  If you had to pick one song out of the Evans Blue catalog that you've performed on, what would you say your favorite is and why?

 

Dan:  Well, I think the one song that would stay with me forever will be "Erase My Scars".  I wrote that song...that was on the last record, but it was the last one that we added to it and it's kind of like a prelude to this record...it's staying with me for a long time.  We made a video for that one and my nephew, Chase Franklin is in it.  The song was written about my nephew who passed away from brain cancer, so it's something that I think I'll be the most proud of in the end, because it's something that I have that will last forever and it really meant something to me and my family.  You know, that kind of thing...real honest lyrics...to me, that is something that has longevity and will last forever.



G2G:  I totally agree with that.  Dan, how do people stay in touch with Evans Blue?  Are you guys big Twitter and Facebook junkies like so many other self-promoting bands now?

Dan:  Yeah, we are man.  We are constantly...well, I know me and Parker are constantly on Twitter and Facebook.  We're constantly replying to everybody and staying in touch with everybody.  It's cool.  You get to go around the country and meet new people all the time, but they're not necessarily new because you've visited with them before but now when you're visiting again it's face-to-face and stuff.  We want to meet everyone, and I, personally, would like to stay in touch with all the fans that want to stay in touch, because when this is all said and done, I might want to come visit Phoenix or Toronto or wherever, and I might need a place to crash or something!  (laughter)


G2G:  So you guys actually run your own accounts then?

Dan:  Yeah, definitely.  We run everything we've got, man...


G2G:  Do you think that social media has been a big part of your success, especially since you are an independent band?

Dan:  Yeah, I do.  I think that being in such close contact with the fans where a lot of artists can be unreachable and don't necessarily respond to their fans, I think that makes us more real to people and if you acknowledge them the way they acknowledge you, which is the way it should be as far as I'm concerned, then they're going to get your back, you know.  They're going to support you because they get to know YOU, not just your songs, and that's important.


G2G:  Do you have any problems with a lack of privacy, or have you reached that level of recognition yet?

Dan:  No, no, man...you know, if I'm playing in a city, um, that we have a good following in, sure, you'll run into a couple of people that know you, but its never to where it's too much.  In my hometown, you know, I usually hit the same spots, you know, and people that are friends of mine know that I'm in a band and it's pretty rare that anyone around me invades my comfort zone, you know what I mean...


G2G:  So Dan can still just be Dan?

Dan:  Oh yeah, absolutely.


G2G:  Awesome.  That's good to hear.  Dan, I want to thank you for taking the time to call me.  I wish you all the luck in the world with this new album and the tour.  I wish you safe travels, my friend, and I hope to catch you guys out on the road this summer.

Dan:  Thanks, man...I really appreciate the time...


Well, there you go, folks.  Apparently it is not required that you have a medical terminology background to be a member of a hard rock band...and it is okay to listen to country music, also.  Who knew?!  Thanks again to Dan Chandler for playing along and talking some trash with us!

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JOSHUA "Resurrection" (Collector's Edition)

(my Collector's Edition version)

(standard edition version)

(c) 2012 Majestic R&P

1. Divine Intervention
2. Where Eagles Fly
3. The Voice Of Reason
4. Blood On The Nile (long)
5. World At War
6. The Darkside Of Man
7. Behind The Walls
8. Live Out A Lie
9. Miracles
10. Promises
11. Blood On The Nile (single)
12. Sing Hallelujah
13. Dirty Games (bonus)
14. Secrets (bonus)

Joshua Perahia--Guitars

Mark Boals--Vocals

Scott Warren--Keyboards

Dino Maddalone--Drums

Bryan Fleming--Bass

Additional Musicians:
Rob Rock--Vocals on "Secrets"

Guitar virtuoso, Joshua Perahia, returns with his first album in over a decade with Resurrection, a nearly flawless record that combines power metal, melodic metal, and AOR into one smoking package!  There are going to be numerous comparisons to Yngwie Malmsteen's early work, which is made seemingly even more inevitable since former Malmsteen vocalist, Mark Boals, handles microphone duty on this album as well. 

