LIVESAY "Frozen Hell"

(c) 2016 Kivel Records

1. Intro
2. Leaving
3. Slaved and Bound
4. With or Without You
5. Age of Reason
6. Welcome to the Real World
7. Stop Believing
8. Comes of Age
9. Since You've Been Gone
10. Frozen Hell
11. Spread Your Wings

Shawn Pelata--Lead and Backing Vocals

Gregg Livesay--Guitars

Matt Mahoney--Bass

Tony Stahl--Keys, Vocals

Tim Huntington--Drums

Additional Musicians: 

Ty Simms--Keys on 8

Tony Stahl--Bass

Pete Newdeck--Backing Vocals

Livesay is one of those bands that I have always heard good things about, but never actually heard.  No particular reason; I had just never snagged an album by the band.

But then Kivel Records signed the band, and I was intrigued.  

And then Shawn Pelata got involved...and I had to get the new album!

For those who may not be aware, Shawn Pelata is a wonderfully talented melodic metal vocalist who has fronted numerous bands and projects throughout the years.  Just a few of the bands he has worked with include: Oracle, K-Octave, No Less Human, Liberty N Justice, Line Of Fire, Final Sign, and 7HY.  I'm likely missing something, but anyone familiar with any of those band understands the power Pelata sings with, as he incorporates a strong mid-range tenor with the ability to reach some pretty high range notes when necessary, all while retaining a powerful control of his voice and not drifting into-and-out of range, which a lot of singers seem to do when riding the vocal elevator.  So, with what I already knew about Shawn's vocals, combined with what I had always heard about Gregg Livesay's guitar playing, I felt like this was a perfect storm kinda thing, and I wanted to be present when it hit.

I was not disappointed.

Well, okay, I was a little disappointed.  Why?  Because...dangit!...the album starts off with an intro!  Argh!  Okay, so it's not an album killer, but it feels like an "X-Files" episode is about to begin for the first 30 seconds or so of the album, and it doesn't really fit into the track that it leads into, which just frustrates the crap outta me.  Thankfully, the intro is short and Gregg Livesay's furious rhythm guitars snap me out of my intro-hating frustration as "Leaving" roars to life.  Showcasing guitar skills that many are going to compare to Yngwie Malmsteen or Chris Impellitteri, "Leaving" is a perfect vehicle for introducing Pelata's vocal style to Livesay fans.  I'm told this is actually a re-tread of a song that appeared on one of the band's earlier efforts, but it's new to me and a great way for my Livesay education to begin.  Speaking of Livesay, Livesay--the man (I think I'll just call him Gregg from here on out) absolutely tears into his guitar on a solo that will have any fan of the old Shrapnel Records shredder stable absolutely drooling.  This guy can flat out fly on his axe and it is impressive to hear a man run the frets in such a manner.  Wow.

"Slaved And Bound" starts off much more slowly than "Leaving" does, with Pelata's vocals carrying much of the song's weight at the outset.  That slow tempo is short-lived, however, as the band cranks up the energy on what turns out to be a really powerful, uptempo rocker.  Again, Gregg rips through a solo prior to the last run through the chorus that many people are going to instantly equate to the work Malmsteen did early in his solo career.  This comparison continues with the next song, "With Or Without You", which sounds like it could have appeared on Malmsteen's Trilogy album, what with it's moderately heavy use of keys, especially on the song's intro, it's big drums (listen to the double-kicks on the outro), and the use of layered vocals (lots of "whoa-ah whoas"), and melodic mini-solo drop-ins throughout the song.  After numerous listens, I would have to say that "With Or Without You", which again, is apparently a remake, is definitely my favorite track on the record.

"Age Of Reason" follows up, and in an odd twist, we go from my favorite track on the album to my least favorite here.  This song is the only one on the record where Pelata's vocals don't match up well with the backing vocals, particularly on the chorus when he sings, "I try to see the good in people".  Something is just off.  The rest of the song is very good and Livesay (the man) again flashes a virtuoso-styled solo, but I struggle to get past that vocal issue on the chorus.

Things rapidly right themselves as "Welcome To The Real World" jumps right back to the upper echelon of songs on this record.  A simple acoustic guitar intro leads things in, but the thunder of drums can be heard in the distance as the song builds, with gang vocals adding even more to the build up before the guitars become electric and amplified and the full band kicks in.  Pelata adds a bit of an angry edge to his vocals throughout the verses, and the backing vocals are superb here as they trade on-and-off with the vocal leads in excellent fashion.  The double bass drum work on the pre-chorus sections is also a very nice touch.  Gregg has a particularly fret-melting solo on this song, his fingers flying up and down the guitar's neck with a combination of speed and precision that is nowhere to be found among the vast majority of today's guitar players.  Truly stunning work here.  (For what it matters, this song is the absolute favorite of my four year old who sings along with Pelata throughout the chorus sections!)

"Stop Believing" is another top-notch rocker with a catchy hook and a really nice groove to it.  The backline is absolutely in lock-step on this track, as Mahoney and Huntington carve a pummeling channel through the song that the rest of the band just falls into and glides across ever-so smoothly.  Gregg's solo here is a bit more restrained, as the shred-head shows a bit more of a melodic approach, and it works well.

