H.E.A.T. "A Shot At Redemption" EP

(c) 2014 

1. Shot At Redemption
2. Under Your Skin (previously unreleased)
3. In And Out Of Trouble (acoustic version)
4. She's Like The Wind

Erik Gronwall--Vocals

Eric Rivers--Guitars

Jimmy Jay--Bass

Jona Tee--Keyboards

Crash--Drums

H.E.A.T. are one of those bands that you either love or hate, it seems.  The melodic rockers love the band's take on hard rock, while the sleaze fans/hair metal fans generally seem to have some issues with how...well...melodic the band is with their music.  And, truth be told, H.E.A.T. is one of those bands that stomps all over the semi-visible line between AOR/melodic music and flat out hard rock music.  Being a person who likes both sub-genres to varying degrees, I have never had any major issues with H.E.A.T., but they have never been at the top of my favorites list, either.  Will this new EP change my mind?  

Nope...

This EP is a teaser of the band's new album that is set for an April, 2014 release.  As such, we are treated to a new song from the album. a previously unreleased track, an acoustic version of an older tune, and a cover song.  Nice mix there.  "Shot At Redemption" is definitely the only real rocker here, and it is a solid one.  The guitar work is especially strong, and if the full album contains another three or four in this vein, it will possibly be the best album of H.E.A.T.'s career thus far.  Gronwall's vocals are smooth throughout the EP as he effortlessly allows his upper-range tenor slide over the top of the guitars and rhythm section.  However, sometimes, both on this effort and in the past, I feel that Gronwall can sing so effortlessly that the vocals lack any real punch or any raw emotion.  Perhaps just a hint of snarl, just a smidgen of sneer, would help to take some of the sweetness out of his vocals and add a bit more attitude to a standout rocker like the title track here.  "Under Your Skin" is another uptempo track, although this one falls much more into H.E.A.T.'s typical melodic style than the harder rocking "Shot...".  Longtime fans of the band are going to be able to appreciate this track, and I suspect the acoustic version of "In And Out Of Trouble", will delight fans as well.

The kicker here is going to be the cover of Patrick Swayze's "She's Like The Wind" from the Dirty Dancing soundtrack.  Yes, it's THAT "She's Like The Wind".  I'm not going to lie; I kinda dig Swayze's vocals on that classic AOR track, and, as such, Gronwall's much higher vocal range was a bit off-putting the first couple of times through the song.  I have grown to like H.E.A.T.'s version, however, and I think it is every bit as good musically, and has superior, more modern production.  Vocally...well, I still prefer Swayze's original vocals, but these aren't bad.  Folks are gonna like that the band tried to tackle something rather out of the ordinary, or they are gonna scream bloody murder about the song choice.  I think it's a gutsy call and it is handled relatively well, so kudos for the effort.

All in all, a nice little sampler/teaser package that will whet the appetites of H.E.A.T. fans and leave them chomping at the bit for April to hurry up and get here.  These Swedes know what their fans like and they haven't strayed too far from the tried and true, but they also don't come off as a bored and disinterested band simply going through the motions, either.  If you can find it cheap, grab it, but I think the imports of this EP may be a bit pricey for some, especially with just 4 tracks.

Rating:  Nobody puts Baby in a corner...or H.E.A.T. for that matter!  Crank this to 7.

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3D IN YOUR FACE "Midnight Devils"

(c) 2013 3D In Your Face

1. Forbidden City
2. Generation Durt
3. In Your Face
4. Midnight Devils
5. Always Brings Me Back
6. Sleeping In Omaha
7. Bleed Betty Bleed
8. Underneath The Stairs
9. Time We Had Our Fun
10. Radar Guided Love Bomb
11. Squeeze Me Dry
12. I Still Believe In Rock N Roll

Alan "Hot Rod" King--Lead Vocals

Chris "Sniper" Hineline--Guitars, Vocals

Jeremy "The Playboy" Deans--Bass

Sam "Spade" Morris--Drums

Since the late 1990's or early 2000's, I have watched 3D In Your Face perform at least half a dozen times, but I honestly don't think I was aware that the band regularly recorded.  Sure, I knew they had a CD or two at their shows, but I always assumed they were cover albums, so I never bothered to pick one up.  Now I realize I need to go back and get those CD's, because it turns out 3D In Your Face actually records their own music...and they do it surprisingly well!

The album kicks off with the rollicking "Forbidden City" which has a slightly modern feel to the band's take on the 80's rock scene, sounding like it was fashioned a bit after the sound coming out of Sweden and the rest of Europe.  Not that this is a bad thing by any stretch, as some of the best "80's" hard rock has actually come out of Europe in the 2000's, but I think you get what I am saying.  The rest of the album, however, is pure throwback sounds, from the big guitars to the layered, often gang-shouted vocals, and thumping drums.

A prime example of this 80's worship can be found on the follow-up track, "Generation Durt".  From the cowbell intro to the backing vocal "aahhhs", this is a song that fans of the genre will feel like they may have heard before, but without being able to identify why.  There is a nice guitar solo in this song followed by a bit of a distracting kick drum fill before the vocal bridge of "hey, hey, hey, we won't go away" kicks in, with the regular chorus layered over the top.

Even better is the next track, "In Your Face", which is something of a signature song for the band, and one of the very best songs on this album.  Heavier on the bottom end than most of the tracks here, the guitars have something of a Jake E. Lee quality to them, and the bass and drums are locked in throughout.  Lyrically, the song is rather tongue-in-cheek, as are several of the songs here, always a bit raunchy but never outright filthy or packed with vulgarity or swearing.  Again, the listener is given a nice guitar solo that could possibly have benefited from just a touch of distortion, and a nice bass line as well.  This is a really good song that showcases the talent of the band musically.

Not overlooked is the power ballad, as "Always Brings Me Back:" covers this territory nicely, if rather non-originally.  The keyboard intro is almost a note-for-note rip-off of Kix's "Don't Close Your Eyes", although the arrangement is a bit different (you will understand the second you hear it).  Also included is the sentimental piano interlude/intro, featured here as the lead-in for "Underneath The Stairs", a chuckler of a song about "going down to Hell, under the stairs".  A definite head-banger as far as the music goes, once again, 3D manages to pull off a humorous song without having to revert to toilet humor, a la Steel Panther, which is greatly appreciated.  "Squeeze Me Dry" is about as raunchy as the band gets, and even here it isn't straight from the gutter.

Of course, what would an 80's inspired album be without the big anthem?  Album closer, "I Still Believe In Rock N Roll" is exactly what the doctor ordered if "God Gave Rock N Roll To You" is your kind of song.  Not a rip-off at all, but definitely that fist-pumping, everyone on their feet and banging their head kind of song that should be how 3D closes every one of their shows!  Had this come out in 1988, there is a chance that this could have actually garnered some airplay, as it is a very nicely structured song, performed in great fashion with some excellent guitar work scattered throughout.  A very nice close to a surprisingly strong album.

In the end, maybe that, as much as anything, is what I appreciate about 3D In Your Face; they can make fun of themselves and have fun with a great musical genre without turning it into some kind of triple-x show.  Again, having seen the band live on multiple occasions, I can say that I wouldn't have any problems taking a tween or teen to one of the band's shows to introduce them to the music and the show.  (The band does about 90% covers in their live show, which range from very good to EXCELLENT, and are well worth catching.)

Yeah, the wigs aren't really all that great...and the costumes are kinda corny...but make no mistake, Omaha, Nebraska's 3D In Your Face is a real band, regardless of if their hair is or not!  There are no massive vocal ranges here, but plenty of gang shouting and mid-to-upper tenor singing that will get your air guitar and air drums rocking in several places.  The guitars are very good and the rhythm section is especially tight throughout.  A nice pick-up, especially if you are looking for something a bit lighter in lyrical intent without leaving you feeling shortchanged musically.  