Despite the fact that he has released several albums over the years, it is not uncommon for most people to immediately reference his 1988 album, Intense Defense, when talking about this talented musician's work.  In a lot of ways, Resurrection sounds like it could have been the logical follow-up to that masterpiece, as many of the same styles and tones are incorporated in this new album.  In fact, if you are one of the 888 people who ordered a copy of this album in Collector's Edition form (mine is number 33), you get to hear a bonus track, "Secrets", which was actually recorded for the Intense Defense album, and features Rob Rock on vocals (more on that in a bit).  A couple of other songs sound like they could have fit well on that classic album, as well, including the AOR-leaning trio of "Divine Intervention", "Voice Of Reason", and "Live Out A Lie".  "Promises" also has a very distinct 80's feel to it, although in more of a metallic, less-AOR fashion.  However, as good as these songs are, to me they are not the strength of the album.  That distinction falls on the heavier, more purely guitar-driven tracks that are sprinkled throughout this album.

Fans of heavier, more power metal-styled material are going to instantly salivate over "Blood On The Nile", especially the album cut as opposed to the single version which is also included in this collection.  "World At War" may be my favorite track here and is likely the heaviest on this disc, as well, with Boals really adding an edge to his voice that works well to convey the angst and urgency of the message incorporated in the song.  "Darkside Of Man" will also cater to the power metal crowd with its huge guitar riffs and some of the best drumming on the album.

The inclusion of Boals on vocals gives Perahia the opportunity to explore some more blues-based material on this album, also.  Nowhere is this more apparent or effective than on the gritty, heavy blues of "Behind The Walls" or "Miracles", both of which are among the very best songs on an album full of excellent material.  I, personally, could listen to an entire Joshua record of nothing but this style of hard, heavy rock, and be thoroughly satisfied, even if Perahia never completely let loose the blazing speed that he is often noted for.

There are a couple of lesser moments for me...not bad, just not the same high-quality material as the rest of the disc.  The almost praise-and-worship style of "Sing Hallelujah" doesn't really fit the flow of the rest of the album, and I think most people could have done with just one version of "Blood On The Nile", with the full album version (almost two full minutes longer) being the preferred version for me.  Of course, the radio edit is only found on this Collector's Edition, so I shouldn't complain...I actually paid extra for it!  I am also a bit suprised that I am writing this, but the little instrumental, "Where Eagles Fly", while nice, doesn't really do much for the overall feel of the album, although it does give the listener a chance to hear this project's keyboard player, Scott Warren, take a moment in the spotlight without Perahia's prodigious talent overshadowing him.  (Good for you, Scott!  Take a short bow...but pardon me if I skip this track most of the time...).    

As to the Collector's Edition version of this project, purchasers are treated to bonus tracks, "Dirty Games" and "Secrets" on this special edition, and both are nice glances at the past of the band.  "Secrets" was recorded during the Intense Defense sessions and features Rob Rock on vocals.  "Dirty Games" was recorded in 1991 and features that incarnation of the band, with, I believe,  Robyn Kyle Basuri of Red Sea fame, on vocals.  Both of these are excellent songs of suprisingly good quality, especially considering both are LIVE REHEARSAL RECORDINGS with no overdubs or edits!  Both fit the overall feel of this project fairly well, especially the more AOR-styled material here, and are welcome additions, in my opinion. 

If you ordered this special Collector's Edition, you are treated to an autographed CD, a hand-numbered and autographed die-cut cover (which frames the standard-edition cover), and a separate "thank you" type of card which has a Resurrection guitar pick affixed to it.  Pretty cool stuff for just a few additional dollars...or at least the collector in me says so!  Full credits, song lengths, and lyrics for the songs found on both editions are included here, and I am guessing that the full band photo found on the Collector's Edition is unique to this set as it is part of the die-cut cover I mentioned earlier.  Very cool, very professional packaging!  The only things I wish were included were the lyrics to the bonus tracks and the band line-ups for "Dirty Games" and "Secrets".

Regardless of the version you manage to get ahold of, one thing that is consistent OUTSIDE of the excellent musicianship is the lyrical message being delivered.  Perahia is a devout Christian and has always incorporated his faith in his lyrics, and the lyrics on Resurrection are not an exception.  With the exception of the previously mentioned praise-and-worship stylings of "Sing Hallelujah", however, the lyrics are never preachy or beat-you-over-the-head in their approach. Instead, Perahia uses various type of imagry to paint a portrait of his faith and beliefs and encourages the listener to seek out the Truth for themselves.  No one should find themselves offended by the words Boals sings over the music performed by Joshua and his bandmates.