"Comes Of Age" is the song where I think Pelata sounds the most comfortable, as he really powers his way through the lower end of his tenor range here, and it works really, really well.  In fact, it gives even more emphasis to those times when he decides to elevate and let his upper vocal range really rip.  Gregg has a decent solo here, but the shock of this track has to be the BASS solo that is slipped in before the final chorus run.  Nice to hear Mahoney given a chance to shine.  It's also worth noting that Ty Simms (Bombay Black) provides the keyboards for this song, but, in perfect fashion, they are utilized as a backing instrument rather than being shoved out front like so many melodic/AOR band are wont to do.  Again, its a minor thing to most, but to my ear it is a major deal that actually does damage to a lot of otherwise great songs and/or albums.  In my world, keyboards are not lead instruments.  Just sayin'...and nice job, Livesay!

"Since You've Been Gone" is a track that virtually any fan of melodic hard rock fan is familiar with.  Personally, I was first introduced to the track by the previously mentioned band Impellitteri, and their powerful vocalist, Graham Bonnet, on the Stand In Line album.  Since then, I have heard the song covered by several other acts, with Impellitteri's version still being my favorite.  Livesay doesn't change that opinion, but they come darn close as the interplay between Shawn and Gregg works beautifully, and Gregg rips off one of the catchier solos on the entire record, which is saying a lot.  

The speed is turned back up a bit for the title track, Frozen Hell, with big, thundering drums pounding away beneath Gregg's tight rhythm work and some excellent supporting keys (is that a Hammond, I hear) from Stahl that play off of...and along with...Gregg's riffing, especially on the outro to the song.  Again, the backing vocals are a perfect counter balance to Pelata's soaring leads, and the last rocker on the album is definitely one of the best. 

The ballad, "Spread Your Wings" closes things out, and despite being a slower track, it is definitely a powerhouse number.  Pelata really packs the emotion into this track, bordering on being Perry-esque at times, although this song is heavier and punchier than any Journey ballad I can instantly recall.  Someone warn the fire department because there are going to be more than a few flames held aloft when this song comes on!  Strong backing vocals, nice, laid back drum work, and tastefully done piano accompany Pelata's powerhouse performance here, and Gregg's solo is a great example of his ability to deliver an emotional turn on the guitar, again in a fashion that Malmsteen fans are likely to instantly identify with. While I realize the odds of the album being recorded in the exact tracking order it appears on the record are slim, it really does feel like you can hear Shawn Pelata growing in confidence with each song, and that confidence and power really shines through here at the end.

If there is one complaint that I have about this record, and it tends to be an across the board issue when I listen to the record, it is that Gregg's solos sound as if they were recorded in a completely different fashion than the rest of the record, and the production quality on the solos is different than the rest of the music.  To my untrained ear, it sounds like the guitars were recorded on equipment used in the 80s, and then spliced into music used in today's studios.  I've listened on three sets of speakers now, as I thought initially it might just be an issue with my computer speakers, but I hear it in every set of speakers I listen through.  It doesn't ruin the sound of the album by any stretch, but it is definitely something I notice.

Livesay carries the melodic hard rock sensibilities of the late 80s and early 90s into the 21st century by combining both metal and AOR elements on Frozen Hell, the 4th full-length album from this band that has been around in some form since 1991.  If all of their previous efforts sound this good, I have no idea how this band has flown under my listening radar for 25 years, especially since I had a serious affinity for top-notch shredders back in the day...and Gregg Livesay definitely falls into that category.  

Rating:  A really. really good record that easily cranks to 8!

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*RETRO REVIEW* FISC "Tracker"

(c) 1984 Mausoleum Records

1. Tracker
2. Danger
3. Running With The Devil
4. Don't Dream Too Much
5. Sad Girl
6. Midnight Killer
7. Hungry For Blood
8. Rock N Roll
9. Teaser Woman

Pierre Bechet--Vocals, Bass

Jean-Michael Mauffray--Guitars

Alain Amie--guitars

Dominique Henry--Drums

FISC.  Never heard of 'em?  Not surprised, unless you happened to grow up in Europe...specifically France...in the 80s and early 90s.  And, if you haven't heard of them, its not really your fault, because despite the fact that metal was blowing up by this time, France didn't have anywhere near the success in spawning bands that crossed the ocean and achieved success that England, Germany, Norway, or Japan (different ocean, I know), did.  Were it not for some European metal friends of mine, I would likely not have heard of this band, either.

FISC is fairly representative of what was going on in Europe at the time.  In other words, the NWoBHM movement was in full swing, but the Germans...specifically Accept and the Scorpions...were still doing their thing, as well.  So...being stuck geographically in the middle, perhaps it should come as no surprise that FISC sounds suspiciously like a combination of the two styles, and their sound is not that dissimilar to those Euro bands that eventually morphed into a more trendy, pop metal (hair metal) direction. 

Tracker was, I am told, originally the second demo the band put out, but it was pressed as an actual album once the band signed with Mausoleum Records in 1983, which was not overly uncommon as labels looked to make quick and easy money by repackaging a product that was already recorded and ready to press.  Not judging at all, as that was the way the music business worked back then, and I'm sure bands made up of teens and early-twenties kids were more than willing to do what was needed to get themselves an actual record deal.  

Tracker starts off well with the full throttle rocker that is the title track, as well.  Featuring a gritty rhythm guitar and typically early 80s-sounding drums with lots of emphasis on the snare and far less concern with the big bombastic bass drums and cymbal crashes that would become so big in the late 80s arena scene, "Tracker" is a fast, aggressive rocker that many will find to be in that early Accept vein, albeit with lower register vocals.  Bechet, who also serves as the bassist for the band, actually proves to have a fairly large range later on on the album, but here he stays fairly controlled in the lower end of his voice, sounding a bit like Udo Dirkschneider...but far less German.  Guitar slinger, Alain Amie flashes a pretty cool solo here that really only hints at his considerable talent, and the album is off and running in nice form.