Rating:  Rock this to a fun 6.5 and don't take things so seriously!

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RON KEEL "Metal Cowboy"

(c) 2014 Wild West Media Productions

1. Long Gone Bad
2. Wild Forever
3. My Bad
4. What Would Skynyrd Do?
5. Just Like Tennessee
6. The Last Ride
7. When Love Goes Down
8. Singers, Hookers & Thieves (duet with Paul Shortino)
9. Evil, Wicked, Meand & Nasty
10. The Cowboy Road
11. 3 Chord Drinkin' Song (featuring the Sin City Sinners)
12. My Bad (radio version)*
13. Just Like Tennessee (unplugged)*
14. Singers, Hookers & Thieves (solo acoustic version)*

*CD Bonus Tracks

Ron Keel--Lead and Backing Vocals, Guitars, Banjo (3), Bass (3, 6)

Mike Vanderhule--Drums

Ronnie Mancuso--Bass, Keyboards on 1-3, 7, 12

Frank Hannon--Lead Guitar on 2, 4 & 10; dobro on 4

Brent Muscat--Lead Guitar on 9, 11

Keith Robert--Lead Guitar on 1, 3, 5, 12

Travis Toy--Dobro on 1, 5, 6, 8, 13

Joe Spraker--Piano on 4 & 8

Kenn Tonn--Bass on 4

Geno Arce--Bass on 5, 8, 9, 10

Zach Throne--Bass on 11

Rob Cournoyer--Percussion, Vocals on 11

Ditch Kurtz--Pedal Steel Guitar on 5

Backing Vocals:  Louie Merlino, Kyle Kruger, Janea Chadwick-Ebs, Geno Arce, Stacey Blades, Rob Valentine, Carol Lyn Liddle, Renee Keel

Ron Keel is a man who has seen and done many things.  Most famous for his hard rocking band, KEEL, Ron was also in the acclaimed band Steeler with Yngwie Malmsteen, as well as other, less famous bands such as his southern rock project, Iron Horse.  Additionally there was work with the metal group Sabre Tiger, his Fair Game side project, a couple of country releases under the moniker Ronnie Lee Keel, and several other creative outlets.  But never had he been able to release an album as just himself, Ron Keel, combining his many ideas and influences to create an album that was all about him and who he is as an individual.  That all changes now that Metal Cowboy has been released.

Metal Cowboy takes a bit of all of the previously mentioned aspects of Ron's career and folds them nicely together, creating a cohesive, yet diverse project, that gives the listener a wide range of styles and sounds that somehow all manage to not come across as disjointed or mismatched.  Don't let the instrumentation on this record fool you; this is NOT a purely country record, despite the use of banjo, dobro, pedal steel guitar, etc.  Nor is it a southern rock album.  And, well, it's not a metal album, either.  It is, for lack of a better description, EXACTLY what the title implies; it is metal cowboy music.  Clear as mud?  Let me try to help you out.  Take for example the following three songs:  "Evil, Wicked, Mean, & Nasty", "Just Like Tennessee", and "What Would Skynyrd Do".  In these three you have a metallic KEEL song (originally on the Larger Than Live album) that has been given a bit of a southern rock treatment, a ballad that were it not for Ron's gritty, hard rock vocals, would likely end up all over country radio, and, well, as song about THE classic southern rock band, Lynyrd Skynyrd.  Different worlds all brought onto one album and fit together in such a way that it works with no muss and no fuss.  No fan base is offended, and all fans of Keel's various projects will find something to like...in just those three tracks!

For me, the beauty of this project is that it is, pure and simple, a record from Ron's heart.  It's Ron doing what he wants to do, bringing in several big name friends to help out, and creating the kind of music that he obviously wants to play.  "Singers, Hookers & Thieves", for example, is a great song that is one of the high points on this CD, but also one that Ron could NEVER put on a KEEL album.  Mix in the fact that Paul Shortino (King Kobra/Rough Cutt) lends his powerful vocals to the song, and you have one incredible piece of music that would otherwise likely just end up on a hard drive of recorded-yet-never-released songs.  Same thing with "3 Chord Drinkin' Song", which finds Ron enlisting the help of the Sin City Sinners (featuring Brent Muscat of Faster Pussycat fame).  Again, not a song you would ever hear KEEL perform, but a great, fun song that you will swear you have heard pouring out of a jukebox in some pool hall or honky tonk somewhere.

Make no mistake, Ron still rocks on this record as well.  "Long Gone Bad" finds Ron

(Ron and I at Skull Fest, Oct. 2013)

snarling his way through a powerful hard rocker, as does "My Bad", which is the closest in feel to a KEEL song on this solo effort.  "The Cowboy Road" is one of the harder songs on the album, with Ron and Frank Hannon (Tesla) tearing things up on guitar, despite the title giving some the impression of a country song, and "Evil, Wicked, Mean & Nasty" still retains most of the KEEL punch of the original, but also incorporates harmonica and a southern rock attitude on this send-up.

The CD has three bonus tracks not available on the digital download version.  "Just Like Tennessee" and "Singers, Hookers & Thieves" just get even more country in their unplugged and acoustic versions, respectively.  "My Bad" removes an F*bomb to keep it radio friendly, but nothing else is changed.

Packaging is the dreaded slipcase, which we all know I am not a fan of, and lyrics are not included in the packaging (the can be found at www.RonKeel.com), although there is a full list of musicians, songwriting credits, and endorsements enclosed.  My version, as you can see in the photo, is autographed in gold pen, which was one of the perks of supporting the project through Pledge Music.  Also included is Ron's autobiography Even Keel , a jacket patch, sticker, and guitar pick.  A really nice package (which also included an advance digital download) for just $40. 

In the end, this is not a metal album, nor is it a country album.  It is a METAL COWBOY album that fans of good songs and solid musicianship should appreciate.  If you are a southern rock fan, you are most likely going to love this album, as well.  The narrow-minded need not apply, however, as it is guaranteed they are going to have more complaints than positive comments, which is unfortunate, as they will not only be missing out on a very good record, they will be missing the point of Metal Cowboy altogether.

Far superior to the country effort that Hannon's Tesla bandmate, Jeff Keith released, Metal Cowboy finds Ron Keel and his bandmates playing Ron's music the way Ron wants it to be played, plain and simple.  And that's enough for this reviewer.

For more information about the CD, the book, the lyrics, or other Ron Keel merchandise, be sure to check his website at www.RonKeel.com .

Rating:  Crank this to an 8!  Great music from a great guy!   


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EMPERORS AND ELEPHANTS "Devil In The Lake"

(c) 2014 Pavement Music

1. Bring It Down
2. Who You Are
3. Your Will
4. Man Of God
5. Locust
6. Hit Of Red
7. Deep Sleep
8. Change
9. Wicked Game
10. Ghost In The Mirror
11. You And I
12. Man Of God--Dupermang Remix

Jesse Andrews--Vocals

Jason Meudt--Drums

Jeph Stiph--Guitars

Randy "The Arsonist" Cooper--Guitars

Ron "Stoppable" Vanders--Bass

Emperors And Elephants is a new-to-the-scene modern hard rock group that obviously grew up in the Sevendust school of rock, as the stop/start crunch of that band is evident in the stylings of many of the songs here.  Not surprisingly, a bit of Randy Cooper's old band, Texas Hippie Coalition, can also be heard in the aggressive nature of these songs, with his axe work particularly strong in tracks such as "Man Of God", "Locust", and "Bring It Down", although he shines in various spots throughout.  "Deep Sleep" is another powerful rocker that will be a contender for satellite radio airplay, I would suspect.  But there is more here than the standard modern rock fare, with a definite post-grunge feel to a few songs, such as "Ghost In The Mirror".  Equally intriguing is the remake of Chris Isaak's "Wicked Game" which has some really heavy bottom end to it to keep things pulsing along nicely while the buzzsaw guitars of Cooper and Stiph go to work throughout the rest of the track which is really,really cool, especially with that recognizable hook from the 80's original.