All in all, an excellent return from a man, and project, that really has spent too much time away from the hard rock/heavy metal scene.  Let's hope that Joshua and Company return to the studio much sooner than this last time and don't make us wait another decade before unleashing an album of this quality!

Rating:  Crank this up...way up...to 9!  Welcome back, Joshua!

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XFactor1 "Famous.Last.Words."

(c) 2012 Megaforce Records/XNation Records

1. Bring It On
2. It's My Life
3. Over & Out
4. The Stroke
5. You Suck
6. Shadow Of Desperation
7. Tragedy
8. Parasite
9. Hope For Tomorrow
10. Break You
11. Live Another Day
12. Never
13. Miss Me Now

C-Lok Watkins--Guitars

Chris Crum--Drums

QBall Wolf--Vocals

Cody Joseph--Bass

Jesse Randolph--Guitars

A few weeks ago, I previewed this album for you when I checked out the two-song promo the band had sent to me.  Now, I have the enitre XFactor1 album, Famous.Last.Words. in hand and have had some time to get comfortable with things.  Much as I stated in that promo review, XFactor1 is a band that is somewhat hard to nail down with a singular description of style and sound.  Sure, they are definitely a modern hard rock band with some metallic hints , but they are not a band that is going to be mistaken for a clone of anyone else, thanks in large part to QBall's vocal style.  I am not going to say he is the best singer out there, because he is not, but I will say that his presentation is unique and definitely gets your attention.  As a band, XFactor1 has garnered quite a bit of attention themselves, as they spent a few weeks on Billboard's Heatseeker's chart and were also listed as a Red Bull band to watch in 2010.  So...did they live up to that promise?

Can I say maybe?

Inconsistency seems to be a problem on this album, at least to my ears.  Just when I think the band has a sound or style locked in, they switch gears almost completely and throw me for a loop.  Now, that isn't always a bad thing with an album, but here the stylistic changes are almost distracting.  When they are at their rocking best, such as on the ripping album opener, "Bring It On", the equally thumping "Parasite", or even on their cover of Billy Squire's "The Stroke" (yes, I said Billy Squire!), XFactor1 really grabs your attention in a positive way. "Over And Out" is another solid rocker which borders on metal, as do "Break You" and "Live Another Day".  If the entire album sounded like these songs, and still included the 80's sounding "Miss Me Now" (which actually sounds more 80's than their cover of an ACTUAL 80's song in "The Stroke"), I think I could have really gotten into this record.

The problems, for me, at least, lie in when the band does something seemingly to be unpredictible.  For example, when they pull something out of nowhere...like the acoustic "Never", or the Type O Negative-ish "It's My Life", it just throws everything out of whack.  The songs aren't terrible, but they don't seem to have any real reason for being here and don't even really sound like the same band.  The middle of the disc bogs down quite a bit with "Shadow Of Depression" and "Tragedy" going back-to-back, and this also serves to disjoint the flow of the album as well.  The lyrics to "You Suck" are also so cheesey and, dare I say moronic, that they tarnish what I think would otherwise be a pretty decent song.

Having never heard their previous album, which is the disc that garnered them the national attention they enjoyed a couple of years ago, I don't know if Famous.Last.Words. is a step forward or a step back.  I do know that XFactor1 has a pretty strong fanbase that is constantly sending me emails and links to videos, wanting me to get on board with this new album, which I have tried really hard to do.  I just can't say with 100% honesty that I am fully convinced of...nor am I totally opposed to...the hype that these guys have received.  As I said, if nothing else, they are unique in their style and sound...and appearance, for that matter...and I have heard they put on one heck of a live show, so if you get the chance, definitely check them out.  I can also say that they have a VERY good drummer, as Chris Crum's skills really help to bring to life the more metallic sounds of the material here.  As to the album, it is one that grows on me a bit more with each listen, but it's not going to be a threat to make the Top 15 at the end of the year, either.

Rating:  Spotty, but not bad.  Rock this at 6. 

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Talkin' Trash With Louis St. August (MASS)

Today, we shine the spotlight on the front man of one of the most underappreciated...yet still active...bands of the whole 80's scene, MASS.  Louis St. August was kind enough to give us a ring, so let's give him a chance to Talk Some Trash...  Oh, and if you want this to sound REALLY authentic in your head, read his comments with a Boston accent!