The best track on the record is up next, as I think "Danger" is a great NWoBHM sounding track, with aggressive rhythm guitars and some pretty rapid fire drumming, big, gang-shouted backing vocals, and some ripping lead guitar work from Amie.  Fans of bands like Diamond Head, Angel Witch, or even early Judas Priest, are going to find this track right up their musical alley.  The same can be said for the next track, the nearly as good, "Running With The Devil".  Not to be confused with Van Halen's song, FISC turns in another high speed rocker for most of the track, although there is a pretty cool section in the middle where the band slams on the breaks, the drums pull way back to just a simplistic rhythm, and Amie goes to town on a string-bender that shows a good deal of emotion, all before the band kicks back in at a nearly-thrash tempo, again reminiscent of those early Accept records that showcase so much speed at times.  Good stuff!

"Don't Dream Too Much" is FAR more laid back than the first three scorchers, although it is definitely not a ballad.  Think more of a mid-tempo Accept riff-rocker like "Head Over Heels".  The lead guitar work is again solid, with Amie even doing his best Eddie Van Halen impersonation with hammer-ons and some finger-tapping, and the gang vocals really work here (again, think of how Accept liked to use those gang shouts, such as in "London Leatherboys", for example).  I get the feeling FISC felt the need for more of a radio-stab after blazing through the first three cuts here, and "Don't Dream Too Much" is certainly that.

I was expecting "Sad Girl" to be a ballad, but it is actually anything but a ballad.  The band returns to a more speed-based sound here, although the lyrics to this track are rather simplistic and the chorus is out-and-out lame, which perhaps are the result of a French band performing entirely in English.  Bechet does unleash an eardrum-piercing scream in this track, and Amie again runs the frets on a pretty catchy solo, but the song, in general, is not overly memorable.

Following a woman's scream, "Midnight Killer" has a catchy rhythm guitar to start things off, and there is some twin guitar harmonizing going on that hints at Iron Maiden, but this is another relatively unremarkable track, falling into the filler category, but not something that makes the listener jump for the skip button.

"Hungry For Blood" has some more cool twin guitar riffing, and Bechet's bass is given more of a voice on this track.  Judas Priest is an obvious influence here, but I can also hear shades of early Krokus, as well.  There are some interesting effects used during a brief spoken voice section before Amie goes off on a fairly extended solo run that is backed by a galloping drum cadence.  Bechet's vocals threaten to get a bit out of control on the top end, but he manages to stay largely in tune, or at least close enough for metal.  "Hungry For Blood" is probably the best song on the second half of the album.

"Rock N Roll" starts off in rather plodding fashion before settling in as a rather mid-tempo rocker with one basic guitar riff, a couple of lead runs, and another bland chorus that is delivered with relatively little energy.  Its odd because lack of energy is not a problem on the rest of this record, so I don't know if the band was going for a "cool" sound here, or if this was a late addition in the recording session.  There is a nice Maiden-esque lead guitar section at about the 2:45 mark of the song, which then morphs into more of a Priest-like solo some 20 seconds into it.  There is also one of his faster solos to outro the song, which is really cool, as well.  Amie was obviously a rather talented guitar player, and even on a lesser track like this one, he shows some flair and style to his playing.  

The album closes with another lyrically-lacking song, "Teaser Woman", which I was concerned may end up coming closer to Spinal Tap as far as the lyrics go, than it actually does.  Musically, the band plays it pretty straight-forward here, again settling into a pretty typical Accept-meets-Maiden approach, with some more high-speed soloing from Amie and some pretty nifty bass work from Bechet, as well.  As was often the case with songs in the early 80s, when the band decided they were done, the song just ENDS, like it hits a brick wall, or something, which I was never a fan of.  All in all, not a horrible song, but again, just not that memorable.

FISC went on to release at least 4 more albums after this one between 1985 and 1989, and their later material, I am told, went in a more radio-friendly direction, although I have never heard any of them.  I just wasn't able to get copies of them back in the day, and prices for their releases now are a bit too high for me to just go on a nostalgia trip that basically no one else I know could go on with me.  I just didn't have many friends who were into the Euro metal bands like I was, with many only being exposed to NWoBHM through Metallica covers, early Accept, Iron Maiden, and Judas Priest records, or Def Leppard's first efforts.  

If you can find them, FISC is a fun listen if you are fans of this style, but they are not a band that was going to alter the musical landscape.  Easier to find on vinyl than on CD (beware of bootlegs, although I believe Axe Killer did reissue 1985s Breakout album), plan to pay between $25 and $45 for used copies.

By the way, I have heard that the track listing for this album on vinyl is different than it is on CD, which may be an indication of a bootlegger thinking the album flowed better by moving a track or two without having to worry about the time constraints of a two-sided vinyl record.  I have never personally had a vinyl copy of Tracker, so I can't confirm this...nor does it really matter to me.

Rating:  Not the best record out there, but certainly a nice time capsule of the metal scene of an under-represented country.  Rock Tracker at a  6.