While much of the record has that really heavy vibe to it, every now and then a song will jump up and surprise you.  "Hit Of Red" is just such a track, incorporating a much smoother, mellower vibe that reminds me of Soundgarden to a degree.  However, I will go on the record and state that I will take Andrews' vocals over Chris Cornell's any day of the week, as I think Andrews has an amazingly powerful delivery that more bands would be well-served to listen to.  He doesn't have to bark every song or scream his vocal chords into bloody masses to get his feelings across.  "Change" is another more laid back track that gets this point across very nicely, and "You And I" is a piano-based acoustic number which showcases the band's depth as well as serving to give the listener a break from the otherwise punishing riffage that is found throughout this record.

One thing I do have to mark the album down for a bit is the fact that a lot of the music here, while nicely executed, has a definite "heard this before" quality that prevents a few of the songs from really distinguishing themselves.  Case in point is the previously mentioned, "Locust".  This is easily one of my favorite songs here, but if the vocals were being handled by Lajon Witherspoon instead of Jesse Andrews, I think the average listener...and even many seasoned listeners...would have a hard time distinguishing the rest of the band from Sevendust in spots. This is the case in a couple of other spots, but it doesn't destroy the album, although I wish a bit more originality could have leaked through in a place or two.
   

That is not to say the band's members are lacking in talent, because they are definitely not.  Of particular note here is the exceptionally strong backline of Vanders and Meudt, who deliver some crushing rhythms upon which the band builds their brand of hard-but-still-radio-friendly rock.  And, of course, Andrews' vocals are a force to be reckoned with, whether crooning on "Wicked Game", or snarling with angst on "Hit Of Red" or "Man Of God".  Definitely one of the more talented and interesting bands I have heard in this style, I am impressed enough with this debut to keep it spinning for the past week and a half, and I suspect that it will survive my unofficial "three month test" for whether or not an album has the strength to become a long-term listener.

Rating:  So much better than most of the Sirius/XM Octane crowd, Emperors and Elephants gets a crankable 7.5 on their debut.  Let's hope they keep progressing and let their originality shine through even more on the follow-up!

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PAMELA MOORE "Resurrect Me"

(c) 2013 Rat Pak Records

1. Acquiescent
2. Melt Into You
3. Paranoia
4. We Are Damaged
5. Resurrect Me
6. The Sky Is Falling
7. Awakening
8. Breaking Down
9. Desperate By Design
10. Wide Awake (Phoenix Rising)

Pamela Moore--All female lead vocals, backing vocals

Michael Posch--Guitars, Bass, Keys, Orchestration

Brooke Lizotte--Piano, Orchestration ("Breaking Down")

Jeff Loomis--Guitar solo on "Awakening"

Chuck Macak--Drums

Additional Vocals:  Ralph Scheepers ("Sky Is Falling") 

Backing Vocals: Ralph Scheepers, Aury Moore, Patrick Moore, Brenda Kashmir, Randy Piper, Scott Bowen

For those who put this CD in without knowing who they are listening to, they are likely going to say to themselves, "Man, I KNOW this voice!"  Of course, that is going to be a definite possibility if that fan is even a casual fan of metal, as Moore is most famously known as the voice of Sister Mary on the epic Queensryche album, "Operation: Mindcrime", and its less-than-epic follow-up, "Operation: Mindcrime II". Moore has also seemingly cast her lot with the Tod LaTorre-fronted version of the fractured group, as she can be heard singing on that Queensryche's new, self-titled album on the song "A World Without".  

Her involvement with Queensryche aside, Moore is notable because she does, in fact, possess an incredible voice.  Additionally, she is no stranger to recording, as this is actually her fourth solo record (not counting 2004's release, A Retrospective), and she has also fronted other bands and performed on numerous other albums, so it is very likely that you have heard her voice in numerous places and simply not realized who it was you were listening to.

2013 saw Moore move her talent to Rat Pak Records, which is also the home of George Lynch, John Corabi, Dave Rude (Tesla), Metal Church, and several other name acts.  For this album, Moore enlisted the musical aid of Michael Posch, who performs nearly every instrument on the album except for drums, which are handled by Chuck Macak.  Additionally, several friends are called in for support, including Ralph Scheepers, Jeff Loomis, Randy Piper, and Scott Bowen, to name a few.  

The music on this album is not overly far-removed from that of her work with Queensryche, as it tends to be in the heavy-progressive vein, with heavy guitars, sweeping orchestration, and some keyboards added in for filler effects.  

The main problem I have with this album is NOT the talent level, the production, the mix, or anything like that, as all are really and truly top notch.  The guest list is impressive, as well.  No, the problem I have is the songs themselves are not that memorable.  I'm not saying they are terrible, because they aren't.  They just don't jump out and grab hold of me, with the exception of "Awakening", which sounds very reminiscent of a Queensryche song, and the album's closer, "Wide Awake", which I think is a truly amazing piece of music.  Other than that, while there is nothing horrible at all on this disc, there is just nothing that sticks with me for an extended period of time.  It's a disc of 90% background music and a couple of songs that will suddenly grab your attention, only to be lost again a song or two later.

The production is top-notch, the musicians are of excellent caliber, and Moore's vocals are clean and powerful and very emotive...the songs just lack that hook that snags you and keeps you hanging around for more.  Not a trash bin album, but also not one that will find its way into my player with any great frequence.

Rating:  Rock this at a 5, simply because the musicianship is so good I really WANT to like it!

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DEF LEPPARD "Viva Hysteria: Live at the Joint, Las Vegas"

(c) 2013 Frontiers Records

DISC 1

1. Women
2. Rocket
3. Animal
4. Love Bites
5. Pour Some Sugar On Me
6. Armageddon It
7. Gods Of War
8. Don't Shoot Shotgun
9. Run Riot
10. Hysteria
11. Excitable
12. Love And Affection
13. Rock Of Ages
14. Photograph

DISC 2

1. Intro/Good Morning Freedom
2. Wasted
3. Stagefright
4. Mirror Mirror (Look Into My Eyes)
5. Action
6. Rock Brigade
7. Undefeated
8. Promises
9. On Through The Night
10. Slang
11. Let It Go
12. Another Hit And Run
13. High N Dry (Saturday Night)
14. Bringin' On The Heartbreak
15. Switch 625

DVD

1. Women
2. Hysteria
3. Animal
4. Love Bites
5. Pour Some Sugar On Me
6. Armageddon It
7. Gods Of War
8. Don't Shoot Shotgun
9. Run Riot
10. Hysteria
11. Excitable
12. Love And Affection
13. Rock Of Ages
14. Photograph

BONUS FEATURES

1. Ded Flatbird (Friday, March 29, 2013)
2. Ded Flatbird (Saturday, March 30, 2013)
3. Acoustic Medley
4. Photo Montage

Joe Elliott--Lead Vocals

Phil Collen--Lead, Rhythm Guitars, Backing Vocals

Rick Savage--Bass, Backing Vocals

Rick Allen--Drums, Programming

Vivian Campbell--Lead, Rhythm Guitars, Backing Vocals

For years...heck, for decades...people have been clamoring for a proper live CD from Def Leppard.  There were some random bootlegs floating around, and of course there is the live video from the Hysteria tour many years ago, but there had never been a proper live CD from the Boys from Britain through their first several studuio albums.  Then in 2011 they put out Mirrorball, which most people felt was not exceptional (I kinda liked it) and featured too many newer songs, not enough classics, and completely ignored some records all together.  Many people thought the band may never get around to releasing a GOOD live album.

Sadly, for those that didn't like Mirrorball, I still say they haven't released a good live album.