G2G:  First, man, I have to ask you...do you go by Louis or Louie?  Your email says "Louis" but the albums say "Louie".  I just don't want to call you the wrong thing...

(Louis is the one with shades...)

Louis:  (Laughing)  Not a big deal.  Yeah, I go by Louis.  I know some of the records say Louie, but that's just the stage name, you know, something the record company came up with back in 1982 or 1984 that I've been using ever since.  But either one is fine, really...

G2G:  Well, Louis, thanks for taking the time to call us and talk to Glitter2Gutter.  How have things been going in the MASS camp recently?

Louis:  Things have been going great, Arttie.  We've just been so busy.  It's just been a great roller coaster ride for MASS over the years.  We're just happy to still be doing what we're doing, but you know, lately, things have been so busy it's been kind of crazy for us.  MASS is working on our 9th album, we've been writing songs, you know.  The last album came out over two years ago, with Sea Of Black, so we've been working on new music, and between doing interviews like this one, and working on some publications, it's just been so busy.  Now that we're older, we all have families and children...in fact, I just had my daughter's twelfth birthday party this weekend, and that's crazy...and, you know, it's just...there's always something, always something happening with MASS.

G2G:  That's good to hear.  Now, Louis, I'm going to put you on the spot immediately with this next question, but I know a lot of people want to know:  why isn't...or wasn't...MASS bigger than they were?  You guys had the look, the sound, the songs...was it just bad luck, bad timing, what do you think it was?

Louis:  I think, well, I think you're absolutely right on a lot of those things.  I think it was definitely bad timing, but we've also had some bad problems in the past with management contracts, I mean, our first contract was so bad I think it hurt us right from the beginning when we signed with A&M Records.  I think if that record had came out when it was supposed to come out, things would've changed for us.  It just seems like we were tied up in legal situations in court for three years, then we finally got out of that contract via bankruptcy, then we signed with RCA Records three years later.  That went well, actually, and our record with RCA, called New Birth, was set to take off and we got dragged  back into court for using a couple of songs that our first management had a piece of, so that kind of put a stall on us again.  Then, when we got that resolved, umm, RCA was bought out by General Electric...  It's just...it just seems like a lot of bad things happened to us so early on, but we somehow managed to roll with the punches and go with the times and just continued doing what we were doing.  Everybody asks me this question or tells me, "you guys shoulda been a lot bigger, you're a lot better than so-and-so," and, you know, that's great, but its just all about timing and being who you are and, you know, that's what I think it's all about...being at the right place at the right time, and unfortunately I guess we weren't sometimes.  I really can't put my finger on one specific thing, though, so I think that we do have the songs and the music, but it just didn't work out like we hoped.  And, you know, it's tough..it's really, really tough to say what went wrong, if you want to look at it like that. 

G2G:  Do you think that possibly part of the problem was that people didn't know how to approach MASS?  There was some confusion among a lot of people at the time, you know with the name, the association with Michael Sweet of Stryper, the imagry, as to whether or not you guys were a "Christian" band.  What's your take on that situation?

Louis:  Absolutely.  I mean, the fans were a little bit confused on that take.  When we first...let me say this...we've always just been a melodic rock band from Massachussetts.  So, originally, people thought we called ourselves MASS because it was short of Massachussetts, but, you know, not really.  We came up with the name because we always thought the band had a really big sound, you know, a massive type of sound.  So, when we were coming up with names and I heard that, I thought it sounded really cool. 
Umm...I didn't really mind the church influence at all, I thought it would make for good talk or gossip, which never hurts.  And then, when we became friends with Michael Sweet and the rest of the guys in Stryper after doing some shows with them here in Boston, he approached us and said he loved the band and that he'd like for us to talk to his band's label, so we ended up going to Enigma Records back in '87 after we left RCA.  We ended up doing a couple of records with them, and of course Michael produced Voices In The Night, so, yeah, I think some of the bands started thinking we were a Christian band, the label started trying to shop us as a Christian band...our album cover for Take You Home, if you saw that cover it had a big cross on it, and we kind of chuckled and said what the heck, go with it, because it also reminded us of the Madonna, this big cross up in the hills around Boston...so yeah, that all kind of fed into that Christian band marketing which did confuse some people.  But, I want to say...we've always been believers in God, maybe some of the members more than others, but we've always believed in God and we've always been Christians as people, but we just never considered ourselves to be a "Christian band".  A lot of the songs that I write, you know, my lyrics are very positive and uplifting, and they do reference God at times in a subtle way, so I guess...  You know, we gained the Christian fans and we gained non-Christian fans, so I don't think its hurt us a bunch.  I think that maybe, if anything, it helped us to get to the level of success that we have managed to get to, if you think about it, so...