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LEAVES' EYES "Fires In The North" EP

(c)2016 AFM Records

1. Fires In The North
2. Fires In The North (acoustic)
3. Edge Of Steel (2016 version)
4. Sacred Vow (2016 version)
5. Sword In Rock (2016 version)

Elina Siirala--Vocals

Alexander Krull--Vocals, Keys

Thorsten Bauer--Guitars, Bass

Pete Streit--Guitars

Joris Nijenhuis--Drums

I seem to be getting a lot of epic symphonic power metal for review lately, and Leaves' Eyes definitely falls into that category.  I know absolutely nothing about the band, but apparently Siirala is a new vocalist for the band, so to introduce her to their fan base, Leaves' Eyes decided to record one new song (actually two versions of a new song), and also have Siirala sing a couple of the band's older songs on this new EP, Fires In The North.

The new song here is the title track, "Fires In The North".  Musically, the band is not completely unlike most symphonic metal bands, to be honest.  Again, I am not overly well-versed in these types of bands, but there are a lot of big, sweeping guitar runs and huge drums here...including some very cool tribal-sounding drums at the opening of the song...much the same as I have found with bands like Rhapsody Of Fire, for example, who I do have some familiarity with.  What is different with Leaves' Eyes, however, is the juxtaposition between the clean, operatic vocal style of Siirala, and the harsh, gutteral, deathy vocals of Krull.  To hear Siirala utilize a powerful soprano vibrato for much of the verse, only to have Krull come snarling in underneath is quite a contrast in styles, and one that I was surprised to find myself enjoying quite a bit.  The theatrics that are created with this interplay are something I am definitely not accustomed to, but it is something that I feel I may need to explore a bit more.

The second track is an acoustic re-working of "Fires In The North", but the feel is quite a bit different.  Originally, I figured this version was simply to be used to showcase the strings that are used as supporting instruments on this track, and to give Siirala a cleaner musical environment to allow fans to get a better idea of what she is capable of.  However, after several listens, I find that I actually enjoy this version more than the "metal" version, probably because the supporting instrumentation and the group vocals here add a depth to the music not present in the beefier version.  Alexander's gruff vocals are limited to mostly some interjected shouts before the chorus sections, and Siirala tackles pretty much all of the remaining lead vocals herself, but the backing vocals are really enhancing to this presentation of the song, and there is a much more atmospheric feel to the song here, with the tribal percussion I mentioned earlier really coming through on this version.  

The last three tracks are all re-recordings, as is evidenced by the band labeling them as "2016 versions".  "Edge Of Steel" is probably my favorite here, as the rhythm guitar work is really solid here and sets an aggressive pace right from the start, and the drums keep a strong cadence throughout.  It sounds to my ear like there may be some bagpipes and other strings intermixed in the background, along with some supporting keys (I'm assuming from Krull), but I only have a digital review copy, so additional musicians are not listed in my notes.  Once again, Krull is an integral part of the overall sound with his harshly barked vocal lines, which really serve to enhance the beauty and power that Siirala brings to the track.  The other two remakes are solid as well, with "Sacred Vow" using some rather dynamic tempo changes to drive the song; in the faster sections, Nijenhuis powers the song through some high-speed double kick work, with Bauer rumbling right along with him on bass, with some nice string sections (again, uncredited) and big backing vocals scattered throughout the slower, more melodic portions of the song.  "Sword In Rock" starts off in a jig-like fashion, like I have heard Blind Guardian do before, and I imagine the Hobbits dancing around in Tolkein's "Return Of The King" movie.  It isn't long before the guitars and drums come crushing in, but Siirala continues to sing along in a vocal pattern that matches the jig intro, with Krull barking some power into portions of the verses.  Again, not knowing what to expect, I found myself rather enjoying this song.  

The bass seems to be a bit low in the mix for much of this EP, but not being an expert on this style of metal, perhaps that is by design.  It's there, but not as prominently as in other genres.  The guitars are powerful and huge, and the drums of Nijenhuis are a definite force to be reckoned with.  But it is the dynamics of Siirala and Krull that really set Leaves' Eyes apart from other bands of this ilk that I have encountered, and I am definitely impressed.  I am somewhat tempted to check out the back catalog of Leaves' Eyes to hear what the old vocalist sounded like, but I also don't want to ruin my current opinion of the band by comparing Siirala to the old vocalist, whom I have read is actually Krull's wife (ex-wife?  I don't know...), Liv Kristine.  Additionally, I have been told that long-time fans of the band are rather torn on this EP and the new singer, so I may wait until there is a proper full-length of new material with Siirala before I make a comparison of the two versions of the band.

As it stands, I found myself liking this EP quite a bit.  It's not world-changing for me, and I haven't become a big symphonic metal fan simply because of Fires In The North.  However, it does what I imagine the band intended for it to do: it has sparked my interest in the band and has made me curious about what the band has in store next.

Rating:  I'm going to crank this to 7 and wait to hear what the band comes up with next.

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TANGO DOWN "Bulletproof"

(c) 2016 Kivel Records

1. Punching Bag
2. Give Me A Reason
3. Bulletproof
4. Carry On
5. When We Were Young
6. Going Under
7. Superstar
8. Edge Of Goodbye
9. Anything Can Change
10. Broken Heart

Chas West--Lead Vocals

Scott Miller--Lead and Acoustic Guitars

Axel K. Gessrier--Bass

Keith Michaels--Drums

Additional Musicians:

Jace Pawlak--Piano, Backing Vocals

Erik Johnson--Keys, Backing Vocals

BJ Zampa--Drums on "Broken Heart"

Justin Velte--Acoustic Guitars

Hard as it is for me to believe, it's already been over two years since Tango Down released their excellent record, Charming Devil...and since David Reece left the fold of the band as lead singer.  Additionally, bass player, Ronnie Parkes, also exited the band, leaving just Miller and Michaels to pick up the pieces and attempt to assemble an outfit worthy of continuing on with the name Tango Down, as it has become synonymous with melodic hard rock of the highest degree.  Thankfully, and perhaps unsurprisingly due to the superb musicianship of Miller and Michaels, the band manages to not only pick up right where they left off, but to also surpass the level they had previously reached on earlier albums.  