Oh, sure, Viva Hysteria: Live at the Joint, Las Vegas is a live album, but it isn't a good one.  In fact, I think it stinks.  I have read other reviews praising this record as "amazing" and "an incredible record", and I find myself having to ask if they have ever heard Def Leppard, ever actually attended a good Def Leppard concert, or just went through the talking points sent to them by Frontiers Records, because this record is FAR from "amazing" or "incredible".  For me, half of this album is unlistenable, and the other half is only a keeper because of the amount of rare material included.  Simply put, unless you are a collection completist, a rabid fan of the band, or someone who loves to collect garbage, there is no reason to own this record.

For the uninitiated, or those who didn't take the time to read the tracklisting, Viva! Hysteria is a live start-to-finish performance of the record-breaking album, Hysteria.  Included are both a CD and DVD version of the same show, as well as a second musical disc that includes songs culled from various albums, dating clear back the band's first release.  In theory, this seems like it would be a great thing, especially since so many of these songs aren't tunes that are usually tackled by the band in a live setting (at least that I have had the chance to see), and Hysteria was a game-changer for the hard rock industry, although whether as a positive or negative depends entirely upon your personal opinion of that record.  Again, in THEORY this seems like a great thing for the legion of die-hard Leppard fans out there.  But, no matter how great the theory was, the end result is something FAR from great.

For starters, Joe Elliott's voice is shot; there is no other way to put it.  His range is completely gone, especially on older songs like "Stagefright", or, most horrifically in my estimation, on one of the band's biggest songs ever, "Love Bites".  On most of the band's songs, he has to sing in such a low register it doesn't even sound like Joe any longer.  For several albums now, many people have speculated that his voice was pretty much manufactured in the studio to keep sounding like his old self, and the live setting pretty much exposes all of Joe's vocal weaknesses in one shot.  Not only can he not hit the high notes now, he can't hit half of the middle ones, either!

The rest of the band doesn't get a pass, either, at least as far as I am concerned.  They sound...bored.  I guess that's the word I would use.  And...sloppy isn't the word, so maybe loose?  The opposite of tight, as it applies to music.  There are just gaps in the music that shouldn't be there.  Some of the songs are played entirely too slowly, and none of them sound any closer to what is on the album than I have heard cover bands do.  I'm not kidding.  Phil Collen is probably the shining point as far as band members go, as he is still pretty much spot-on with his solos, and he looks to be in great shape and puts on a good show in the DVD.  And Vivian Campbell is talented, to be sure.  So why does this record just sound so flat and lifeless to my ears?  I just don't get what people are raving about when they hear this live record.

Now, I will give it a bit of a pass because of the second disc and the Ded Flatbird material that is included (see tracklisting above).  Some of these songs I have never heard Leppard play live, and I have caught them a few times now.  So, to the people who compiled this tracklisting, kudos; you are the lone saving grace of this record as far as I am concerned.  Especially cool is the inclusion of some VERY early Leppard (actually pre-Leppard) material in the Ded Flatbird performances, and the acoustic medley is the one musical high point as it doesn't rely on Joe's voice reaching it's former heights.

Look, I realize that many times the entire concert experience is what makes a show great: the music, the crowd, the lights, the energy, etc.  But when a band does a live recording that has NO energy, where the music is subpar, and even the crowd doesn't seem all that enthusiastic, it's kind of hard to get behind the record.for me.  Now, the DVD isn't bad from a visual standpoint, but the performance musically (and especially vocally) isn't saved at all by the video production.

I'm going to be honest in saying that it scares me a little bit that Def Leppard is reportedly gearing up for a new studio record because I just don't know if the band has it in them any longer.  I also don't like hearing that they plan to doin Viva! Pyromania in the near future, because that is, for me, one of the defining records of the early 80's hard rock scene.  Yikes!  Simply put, I don't that Def Leppard have put out a complete record since X, and I'm a member of the minority that actually liked THAT record.  Yeah, I know they will doctor up Joe's vocals, and I know that endless retakes and studio loops and layers will beef the guitars back up to where they should be, but this is a tired sounding band to my ears.  I hate that a band that I once considered one of the best around appears to be going out with a thud rather than a bang.  I can honestly say that I don't see myself ever shelling out the kind of money that Leppard commands for tickets now because I just have no desire to see a formerly great band limp around as a shadow of its former self.

Musically, Mirrorball DESTROYS Viva! Hysteria, with the track selection being the only thing that Viva! has over it's predecessor.  Just do yourself a favor and buy Mirrorball and play the studio version of Hysteria in its entirety to get a better representation of what this band once was.

Rating:  Turn it down to a 4.5, and two of those points are only awarded due to some of the rare material included.  This is simply not a good live record at all.

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LaVALLE "Dear Sanity"

(c) 2013 Kivel Records

1. Fading Like The Sun
2. Scared To Love
3. Don't Cry
4. One Day At A Time
5. Cry Of The Wolf
6. The Lucky Ones
7. Smoke And Mirrors
8. Break Your Heart
9. Rock Your World
10. Wait Too Long

Eddie LaValle--Guitars

Carsten "Lizard" Schulz--Vocals

Paul Logue--Bass

Ramy Ali--Drums

Alessandro DelVecchio--Keyboards

LaValle is a project that I had heard a lot about in the months prior to its release.  Numerous sites and press releases touted the fusion of guitar wizard Eddie LaValle with established melodic rock veterans Logue (Eden's Curse) and Ali (Frontline), combined with the powerhouse vocals of Schulz and the talented contributions of DelVecchio.  It was one of those deals where what I was hearing and reading was likely too good to be true, as no one seemed likely to be able to live up to the hype. 

Boy, was I wrong!

LaValle is, as of this writing, quite possibly the best band I have heard all year, and Dear Sanity may be the album of the year.  It is really a nearly impossible task to overstate just how good this project is on all levels.  I was simply not prepared for an album of this magnitude to come from what, at least on the surface, appears to be a project band.  How could I know that I would be absolutely blown away from the opening vocals of the hard rocking "Fading Like The Sun" to the closing notes of the bluesy power ballad, "Wait Too Long"?  How could I have predicted that behind that very sleazy looking album cover was a CD packed full of some of the most perfectly crafted melodic hard rock I have listened to in the last decade?  Damn it...why didn't someone tell me?!  Oh...wait...people tried, didn't they?

Try as I might, I simply cannot find a song that I do not like here.  Now, I realize it may be a bit odd that I am actually trying to find a song to not like, but when I am reviewing an album that starts inching dangerously close to that 9-10 rating range, I find myself second guessing myself a lot, becoming overly critical at times, and looking/listening for even the slightest flaw.  I just can't find that with Dear Sanity.  I honestly can't find a single song to make a complaint about.

Album opener, "Fading Like The Sun" starts off with Schulz's powerhouse vocals setting the stage before LaValle's guitars come ripping through the speakers.  An up-tempo, driving number, this track immediately lets the listener know that this is not your average hard rock album.  The players here are true masters of their craft, not just in their performance, but also in their writing.  The hook and chorus here are just insanely catchy and I find that they stick with me for hours each and every time I queue up this album in my CD player or iPod.  

"Scared To Love" follows this up with a bit slower, but every bit as powerful, performance.  By no means a ballad, this song has a bit of a Dokken-ish feel to it, but with obviously more updated production and a different vocal style.

"Don't Cry" is in a very similar stylistic vein, again very melodic, this time showcasing a bit more keyboard than the previous two songs, but not in an overpowering fashion (we all know I HATE that!).  LaValle still has plenty of room to shine with his guitar prowess, and this song has one of Schulz's top vocal performances on the album.