G2G:  Well, I want to say that I think it's refreshing to hear you not shy away from the fact that you're Christian, and while this isn't specifically a Christian website, we do review a lot of Christian bands.  I just think it's cool to hear you say, "I am a Christian, and I'm not ashamed of it, but that's not necessarily where we were trying to go with this"...

Louis:  Absolutely...absolutely....

G2G:  You guys have managed to maintain a very consistent line-up through the years.  In fact, unless I missed a change somewhere, you've only changed bass players, and just the one time, correct?

Louis:  Correct...

G2G:  Where do you think your consistency comes from?  I mean, so many band out there now have just one or two original members left...

Louis:  Umm...well, you know, we're from a small town called Revere.  Me and the guitar player grew up across the street from each other.  He actually wanted to become a drummer and I said, no, you're gonna be our guitar player, and we stole his Confirmation money and we went down and bought him an electric guitar!  Now, neither one of us could play the guitar, but we got the $50 or $75 or whatever it was, bought this little guitar, and we taught ourselves, you know, "Smoke On The Water" and a few other songs, you know, and that's really how the band started.  We got a drummer and turned him into a guitar player, and I was the singer and could play some guitar, and then we got our drummer a couple of streets away, and our first bass player another street past that.  So...you know, we all went to school together and grew up together like brothers.  Yeah, we fought a lot sometimes, but we all had the same goal and I think that's what kept us together like a family, and has kept us basically all together for all these years.

G2G:  Now, despite that band consistency, you guys actually went a long time without putting out a new album...ten or twelve years, or something like that...what was going on for MASS during that time?

Louis:  During that time, you know, the guys were getting married, having children, and of course there was a big decline.  You know we lost the...well, Enigma, our record company when Voices In The Night came out in the late 80's, and then into the early 90's...around 1991 or so, Enigma went bankrupt and they folded, so we didn't have a record company or contract anymore, and music started to change.  You know, the grunge started to come in, umm, and our style of music...you know, I hate to put a label on it, because I don't really consider our music to be "hair metal" or "80's metal", but I guess that's what it is, because that's the era we grew up in...so, there was a change, so we actually tried to sit down and go about writing our songs a little bit differently.  We thought about changing the name because times were changing and we were considering trying to shop our new music to a different label, and we did all of that for about three or four months and, you know, it just didn't feel right to us; it just wasn't coming from our heart because it wasn't music that we were meant to play and record.  So, a producer friend of ours who worked on our Take You Home record, flew us out to Jersey, and we did some demos that eventually became our 2007 release, Crack Of Dawn.  Anyway, this producer said, "guys...just stick with MASS and play it from your heart like you always do", and you know, he was so right.  So that's really what we were going through...we were growing up, there was a change in the music, and we didn't have a record label or contract to do our thing, and we didn't know if we even wanted to continue as MASS or go in a more aggressive direction.  But, I will say, I am very glad we stayed true to ourselves and our roots because even though none of the labels in the United States were looking for our type of music, I started shopping our stuff around in Europe and overseas, and I got about four or five record companies that were interested in us and we eventually signed in 2006 for a three album deal, and put out Crack Of Dawn, Sea Of Black, and we're writing the new one now.  So that's what we did...but you know, we continued the whole time to write and perform locally, and we added a few songs to some compilation albums that came out, and stuff like that, but pretty much, yeah, we didn't have a major album out through that lapse in time.

G2G:  Speaking of performing, does MASS continue to play out or have you become more of a studio band now?

Louis:  We play out.  We've done...well, we do about ten or twelve shows a year.  We've done shows around the New England area a lot, we've done the M3 Festival, we've also done the Rocklahoma Festival twice, umm...we've done quite a few shows.  We've played with Stryper and Cinderella.  We've got shows coming up with Tesla.  So, yeah, we've been busy playing, so we're not stuck to the studio or anything, we're just more choosey now, more picky now, at our age with what we've accomplished and what's going on in our lives...we're not 18 any more and we can't just jump in a van and go to New York for a night and play there, and then go somewhere else.  When we have offers from promoters we look at them as a band, see what makes sense for us or if its something that would help us or if it's something we want to do, like Rocklahoma or some festival out in California or something, we see if it's something that would be the best for MASS to make an appearance.  So, as a group, if we say "yes", then we'll do it.  So...