New vocalist Chas West (Bonham, Lynch Mob, Red Dragon Cartel) steps in and lends his smooth, soulful vocal talents to the new record, Bulletproof, as does new bass player, Axel K. Gessrier.  As a testament to the professionalism and talent of these two men, the band comes out firing on all cylinders on the new record, with "Punching Bag" immediately setting the tone for this new effort, showcasing a very tight-sounding band, despite the changes, on this upbeat, sassy track.

As good as "Punching Bag" is, it's on the next track, "Give Me A Reason" that the addition of West as vocalist really shines through.  While Reece is a fine singer, no question, West's smokier, more soulful style really carries a lot of emotional weight on this smooth, more mid-tempo melodic rocker.  Beautifully layered backing vocals also serve to enhance this track which also features a tasty little guitar solo and solid rhythm work.

"Bulletproof" is up next and the edge returns to the sound on this hard-hitting track that is highlighted by one of Miller's best solos on this record, an interesting acoustic moment before the last chorus section, and more of West's excellent vocals.  The chorus is simple, to say the least, but it is also highly infectious and allows West to demonstrate his command of his range by simply adjusting his intonation on just one word...bulletproof.  

"Carry On" is another catchy rocker that really recalls a band like House Of Lords for me, with a solid hook, a throbbing bass line, searing guitar solo, and...dang it, I'll say it again...some of the coolest vocals I have heard in this year's batch of albums sent to Glitter2Gutter for review.  I honestly thought losing Reece would be a bigger deal for the band than it turns out to be, because I truly feel that West trumps him in nearly every way.

Perhaps part of this is due to the supreme quality of the songs on this record.  Take for example the next track up, "When We Were Young".  Not only a nostalgia trip lyrically, the song just has that magical quality that makes you want to hit the "repeat" button multiple times so that you can sit back and let the music flow over you.  And when a song is written this well, the addition of a vocalist who can command they lyrics is icing on the sweetest of cakes, which is what I think this song is on Bulletproof.  Definitely my favorite song on the record and a candidate for song of the year for me.

Big drums come thundering back in on "Going Under", but a smoother, more melodic guitar approach reins the track back in before it become some big, bombastic arena number (which isn't necessarily a bad thing...it just wouldn't fit here).  This song is a bit more laid back and reserved than the majority of the material here, and it is probably my least favorite track on the record, but by no means is it a bad song at all.  Gessrier's bass is definitely given a voice in this song and he proves himself to be a more-than-capable player in this exceptionally tight melodic machine.  

"Superstar" smacks you across the face if you happen to drift a bit during "Going Under", with gritty guitars and punchy drum work driving this hard rocking track that finds West sounding, ironically, somewhat like Reece did on Accept's Eat The Heat album.  

"Edge Of Goodbye" is the album's big ballad moment.  Featuring a piano intro from Kivel labelmate, Jace Pawlak, the song remains relatively quite and restrained during the verse sections before building and soaring during the chorus sections.  Lighters will be held high, to be sure, if this song finds its way into the band's live sets, and with good reason.  Miller contributes a great, emotionally-charged solo on the outro to the track, by the way, and listeners should be sure to go back and give it the attention it deserves.

"Anything Can Change" returns to rocking mode for the band, leading seamlessly into the gritty, dirty rhythms of album closer "Broken Heart", which finds Maxx Explosion/House of Lords drummer, BJ Zampa, occupying the seat behind the kit.  Some nice keyboard work provides a solid support structure for this track without becoming a distraction, and the bass and rhythm guitar work here is extremely tight.  Miller again melts his way up and down the frets of his guitar on another ripping solo, and West leaves no doubt that he is the man in command of the mic now as the album comes to a close.  A stellar way to end a record, to be sure! 

Perhaps the most overlooked and underappreciated contributor to this entire project is Ty Simms of Bombay Black, who once again lends his prodigious talent to the production, mixing, and mastering of the record.  It's hard to say enough about the talent of this man and the way he helps bring the best performances out of the bands he works with, and the work he does on Bulletproof is no exception.

It's also important to note the work of Erik Johnson on this record, as the backing vocals are a huge part of what makes this album click.  It's amazing how well his voice, and those of his assembled cast, help to round out the overall sound of Bulletproof, and I love the way those vocals are layered to add depth to several cuts here.   

Also playing a big role in this record's success would be the slew of Kivel stablemates who contribute to the songwriting here.  Shawn Pelata (Livesay/7HY/Final Sign), Pawlak, Jimi Bell (Maxx Explosion/House of Lords), and Zampa (Maxx Explosion/House of Lords)...along with Mr. John Kivel, himself...and a few others, all put pen to paper in some fashion in helping to create the songs on this record.  Miller had a hand in writing or co-writing half of the tracks here, as well, and it goes without saying that no matter how good a band is, they have nothing to work with if the music is of poor quality.  That is definitely not the case on Bulletproof. 

As is typical of Kivel products, the packaging is top-notch, with a full-color, 16 page booklet filled with lyrics, writing credits, and thank yous...not to mention the return of the gorgeous cover model Azarja van der Veen (is she an official member now?).  

Rating:  Roaring back better than ever, Bulletproof is top-notch cranking material!  Twist the volume up to 8.5!