"One Day At A Time" is pure power ballad bliss...if that is your sort of thing.  A song that I feel is on par with some of the best material put out by bands like Giant, Unruly Child, and other 90's/early 2000's melodic rockers, this song has plenty of emotion with just enough keyboard to give the song a truly ballad feel without it becoming a bloated mass of whining, which so many ballads do.  This is the track that a lot of people steered me toward when I first sought out this album, telling me I would be a fan instantly.  To be honest, it actually had to grow on me, because I am not necessarily the biggest fan of the traditional "power ballad", as too often they are overwrought and sappy.  "One Day At A Time" does not venture into that territory, for which I am very glad.

"Cry Of The Wolf" may be my favorite song on the disc (rivaling "Fading..."), which sets me apart from a lot of people I have talked to, as this is never a song that seems to be at the top of other fans' lists.  I love it, however.  I think the structure of the song is a key to the greatness of the track, with a bit of a slower, more blues-influenced approach to the chorus, and some absolutely scorching lead guitar work from LaValle.  I also think the bass is a bit more prominent here than in some of the other songs, giving it, again, a bit of that bluesy feel I mentioned.  Love this track!

Without going into a track-by-track diagnosis of the rest of the album, it is safe to say that the rest of the album follows a similar, yet non-repetitive pattern of greatness.  The writing here is so strong that the songs flow seamlessly into one another, giving the project a truly fluid feel when listened to as a whole.  The musicianship is unmatched, in my opinion, and the mix is spot-on perfect, with no instrument overpowering the others, yet giving plenty of love to the band's namesake, Eddie LaValle and his amazing skill.  

I find it odd that I had never heard of LaValle before, as I am a big guitar fan.  However, I spend more time on the hair/sleaze side of the spectrum (also mixing in healthy doses of thrash and modern hard rock) and not as much time on the melodic rock side.  If there are more albums that are at the level of greatness of this record (as well as the latest from AdrianGale, H.E.A.T., WET, and others) that DON'T bore me to tears with keyboard-heavy sappiness, I need to do some investigating!  

In all seriousness, I am going to just go ahead and call it:  Dear Sanity will be the number one album for Glitter2Gutter for  2014 barring an absolute musical miracle being released in the next few weeks.  My one regret with this album is that it took me until November to get it, cheating myself out of a couple of months of musical happiness.  If LaValle releases another album, trust me when I say that I won't miss a single day if I have any say in it.

Rating:  Flawless.  "Dear Sanity" reaches the pinnacle of the Glitter2Gutter spectrum with a perfect 10.  Get it...get it NOW!

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DELIVERANCE "Hear What I Say"

(c) 2013 Roxx Productions

1. Liber 111 (Intro)
2. The Annals Of Subterfuge
3. Angst
4. Hope Lies Beyond
5. Detox
6. Nude
7. Passing
8. A Perfect Sky
9. Where Eagles Dare (Iron Maiden cover)
10. Entgiftung (German version of "Detox")

Jimmy P. Brown II--Lead Vocals, Rhythm Guitar

Michael Philips--Lead & Rhythm Guitars

Manny Morales--Bass

Jayson Sherlock--Drums

Normally, Glitter2Gutter doesn't stray into thrash territory, but in this case I will make an exception.  Having been a fan of Deliverance for more than 25 years, and being the co-Executive Producer of a Deliverance tribute album, I have a special tie to the band that I felt I should acknowledge as Jimmy P. Brown II and company make their final curtain call as a collective unit.  Hear What I Say, is the culmination of the band's incredible career and is, in my opinion, a fitting closing chapter on what has been an incredible book.

As has been the case with Deliverance since, oh, their third album, this is NOT Weapons Of Our Warfare Part II, nor is it a retread of the debut thrasher.  Rather, the new album is a combination of elements from Learn (my personal favorite Deliverance album), Assimilation, As Above, So Below, and Stay Of Execution, with hints of the thrashiness of Weapons... or What A Joke.  Note that I said "hints", because this album is NOT a full-on trash album, although it does have thrashy moments, especially on "The Annals of Subterfuge" and "Angst", but even these songs never become full-throttle thrashers like "Weapons Of Our Warfare" or "No Time", or other thrash classics from the Big D.

For the most part, the album falls more into the musical style of the last few Deliverance records, with Learn and Assimilation both being obvious points of reference.  "Detox" and "Pass", my personal favorite track here, both have definite Assimilation lineage, both carrying the same type of song structure, but not incorporating the industrial elements.  Other songs, such as my other personal fave, "Nude", have a definite Learn styled leaning to the music, taking on a more progressive modern, yet still heavy, sound.  "Hope Lies Beyond" sounds like it could have been taken straight out of the Learn writing sessions, as well, while "A Perfect Sky" has a more melancholy feel, much like the writing on the Camelot In Smithereens album, although this song is largely acoustic based and reminds me a lot of the music of Days Of A New, although Jimmy's soaring tenor adds a dimension not present with D.o.a.N.

Iron Maiden has never been a band that I equated with Deliverance at any time, as the styles really are not all that similar.  Queensryche, Fates Warning, and bands like that...yeah, I can hear that, especially on the later, non-thrash albums.  But Maiden never really popped into the equation for me.  That being said, the cover of "Where Eagles Dare" is done masterfully, with a thrash-esque drum intro, some excellent guitar work, and some lower-register vocal work from Jimmy.  Manny's bass is definitely present here as well, and it is evident that the band had fun with this song as there is an energy here that you simply can't fake.  It kind of makes me wish that Deliverance had attempted a cover album of influential music, or personal favorites, as I think a lot of songs could be given new life with the Deliverance treatment.

Lyrically, Jimmy goes a bit deeper and darker than on some previous efforts.  As I said before, the album is definitely more introspective and the social commentary is evident throughout.  While not blatantly religious, there is definitely a searching that is going on with this record, giving the listener a more mature take on spirituality and how we relate to each other and the world around us.  Take for instance the following lyrical snippet from "Pass":

"Ain't it funny how the comforts of home make us feel safe and secure...

 We hide from family, the neighbors and pets and make friends with a computer"

Or these from "Nude":

"I close my eyes and see myself for that which I've become..

A selfish man, a pitied man...trying to please the world and myself

I hide in the shadows and in plain sight for all of you to see

The double, the triple, the other selves, condemned to hide who I really am."

Again, not your typical "Christian" lyrics, but I'm not sure what that label is even supposed to mean.  This is especially true of a band like Deliverance, who has really gone away from the chapter-and-verse types of lyrics for much of their last four or five studio albums, although there has never been a question (at least in my mind) as to where Jimmy's faith lies.

Do I have any issues with this effort?  Yes, bur they are minor.  This is not a perfect album, but it does come close.  For starters, I have little to no use for intros, a fact which I have made abundantly clear throughout my reviews on this site and in other places; I just don't think they serve any real purpose.  Second, if you take away the intro, the German version of "Detox", and the cover song, there are really only 7 new songs here, which is kind of a bummer considering the band will never (likely) record new material again.  But you know what...those are really and truly my only complaints, and really they both boil down to the same point: there are just not enough new songs for me!  If you are going to go away forever, you don't jot a short note, you write me a full letter, Jimmy!  Come on, my friend!

The production is excellent, the musicianship is top-notch, and Jimmy is very strong in his delivery.  The songwriting is also superb and introspective, often somber, dark in a couple of places, but undeniably Deliverance, especially toward the latter part of their career.  

Rating:  If you're gonna go out, go out on top!  I'm not saying this is THE definitive Deliverance album, because that will depend upon your own personal preference as to the era and style of the band.  None of that takes away from cranking this to a 9, however.