G2G:  Now, I know that you guys were always "hometown favorites" and that you guys had big, BIG radio support back in the day.  Does Boston and the surrounding New England area still take care of MASS as sort of local celebrities?

Louis:  You know, the WAAF's still play MASS pretty well, ummm...the local college stations do, but you know, that whole scene has kind of died here.  With some of these stations now being bought out by the big corporate stations, it just...it's just not like it was, that's for sure.  So, yeah, we still get some airplay, but it's definitely not like it was back in the day or anything.  You know, the stations that do still play rock up here do still play MASS, but we're not getting the play on the KISS108's or stations like that that now play the more poppier-type stuff.  I don't know if that's because we don't have a record label behind us that is pushing for that stuff or if it's just a change in the times or what.

G2G:  On an individual note, you recently did some work with Justin Murr and Liberty N Justice, correct?

Louis:  Yes, yes we did.  Justin approached me and asked me if I would do a song.  I actually did a song called "Stretch Armstrong" on the album that just came out (Hell Is Coming To Breakfast) and I just recorded a song for the upcoming Cigar Chronicles, which I believe will be coming out next year, which will be called "Daddy Long Legs".  That song has Timmy Gaines from Stryper playing bass, and JK (Northrup) playing guitar, and I do the lead vocals and backing vocals as well.  That's a fun song...

G2G:  While we're talking about vocals, that's actually where I was going to go next...do you do anything special to maintain your voice?  You've managed to keep your range intact through all the years, which I think is amazing.  Do you have a special regimen you go through?

Louis:  Thank you, first of all.  Umm...well, I just try to keep in shape the best I can.  I do breathing exercises that I've learned.  When I was 16 and 17 years old, I studied with an opera singer and I, to this day, still do those exercises before I perform or before I go to the studio to sing a song or something.  Even if I just have some free time I try to do some of those exercises to continue to keep my voice strong.  Ummm, I don't smoke, so maybe that's helped.  I try to eat right and exercise as much as I can...so...I'm also just blessed, I guess.  (laughing)  I just thank God that I can still do it.

G2G:  Do you have any MASS horror stories, of maybe I Spinal Tap moment that you could share with the readers?

Louis:  Oh, God.  (laughing)  Do you have like, about a year or so?  It just depends on the year or the era.  Gosh...there's so many, Arttie.  I guess one of the ones that's pretty funny now, it wasn't then, but we were doing an East Coast tour for RCA Records, we were going up and down the east coast, and for one of the stops we were playing The Ritz, and it was us and Kix and a band called Rodinelli, and things were going really well.  So anyway, we were getting ready to load in and our guy goes out to  get the equipment, and our whole truck was stolen with all the equipment...our guitar rigs and our special white Marshall stacks, and drums, and stuff like that...you know, they just took the whole truck and everything in it.  And, the funny thing is, our roadies, our guys, had even removed the battery from the truck, you know, to make it harder to steal, but still these people were able to get into the truck, get a battery into it, and then take off with it.  Ummm...luckily, the next day, RCA ended up buying us new equipment so we could continue with the tour.  That's one...you know, there are just so many, from being in court and going through litigation...you know, here's another one.  We were up on stage and a sheriff came in and made us stop playing because we had a TRO, a temporary restraining order, put on the band, and we had to stop performing, which meant we had to go back into court and take care of that.  We had to declare bankruptcy at one time to get ourselves out of some terrible contracts....just many, many things like that go along with the crazy stories from the road and stuff...

G2G:  You have to definitely love what you are doing to continue to perservere through all of these problems, correct?