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METALLICA "Hardwired...To Self Destruct"

(c) 2016 Blackened Recordings

Disc One

1. Hardwired
2. Atlas, Rise!
3. Now That We're Dead
4. Moth Into Flame
5. Dream No More
6. Halo On Fire

Disc Two

       

       7. Confusion

       8. ManUNkind

       9. Here Comes Revenge

      10. Am I Savage?

      11. Murder One

      12. Spit Out The Bone

Disc Three (Expanded Edition)

      13. Lords of Summer

      14. Ronnie Rising Medley

      15. When A Blind Man Cries

      16. Remember Tomorrow

      17. Helpless (Live)

      18. Hit The Lights (Live)

      19. The Four Horsemen (Live)

      20. Ride The Lightning (Live)

      21. Fade To Black (Live)

      22. Jump In The Fire (Live)

      23. For Whom The Bell Tolls (Live)

      24. Creeping Death (Live)

      25. Metal Militia (Live)

      26. Hardwired (Live)

James Hetfield--Lead Vocals, Rhythm Guitar

Lars Ulrich--Drums

Kirk Hammett--Guitars

Robert Trujillo--Bass

1988 is a long time ago, especially if you are a fan of a band who, in the estimation of many of its most ardent fans, has not released an album worthy of their name since that time.  Metallica is just such a band.  A true legend in the metal field, and considered one of the pioneers of thrash metal, the mighty Metallica was at the top of the metal heap in the 80s, releasing four consecutive albums of thrashy bliss, starting with 1983's Kill 'Em All, then continuing through Ride The Lightning, Master Of Puppets, and the 1988 offering mentioned at the outset, ...And Justice For All.  Throw in a top-notch covers album, $5.98 EP: Garage Days Re-Revisited, and you had five albums that showcased the fast and aggressive thrash the band was known for, intermixed with enough NWoBHM to outline the difficulty in pigeonholing the band, and enough progressive elements to show the band's growth and maturation as they progressed from album to album.

But many felt success bred a rapidly declining aggression to the Metallica sound, pointing to the band "selling out" on the self-titled 1991 album, also referred to as "the Black album", which was decidedly more hard rock and less metal than anything the band had done before.  This new sonic accessibility led to increased sales and a larger fan base, with the record selling more than 16 million copies and becoming one of the top albums, sales-wise, in American history.  It also cost the band some of their die-hard fans, as the disenchanted began to look elsewhere to get their metal fix.  This was probably a good thing, too, as the band departed more and more from their thrash roots, releasing to alternative metal albums, Load and Reload, the live S&M album which featured the band being backed by the San Francisco Symphony, and a new covers album, Garage, Inc.  For original fans from the Kill 'Em All days, Metallica was about as far removed from the band they fell in love with as they could possibly be.

Of course, most readers know that things DID get worse, as the abysmal St. Anger was released in 2003, at which point even I had all but declared the band dead.  I enjoyed the Black album, I found things about Load and Reload to enjoy, and I'll even admit to enjoying S&M for what it is (the record...not the sexual fetishes, by the way...), but St. Anger killed the band for me.  To me, the album is so bad I don't even own it now...and I'm a completist when it comes to collecting my favorite bands.  (I also don't own the equally crappy Lulu, which found the band collaborating with Lou Reed.)

Of course, the band started to work on a musical resurrection with Death Magnetic in 2008, and the band seemed to be returning to their roots musically, although the production on the record is overly compressed, the sound suffers as a result, and many of the songs were almost too complicated for their own good.  Throw in the fact that Hetfield had apparently forgotten how to sound like Hetfield vocally (both on record and live, by the way...he had pretty much lost his edge by this point), and this album was a letdown for me, although there was some hope that the band may be finally coming full circle and the band remembered how to thrash about a bit.

That brings us, finally, to Hardwired...To Self Destruct.  Unlike Death Magnetic, the new album doesn't come off as the band throwing a bone to a long-starved section of their fan base; it comes across as the band sounding like they genuinely woke up from a long musical coma and suddenly remembered, "Hey, we're Metallica!  What the hell have we been doing these past 20 or so years?!"  They then locked themselves in a room, pulled out the first five albums (yes, there are still some hints of the Black album here...but not many), picked up their instruments and re-learned how to be Metallica!

The new record starts off in blazing fashion with the frantic thrash-about of the title track, "Hardwired...To Self Destruct", which should immediately have fans slamming off of one another and moshing about the room.  With a loose and easy speed that hasn't been present since Puppets, and a tone that is reminiscent of the Justice days, "Hardwired" finds the boys chewing through an actual thrash song, complete with Lars sprinting away on double kicks and James threatening to scorch the strings right off his rhythm guitar.  While he didn't contribute any writing to this album, Hammett rips off a nice solo in the middle of the track, and UNlike the Justice record, you can actually hear Trujillo go to work on the bass, which really helps support the structure of this blistering track.  While all of this is great and welcome, for me one of the most important...and likely most overlooked...facets of this song and album is the return of the Mighty Hetfield as lead snarler for the band.  Sure, he still attempts to throw in some hip crooning here and there (mostly on disc two), but the sneer and snarl are back for the first time since the Black album, and James truly sounds like the James of old, which does so much for the sound of the band that it is almost impossible to adequately describe.  Honestly, this more than anything else had me excited upon hearing "Hardwired".