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DAVID ELLEFSON "My Life With Deth: Discovering Meaning in a Life of Rock & Roll" - BOOK REVIEW

(c) 2013 Howard Books

From his humble beginnings as a farm boy in Minnesota, to his rise...and fall...with Megadeth, one of the most celebrated thrash bands of all-time, David Ellefson has somehow managed to continue to move forward in his life, even when his lifestyle was dragging him backward.  Ellefson relates this to the reader in his new autobiography, "My Life With Deth: Discovering Meaning in a Life of Rock & Roll".  Co-written with Joel McIver, "My Life With Deth" is an interesting, absorbing read that I flew through in a total of about 15 hours over two days.  Not that the material is written in a simplistic way, but this is one of those books that flows so well you find yourself having a hard time putting it down.

The book starts with Ellefson's childhood in Minnesota, but unlike so many other memoirs, this book doesn't go into every painstaking detail of that childhood, losing the reader's interest before even getting to the main reason the book was purchased.  I HATE THAT!  It drives me nuts to have to read about uncles and aunts and third cousins that have nothing to do with the story.  Thankfully, Ellefson and McIver dispense with that kind of filler and get to the guts of the story without sacrificing any of the important and relevant facts about Ellefson and his relationship with his parents and brother.  From there, we are taken through Ellefson's first bands, most notably Toz, and his eventual move to Hollywood.  Once there, Ellefson meets up with an upstairs neighbor who drops a flower pot on Ellefson's air conditioner when they are playing their music too loud.  Of course, that upstairs neighbor turns out to be Dave Mustaine, and Ellefson's life is forever altered as Megadeth is born.

Again, without going into too much track-by-track-by-track information, Ellefson takes the reader through the first couple of Megadeth records, all the while explaining his rather rapid descent from Midwestern farmboy to full-blown heroin addict.  The tours are here, the groupies are here (although without any kiss-and-tell sexploits), and the grit and grime of the underbelly of the heavy metal world is laid bare thanks to Ellefson's candid way of saying, "Yeah, I was there...but I'm not necessarily proud of how I got there or what happened when I did!"  

Part of the reason Ellefson is able to present his story in this fashion is because this book is not 100% about that period of his life.  This book is also about the faith that Ellefson credits with saving him from an out-of-control lifestyle of drugs that was pulling him under.  As Alice Cooper writes in the forward for the book, "Sometimes the most rebellious and controversial thing a rocker can do is become a Christian", which is a point that Ellefson goes to great lengths to drive home to the reader, especially when talking about how faith aided him in rehab and recovery from drugs, and how that same faith drove him to create the MEGA Life! Ministries group at his church.  Of course, the book also leads to Ellefson's departure from the band...as well as the inevitable return to the band...and the reunion with an also-saved Dave Mustaine.

Those who are looking for a metal book should have plenty to chew on with "My Life With Deth", and those who are looking for a faith-based book won't find anything overly offensive or off-putting in this effort either.  It is a nice packaging of both worlds told by a man who you sense is truly at peace with himself and where he is in life, whether that is on stage with Megadeth or in church with his MEGA Life! ministries group.  

Not a difficult read at all, I recommend this book as a stand-alone and as a companion to Dave Mustaine's own autobigraphy, "Mustaine".  The book skims over some time periods, and if you are looking for an all-encompassing coverage of Megadeth, Mustaine's book would be the better read, as obviously Ellefson's time away from the band limits his input on certain time periods.  That being said, I thoroughly enjoyed the read and would recommend it to any fan of the band or to people who enjoy reading rock n roll autobiographies.

Howard Books

Hardback

239 pages

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DAMN DICE "Wild N' Ready"

(C) 2013 Independent Release

1. Bang Your Head
2. Caught In The Ride
3. Take The Fight
4. Down
5. Heart On The Run
6. Wild Into The Night

Alex--Lead Vocals

Wallis--Guitars

Marco--Bass

Fransoa--Drums

Damn Dice have been around for a bit, but until now, I have never managed to actually hear these Londoners' music in studio fashion.  Sure, I had seen the odd YouTube video here and there, and some rather raw, unprofessional live stuff was floated around, but until Wild N' Ready, I had never gotten the chance to hear what they could do if given at least a modicum of professional recording opportunity.  I'm glad I got the chance with this EP, as Damn Dice come out full throttle and don't stop clear through the end on this super-charged little album.  High pitched, falsetto vocals, rapid-fire drums, and screaming guitars abound on this effort, giving the band a sound that reminds me at times like a bit more under-control version of Nitro, especially on the title track.  On follow-up track, "Caught In The Ride", the band maintains the frenetic pace, but Alex channels his inner Bonn Scott on much of the verse work.  Regardless of the comparisons, these sleaze-meisters know how to grab you by the eardrums and rattle your cage!

The other four songs on the EP are every bit as strong as the first two, with "Take The Fight" kicking off with some sound effects before bursting right in with the big, fist-pounding anthem vocals of the bridge which then give way to some serious guitar riffing and a thunderous drum track.  "Down" is a bit dirtier sounding than the rest, with more bottom end and guitars that sound a bit down-tuned, but the angst works well, especially this far into the album.  Chanted backing vocals keep this track from becoming too dark, however, giving the track something of a pissed off Skid Row feel, although Alex's vocals keep the track from sounding even remotely like a clone cut.  "Heart On The Run" is likely the "big" single from this effort (which is laughable since radio won't play this style of rock now), while "Wild Into The Night" sends the album to a screaming, screeching close with more high-speed headbanging energy.  Sadly, not even 30 minutes later it's all over and you find yourself saying, "what?!  That's it?!"  

The production is top-notch, especially when it's considered that this is an indie effort, and the mix is superb, with no muddiness or problems with instruments crowding each other out.  The vocals are nicely out front, but not overbearing, and the drums and bass are given every bit as much chance to be heard as the powerful guitars.

Yet another great 80's inspired band in a long line to come out in recent years, Damn Dice comes out ready to prove something from the get-go...and they get it done.  Seek this one out folks; you won't be disappointed.  As always, if you can, support the band directly by ordering from them at www.damndice.com .

Rating:  Short, sweet, and to the point...crank this to 8 and hope that a full-length effort and a record deal aren't far behind.

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STRYPER "No More Hell To Pay"

(c) 2103 Frontiers Records

1. Revelation
2. No More Hell To Pay
3. Saved By Love
4. Jesus Is Just Alright
5. The One
6. Legacy
7. Marching Into Battle
8. Te Amo
9. Sticks & Stones
10. Water Into Wine
11. Sympathy
12. Renewed

Michael Sweet--Lead Vocals, Guitars

Oz Fox--Guitars, Backing Vocals

Timothy Gaines--Bass, Backing Vocals

Robert Sweet--Drums, "Visual Timekeeping"

For those who may have been trapped in some sort of maximum security facility without access to the Internet, it is worth noting that Stryper has a new album, and they are back in a big way!  In fact, no matter who you are, if you are into the band, their message, their sound, their style...whatever...it is definitely worth noting that No More Hell To Pay has been unleashed upon the waiting masses and it brings a massive sound with it!

Many fans of the band have been less than thrilled with the past few Stryper releases, whether it be the more modern approach taken on albums like Reborn and Murder By Pride, the covers album, The Covering, or the re-recorded classics album, Second Coming.  While each of these albums had their weaknesses, to be sure, fans always held out hope that the classic Stryper song would reappear in full, much as it did with the new track, "God", which appeared on The Covering.  

The wait is over...

Stryper has returned to their melodic hard rock/metal roots with their finest album since the classic To Hell With The Devil.  This album finally feels like a truly Stryper album, and not an album of Michael Sweet solo songs performed by the band.  One needs only to listen to the album's opener, "Revelation", to be instantly blasted by the dual guitar sound that Fox and Sweet showcased so often throughout the band's strongest material from the 80's.  The same can be said of the title track, "No More Hell To Pay", along with nearly every other song here.  But what really makes this record shine as a Stryper disc, even more than the trademark guitar sound, are the vocal harmonies that were missing when Gaines was not in the band, as well as the killer production and the hook-infused songwriting.  Sure, there were some good songs on the last couple of albums, but it has been a long time since the band sounded as Stryper-ish as they do on the groove-heavy "Water Into Wine" or the stellar "Sticks & Stones".  Heck, even the remake of the classic "Jesus Is Just Alright" is treated like it is owned by the band!  The sound is pure Stryper despite the band remaining true to the basic sound and feel of the original.  