Louis:  Absolutely, Arttie.  That's what it was always about.  It was never about a big paycheck or making that big, big rockstar lifestyle come true...it was always about the music and the love of the music.  It still is.  I mean, I still get excited to go perform, whether it's in front of a hundred people or five, ten, fifteen thousand people, whatever it is I still get that excitement and that love to go into the studio and create new music.  You know, once the guys have gone in and laid down the basic tracks, I just can't wait to get in there and create and do my vocal tracks and start adding the harmonies and start "layering the cake" as I call it. It's always been a love and that passion has never left myself or the other guys.  I actually feel like the passion has grown at this stage in our career.  Umm...I see a resurgence of MASS fans, from the older fans who are in their late 30's and 40's now to the younger kids who are coming to the shows at ten, eleven, twelve years old sometimes, and they're learning about MASS from their parents or the internet, and we're seeing a whole new generation of MASS fans, which is exciting for me and for us as a band.  I just having a ball now, and with the re-releases of all our old albums, like Take You Home, and our EP, and our Fighter album, which were never available on CD before, you know our music is getting out there to people again that couldn't get it before.  It's just been great.

G2G:  How long do you envision MASS continuing on?  Is there an end-goal of some sort for the band or are you going to do this for as long as your voice holds out and you have stories to tell?

Louis:  (Laughing) You know...that's a good question.  I guess if I get tired of it, or if I can't sing anymore and I can't perform the way I think I should be able to anymore, then, you know, I think we'll call it a day and walk away and give it up.  But, ummm, I think we still have another ten years left in MASS if the people still want it.  I see a lot of musicians that are a lot older than me that are still doing it and having fun and sounding great.  But once we aren't doing the best that we can any longer, you know, our goal is always to make the next album better than the last one, so if we can't do that any longer, I don't see why we would continue to do this.  And, you know, I think Sea Of Black has done that, and I am very proud of that record, but I think we can take the band to another higher level still, up another notch.  If we can't, then maybe it's time to sit back and think about it and see if it's the end of our time, but for now, I think we still have things to do.

G2G:  I saw on your website that you are just a general fan of music of all styles and types.  Is there anything that you are listening to now that you are really getting into?

(Lizzy Hale of Halestorm)

Louis:  Ummm...let's see.  Like you said, I love every type of music.  The latest CD that I bought was the new Halestorm album...Lizzy Hale, I think she's great.  I've been trying to get ahold of the Poodles, I don't know if you've heard of the Poodles, but their lead singer, who I think is great, just came out with a solo album I'm wanting to get, but it's not available on iTunes yet, so I'm waiting on that one.  It's available in Sweden, but I haven't been able to get it here yet.  I've been listening to a lot of Winger lately, I like Kip's solo albums, especially his new one, the name escapes me now.  I know that when I hang up with you I'll say, "why didn't I say that album or that one or that one". (Laughing)  My library is so big, its so huge, I just listen to whatever I'm in the mood for.  But, you know, currently, its Lizzy and the Halestorm album...oh, and I've been listening to the remix I just received from JK of the "Daddy Long Legs" song for Liberty N Justice.  And, I just sang on a good friend's EP called "Scottie Dunbar, In A Mellow Mood", I sang a duet with him on that record which just came out on Down Boys Records, the label from the Warrant guys, so I've been listening to that stuff.

G2G:  On a closing note, Louis, how do fans stay in touch with you and the band?  Are you Twitter Tweeters and Facebook fans?

Louis:  Yeah, basically that's what it is.  I'm on Twitter and on Facebook.  Of course people can email us through our website, our personal emails are on there, and we do our best to respond to everyone.  You know, the internet, it's ummm...it's been great for MASS because we've reconnected to a lot of people.  A lot of people didn't think we were together anymore, you know...some people didn't even know there was anything after  Voices In The Night.  And, you know, in that lull there that we talked about, a lot of people thought MASS was done or broke up.  Then, with the internet, especially Facebook and MySpace when it was going strong, we reconnected with old fans and also established a lot of brand new fans.

G2G:  Louis, it's been great getting a chance to talk to you.  I've been a fan since Voices In The Night, and it's been a lot of fun for me.  Thank you for taking the time to call us and I hope we get to do this again when the new album goes gold or platinum for you!

Louis:  You got it, Arttie!  Thank you very much, man...thank you for taking the time to talk to me and thank you for all you do.  Thank you so much....


Well, folks, if you thought MASS was dead and gone, it is obvious they are not!  I believe everything MASS has ever recorded has been reissued and made available on CD now, so if you are wanting to upgrade your collection, are looking for some stuff you've missed in the past, or want to check out what MASS sounds like now,...or if you want to contact them...check out their website at www.massrocks.com .

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