"Atlas, Rise!" shows a bit of the progressiveness that the band had started toying with on Justice and then continued with to varying degrees of success for several albums, but the rhythm guitars continue to blaze along on this track, the tempo changes are more metallic in nature, and the high speed guitar solo keeps the listener's attention solidly directed, all of which don't allow "Atlas, Rise!" to devolve into the alternative dreck that so many songs did on Load and Reload.  It's not my favorite track here, but it's still very much a Metallica track of the older-school variety and one I enjoy.  "Now That We're Dead" drifts closer to the edgier hard rock sound of the Black album than it does the thrash of the first four records, but it remains heavy as stink and fits nicely with its surroundings.  Kudos to Lars for the different drum tempos used within this track, especially during the extended break before the last bridge and chorus.  "Moth Into Flame" drags a Ride The Lightning tone to the opening guitars and a "Four Horsemen" styled structure to the verses, which is pretty dang cool to hear on what is easily one of the best songs on this new record.  A definite nod to the old-school, while not ripping themselves off or simply rehashing old ideas, "Moth Into Flame" finds the band successfully revisiting familiar waters while still managing to sound fresh.  "Dream No More" again recalls the more simplistic bottom-heavy rock of the Black album, not sounding wholly dissimilar to "Sad But True", but again it manages to avoid being a complete reworking of that song, largely due to some absolute jackhammer drum work from Ulrich in spots, and a cool solo from Hammett that really showcases the guitar slinger finding a groove and just absolutely running with it.

"Halo On Fire" is my least favorite track on the first disc, but it isn't horrible by any stretch.  At more than eight minutes in duration, the song is likely too long for a lot of people, although the tempo changes should help alleviate attention span problems.  My main issue with it is that this is an example of a song where James slips into that sing-song crooning style that he used in the Load/Reload era of the band that seemed to get stuck in his head as his go-to approach in all cases, even when performing older material live.  The music itself isn't bad here, just not overly interesting or memorable, but again, so much more palatable than 90% of the material the band released from Load through Death Magnetic.

Disc 2 starts off in fine fashion with "Confusion", which again has a definite throw back approach, with the intro drum cadence and guitar riff punching you so familiarly in the face that you welcome the bloodied nose with a smile, as Hetfield once again proves himself to be one of the greatest  rhythm players in the history of the genre, and Hammett absolutely scorches through a really good solo here.  But from here, Disc Two limps along a bit for three of the next four tracks. "ManUNkind" gives a co-writing credit to Trujillo, and after an odd, atmospheric intro, slips into a Black-ish groove, although there is an element of Rage Against The Machine to the guitars leading into the verses that I find rather unsettling (I freaking HATE RAtM!).  If I had to completely drop one track from the album proper, this would likely be it.

"Here Comes Revenge" has a purely Justice inspired tempo and opening riff and quickly rights the ship (although its not like "ManUNkind" had sunk the record by any means), with "Am I Savage?" finding the band getting a bit more experimental/progressive and drifting a bit in the direction of Load/Reload, but Hetfield resists the urge to slip into "metal Sinatra mode" for the most part, which helps keep this from becoming a straight-up skipper.  Much like "ManUNkind", this would be a track that I would have likely left off, or at least moved to the bonus disc of the deluxe version.

"Murder One" starts off like it wants to be "One...Pt. 2", but a couple of rapid-fire drum bursts disrupt that feeling on this track which tributizes the late Lemmy Kilmister and name-drops several Motorhead song titles throughout the lyrics.  Not my favorite, and one that could likely have been left off, but I guess it isn't something that has to be skipped, either.

"Spit Out The Bone" is an absolutely perfect close to the second disc, and the main album, with huge drums, blazing rhythm guitars, a piercing solo, and gut-wrenching thrash tempos ripping right through your skull, with Hetfield's snarl held firmly in place throughout.  It wouldn't shock me to learn that "Hardwired" and "Spit Out The Bone" were written in the same writing session, as both really recall the thrashiest sounds the band has put on a record in many, many years.

The bonus disc contains a re-recorded, and somewhat shorter, version of "Lords Of Summer", which I was kind of surprised didn't make it onto the actual album.  The "Ronnie Rising Medley" here was also previously released on a tribute to Dio, and it's pretty cool to have it here as part of this package, even if it really doesn't fit anywhere, stylistically.  "When A Blind Man Cries" is a cover of a Deep Purple track, and it is done very, very well musically, although many are going to find the song's bluesy approach a bit of a downer after the much heavier, faster material on the two main discs of this set, and...well...Hetfield sings rather than snarls, so there is that.  "Remember Tomorrow" is an Iron Maiden cover, and hearing the twin guitar tones that are so much a part of Maiden is pretty cool coming from Hetfield and Hammett, and the bass of Trujillo is really given a voice here.  Again, probably too sing-songy for me, and Hetfield will never be mistaken for Dickinson, but it's a nice cover nonetheless, from a band that loves to do covers.

The live material sounds better than so many other recent live recordings that I was really happy to have it included here.  Hetfield actually sounds like Hetfield here, and the tempos are crisp and fresh, perhaps even a hit faster in the live setting than on the original albums, especially with the slower-tempo tracks.  One minor letdown was not including any Puppet or Justice songs in the live set, but its a short set performed specifically for the reissue of Kill 'Em All and Ride The Lightning, so it is understandable.  Plus, no Load/Reload schlock was included either...or God forbid, something from St. Anger...so I'll take it!