Arttie and Michael Sweet...photo-bomb courtesy of Virus...

Not simply satisfied to re-create the sound of their glory years, Stryper takes its most metallic approach to a song in decades with the gritty "Saved By Love" that finds the golden-throated Michael Sweet...*
gasp*...growling!  The snarl in his voice as he tears through the chorus is unmistakable, yet even in these vocally aggressive moments, there is not a feeling that he is compensating for the loss of power or range.  This is even more obvious in other songs, as it sounds to this reviewer's ears as if Michael has every bit of the vocal range he possessed in the 1980's, without an ounce of power missing from those vocal chords.  And, having had the opportunity to hear Michael (with Oz on guitar) in an acoustic setting just a couple of weeks ago at Skull Fest, I can attest to the fact that it is not studio wizardry that keeps Michael sounding strong here, as he was in great vocal shape in person, as well.  

There are a couple of moments that don't really reach out and grab me, for various reasons.  One, the song "Marching Into Battle" just doesn't do much of anything for me, especially with the sluggish-sounding chorus.  Not sure what that is all about, but it hasn't forced me to hit the skip button...yet.  The other song I find myself struggling to like is "The One", which is the closest thing to a ballad the band really gives us here.  The vast majority of the song is fine, and I actually find myself liking it...right up to the "ooh ooh eee oohs" of the chorus.  WOW!  Umm...no thanks.  Seriously, I really like this song except for those chorus parts which just about cause the skip finger to explode off of my hand in its mad dash to the control panel of my CD player or iPod!  The greatness of the rest of the song has caused me to sit on my free hand while I am driving, but I am fearful that too many more spins through that chorus will have me veering off into the ditch as I fight to keep my finger from leaping across the steering wheel at the disc changer!

The weak moments are few and the greatness is over-flowing here, so I can (probably) manage to get through these minor bumps in the road, especially when a classic-sounding Stryper track, complete with a big, sing along chorus, such as that on the non-Spanish (thankfully for me) "Te Amo" keeps me happily bopping along.  The same can be said of the metallic face-melter, "Legacy", or the album closing "Renewed", both of which contribute more signature Stryper guitars and big melodic vocals.  "Sympathy", which is not even remotely as laid back as the title might suggest, is another stand-out rocker that I find myself nodding my head along with.  

All of the originals are back for this effort, and, if interviews and album credits are to be believed, all of the members played their respective instruments throughout this effort, which makes it that much more special for me, as this has (reportedly) not always been the case through the years.  The guitars, as previously mentioned, are especially strong on this record, but the backline of Robert Sweet and Tim Gaines is exceptionally tight, providing each song with a solid framework to build upon.  

Having not had the chance to see the full band in concert, I am not sure what songs from this disc make it into the new live set, but there are many that could and should.  I would be surprised if "Te Amo", "No More Hell To Pay", "Sticks & Stones", and "Water Into Wine" aren't mixed in, and "Revelation", "Sympath" and "Saved By Love" all would sound great surrounded by classics as well.  And, I am almost positive "Jesus Is Just Alright" will be mixed in with a track or two from The Covering.

Unlike a lot of Frontiers Records' releases, this album did not come in a digi-pack, but rather in a jewel case, with full artwork and inserts.  I did not get the deluxe edition as I am not a fan of DVD's being added to a package such as this, so I do not know what type of packaging that comes in, but my guess is that those particular versions are likely digi-packs.

In the end, whether you are a fan of Stryper, or just melodic hard rock/metal in general, there is virtually nothing to keep you from instantly launching this album into the top ten of the year.  Amazing vocals, near-perfect guitar work, exceptional songwriting, and 80's-inspired-yet-still-modern production equate to an almost perfect album.  A couple of choruses are really all that stand between No More Hell To Pay and that coveted 10, so I guess Stryper will need to come back and try again.  Until then, make sure you snap this record up...IMMEDIATELY, if not sooner!

Rating:  Just a couple of "ooh ooh eee ooh's" away from perfection.  Crank this baby up to 9!!!  All hail the return of the Yellow and Black Attack!

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WHITECROSS "Concert Review: Skull Fest 2013"

 

 

North Platte, NE may have been an odd choice (for some people) for a hard rock festival to be held, but from October 18 through October 20, 2013, nearly 30 bands gathered together with hundreds of fans from across the country, Canada, and Russia, to celebrate their common love of music.  Among the most popular of the shows was the Christian hard rock group, Whitecross, who performed a powerful set of their classic favorites.

 



(Arttie and Rex Carroll)

Band founders Rex Carroll (guitar) and Scott Wenzel (vocals), along with long-time drummer, Michael Feighan, and bass player Benny Ramos, fired up the crowd from the opening notes of "Enough Is Enough", and not letting up until the final chords of "He Is The Rock" rang out.  While all of the songs were likely not familiar to many of the concert-goers, one thing that was universal was the love of a killer guitar solo, and Rex Carroll did not disappoint!  Whether ripping through the individual solos of the songs, or when he was threatening to melt the strings from his guitar during his extended guitar solo, Carroll left the fans cheering and screaming for more.  Likewise, Feighan's drum solo was something to not only hear, but listen to as well, as he seemingly took a page from Robert Sweet's (Stryper) book and turned his drum solo into a full-on spectacle for the eyes and ears! 

One thing that I was particularly happy about was the fact that Wenzel did not water down his message from the stage, repeatedly making reference to the love of God and Jesus, even on the couple of minor occasions when one or two individuals in the crowd were less than appreciative in their response.  While it is true that this was a rock show, the fact that Sunday's line-up included multiple Christian acts (Whitecross, Inner Siege, Jonathan Pagano of Novella, X-Sinner, and Michael Sweet and Oz Fox of Stryper) was a good indicator that these bands' faith was welcomed by the promoters (including yours truly).  Add in the fact that attendance for Sunday was better than that of Friday (headlined by Jack Russell of Great White), perhaps it could be said that many of the Sunday fans came specifically to hear these Christian artists who don't frequently get added to festivals such as this.

 

The material for the show leaned heavily on the band's most popular album, In The Kingdom, with "Tell Me The Time", "We Know What's Right", "Good Enough", "You Will Find It There", and the title track all finding their way into the setlist.  Also included was the rare, "Love On The Line", as well as "Enough Is Enough" and "He Is The Rock", both taken from the band's 1987 self-titled debut.  As is always the case, there are a couple of songs that I wish could have made it into the show, with "High Gear", "Red Light", and "Shakedown" being at the top of my wish list, but the entire 65 minutes was filled with powerful music with an even more powerful message, so my complaints are minimal.  One thing I was happy about, however, was the decision to not include any ballads.  (Granted, "In The Kingdom" is a slower song, but I don't really consider it to be a true ballad.)  I have never been a huge fan of Whitecross' ballads, largely because I didn't feel the production on them was "big enough", if that makes sense.  If I had to pick a favorite song (or couple of songs) from the show, I would have to go with "Love On The Line", simply because it is rare enough on CD, let alone to get to hear live, and "Down" and "Enough Is Enough" have always been favorite songs in any setting.  Of course, not including the drum solo and guitar solo as high points would be ridiculous, so perhaps NOT picking a favorite moment would be easier...   

 

Wenzel's voice was far better than his performance on a couple of YouTube clips that have surfaced, and he sounded spot-on for the majority of the tracks.  Ramos' bass lines were clean and distinct in the mix, providing a perfect accompaniment to Feighan's thundering drumming.  However, to deny that Carroll was the focal point for most would be to deny the truth, as the axeman's skills remain at an incredibly high level, and his performance left more than one attendee slack-jawed and screaming for more.  While Carroll is more commonly found with his other band, King James, or his side blues project, it goes without saying that if you get the chance to catch the Whitecross in a live setting, you should do so without hesitation.  In this reviewer's opinion, you will not be disappointed.







ADRIANGALE "Sucker Punch"

1. Sucker Punch
2. The Black And Blue
3. When I Said You'd Be The One
4. All About The Money
5. Believe
6. Give Me A Sig
7. What Would You Do
8. Temporis Intermisso
9. The World We Knew
10. Could've Been Me
11. You

Jamie Rowe--Vocals
Vic Rivera--Guitars, Drums, Backing Vocals
Eddie Campbell--Guitars, Backing Vocals
Matt Mahoney--Bass, Backing Vocals


Alright, show of hands....who can believe it has been 13 years since that first great AdrianGale record, Feel The Fire?  Okay, okay...put your hands down.  Now, who thinks that it has been FAR TOO LONG since the last record, Crunch?!  That's what I thought....

Since 2000, AdrianGale has been one of the best, if not necessarily the best known, melodic rock bands on the scene.  Featuring the vocals of Jamie Rowe (Guardian/Tempest) and the guitar talents of Vic Rivera (Poley/Rivera and a frequent collaborator with Liberty N Justice), the band has recorded off and on with various line-ups under a couple of different names (they changed their name to Crunch upon leaving Kivel Records several years ago).  Once things were set straight for the band to return to Kivel, the name was reborn and fans can once again kick back with a full album of top-notch melodic hard rock that is nearly unrivaled in the industry!  From the moment the boxing match sound effects kick off the title track, to the final fade of the piano-driven ballad, "You", it is obvious that AdrianGale has found the line-up that should push them over the top and into superstar status in the melodic rock world.

One thing I particularly like about the album is that it remains a ROCK record, not drifting into ballad territory every other song, and not trying to get all prog on me every other song.  Keyboards, while present on the disc, are used as a supporting instrument, not as the main player in any of the songs here.  The band never forgets who they are or what they are trying to accomplish on this record, which is incredibly refreshing to these ears.

It is virtually impossible to pick a favorite song here, as there are no bad songs to compare to!  "Sucker Punch!", smacks you right in the face from the outset, with the dual guitar attack of Rivera and Campbell and the vocal talents of the consistently underrated Rowe setting the tone for the rest of the record.  "The Black And Blue" backs off the pedal ever so slightly, giving Campbell a chance to really let loose on lead guitar here, keeping things "hard", but emphasizing the "melodic" a bit more.  "Give Me A Sign" is a bit more mid-tempo, with the exception of the speedy finger work that Campbell unleashes on the solo, and "What Would You Do" leads the band into the intriguing instrumental, "Temporis Intermisso".  The single, "When I Said You'd Be The One" is another melodic rocker with amazing harmony vocals and a radio-friendly pop sensibility to the hook, but the band doesn't sell out who they are to try to gain airplay.  After all, this is who AdrianGale is, a hard rocking band with a genuine knack for writing catchy hooks and intriguing riffs that nearly anyone on Top 40 radio would steal in a second....and then destroy with programming, Auto-Tuned vocals, and crappy hip-hop beats.  But I digress...

On the slower side of things, album closer, "You" is the only ballad, and it is killer.  This is just an amazing piece of music that I am willing to bet will end up being the first dance at several weddings over the next couple of years.  A simple piano line is the backbone of the song, with Jamie's soul-soaked vocals and a great, emotionally charged guitar solo placed perfectly over the top in the mix, making sure that every note of every instrument is crisp and clean and given a chance to shine.  Again, powerful lead vocals and perfectly executed backing vocals are what are going to hook so many listeners in, but at the end of the day, on this song and every other one here, it is the complete package that needs to be absorbed and appreciated.

After numerous listens and attempts to dissect the album far more than I probably should, I simply can't find anything wrong with it!  The production is top-notch, the mix is stellar...there is really just about nothing wrong with this record.  At the end of the day, this is a nearly perfect melodic hard rock record, surpassing the band's previous pinnacle, Crunch, and setting a very high bar for themselves should they choose to record again.  I don't see this album leaving my CD changer mix any time soon.

Rating:  An absolutely crankable gem!  I wasn't sure if we would see a 10 this year, but AdrianGale has delivered with the flawless Sucker Punch!

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PISTOL DAY PARADE "Burn"

(C) 2013 Goomba Music

1. Rockstar's Girlfriend
2. Where I Lay
3. New Life
4. Angels On Fire
5. Not Today
6. Callous
7. Even When 
8. High
9. Get Over You 
10. Hollow
11. Better 
12. Down On Me

Fuller--Vocals

Rob Banks--guitars

Guido--Guitars

Jason Lollio--Bass

Jason Hartless--Drums

Additional Musicians

Steve Richards--Guitars on 3

From the moment "Rockstar's Girlfriend" kicks in, to the fading seconds of "Down On Me", the listener gets the sense that Detroit rockers, Pistol Day Parade, are here to serve notice that their brand of modern hard rock deserves to be listened to.  Forget big name record labels.  Forget massive promotion campaigns.  What matters in today's music scene is hard work, determination, guts, and, most importantly, a product that demands to be listened to.  Pistol Day Parade delivers just that with their new album, Burn.

Burn can be best described as part throwback to the post-grunge scene of the late-90's, part modern hard rock, and a touch of arena rock all wadded up into a rough ball and then jammed into your ears!  At times the band reminds me of the hardest rocking parts of a band like Hinder's All American Nightmare album, especially on the scathing, snarky "Rockstar's Girlfriend" with it's biting commentary about plastic hangers-on seeking fame and fortune through others.  If this sounds reminiscent of Hinder's "Striptease" it is, but it is not a copycat song at all, although it rocks every bit as hard.  The music doesn't back off from here, however, as several tracks are designed to crush the listener just as hard, or harder, with "New Life" being on of the most powerful as Fuller finds himself venturing a bit into screamer territory while the band adds some borderline metallic riffs to the music with some assistance on guitar from Steve Richards of Taproot. "High", which is a lovely little ditty about drug-addicted hookers, is another quality rocker that will have heads bobbing (no pun intended) and fists pounding with the rhythm.   

Of course, to make it in the modern rock world, there have to be a couple of more radio-friendly tracks, which PDP provide here alongside the harder rocking material.  However, when we are talking radio tracks here, we aren't talking your Top 40-styled rock songs that Nickelback and their ilk tend to offer up.  Instead, PDP keeps the rock mostly intact, just adding a bit more emotion to the lyrics and slowing things down a notch or two in spots, but aiming more for the airplay of satellite radio than your hometown hits station.  Album single, "Not Today", is a prime example of this type of track, as is "Better", which I'm not sure will actually find its way onto radio...but should.  "Hollow" is another emotion-filled track that offers considerably more than the cookie-cutter rock that floods radio today, and a song like "Angels On Fire" offer power and depth that is rarely heard outside of a band like Another Lost Year, Wayland, or similar acts that sit on the fringe of true rockstar status without compromising their style and sound to fit into current trends.

While they don't necessarily reinvent the wheel, Pistol Day Parade does seem to make the rock n roll machine speed along more smoothly without the bumps of stripped down acoustic numbers or bloated string sections that so many acts use without truly understanding how to properly include them.  No, Pistol Day Parade is exactly what they claim to be inside the liner notes of  Burn: they are American Rock N Roll, nothing more, nothing less.  They just do it better than most bands you have already heard of.  Hopefully Pistol Day Parade will be the next modern hard rock band to really break out and take their music to the masses.

Rating:  A definite crankable album here.  Spin the knob up to 8.5 for Pistol Day Parade's Burn!

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