This is the album Metallica fans have been clamoring for for decades now, as the band has finally, fully returned to their thrash roots, even if those roots are more from the Justice era than Kill 'Em All  or Master Of Puppets.  While Death Magnetic was a step in the right direction, Hardwired...To Self Destruct fully embraces, to varying degrees, who the band was on those first four classic albums, and finds the band in top-notch form as far as both musicianship and songwriting goes.  While I have no belief that it is the end of the band's recording career, if Hardwired... WAS to be the last album the band released, it would be a more than satisfying bookend to a legendary career.

Do yourself a favor and spend the extra few bucks to get the deluxe edition.  The bonus tracks and the live set are worth the dollars spent.

Rating:  Crankable...oh...so...crankable!  Rattle the windows with this masterpiece nearly 30 years in the making, by cranking it up to 8.  A bit of bloat keeps it from being even a notch higher, as it is that good in its best places.  Once again, all hail the mighty Metallica!

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EDEN'S CURSE "Cardinal"

(c) 2016 AFM Records

1. Prophets of Doom
2. Sell Your Soul
3. The Great Pretender
4. Messiah Complex
5. Find My Way
6. Kingdom of Solitude
7. Utopian Dreams
8. This Is Your Moment
9. Rome's On Fire
10. Unconditional (feat. Liv Kristine)
11. Saints and Sinners
12. Jericho

Nikola Mijik--Vocals

Thorsten Koehne--Guitars

Paul Logue--Bass

Chrism--Keys

John Clellane--Drums

Eden's Curse is a band I have at least some passing knowledge of from their albums with the band's namesake, Michel Eden, on vocals.  At that time, the band was something of a power metal/symphonic metal band with huge vocals, tasty guitar runs and sweeps, and some really strong rhythms.  Not my necessarily my typical fare, to be sure, but I own the first two albums on CD and the third digitally, and pull them out from time to time, when the mood strikes me.  

When Michael Eden left, I assumed the band was dead, so I was completely unaware of their new singer, and had no clue that they had put out Symphony Of Sin in 2013.  So imagine my surprise when I was sent this new album, Cardinal, for review, as I simply believed this band was no longer in existence.

The album starts off strong, with the first four tracks ranging from good to excellent, as the band flexes its musical muscle from the outset.  The record starts with "Prophets Of Doom", kicking things off in a familiar symphonic manner, reminding me quite a bit of something Avantasia or old Rhapsody (now Rhapsody of Fire) would have done.  A galloping rhythm and an underlying keyboard current support "Prophets of Doom", setting the stage for the big, sweeping guitars one would expect from this style of metal.  However, it's Mijik's vocals that are the big surprise here.  Sure, the lyrics are rather typical of this genre, bordering on a cheddar-fest at times, but I've never been one to complain about the dungeons-and-dragons, kings-and-queens lore-styled lyrics, so I wasn't put-off by what was being sung; I was more impressed with HOW Mijik was able to sing the lyrics.  I'm not sure what he has done in the past...if anything...but his is definitely a versatile instrument allowing him to sound somewhat similar to Tobias Sammet here, and then more like Jorn-lite on later tracks, such as the absolute beast on this record, the huge "Messiah Complex", which I will admit to putting on repeat for about half a dozen straight listens when I first got this record for review.  While it sounds more like an Allen/Lande song than anything from Eden's Curse's catalog, it is a monster of a track with some absolutely catchy-as-sin hooks, some really cool guitar licks, and an edge added to the vocals that really up the ante for this record musically.  In between these two tracks, "Sell Your Soul" and "The Great Pretender" are both strong numbers as well, with "Sell Your Soul" being the first real example of the band shifting gears since the loss of Eden on vocals, as there is a definite melodic radio rock feel to this track that wasn't really a part of older Eden's Curse.  It's not a bad song by any stretch, but there are some metallic sacrifices made here that make the song more accessible than "Messiah Complex", for example.  Still, no alarm bells go off for me through these first four tracks.

The first slip for me comes with "Find My Way".  The track starts off with some rather stylistically off-putting keyboard effects that don't fit this style of music all that well and really have no home with the rest of the record.  A nice, crunchy rhythm guitar steps in to help the track recover before disappearing entirely to leave Mijik and a piano as the sole workers on this track which for much of the first verse, before the band sweeps back in on what has now morphed into a big, Journey-esque power ballad type of song.  Yes, I said Journey-esque.  Take just a hint of the flowery flourish out of the keyboards, and exchange Steve Perry for Mijik, and I think you would agree that this track would have been all over AOR/Top 40/Mainstream Rock stations in the early-to-mid 80s.  The song just doesn't fit.  I'm also not a big fan of the keyboard solo that is interjected into the middle of the track, or of the way the keys take over chunks of the song in general. 

If "Find My Way" sounded slightly off from the sound of the rest of the record, "Kingdom Of Solitude" juts right out of this record like a third arm, musically.  This song has Extreme written all over it, from the funk-infused guitar intro to the keyboard horns, the boogie dance rhythm utilized in several spots on the track, and the Nuno-inspired guitar approach of the solo...and much of the rhythm riffing.  Lyrically, its not territory that Extreme explored, but musically, this could've been on Pornografitti or III Sides To Every Story rather easily.

"Utopian Dreams" heads the ship back in its original direction after being blown briefly off course.  The gallop is back in the music on this Stratovarius...or perhaps more Kamelot...styled symphonic track that includes the genre-typical keyboard runs and solos where true power metal bands would have dropped a blazing guitar solo or and extended fret flourish of some sort.  But, this is the genre that it is, and so if these things bother you to great degree, then Eden's Curse isn't a band you should be seeking out in the first place.

"This Is Your Moment" is a really strong rocker with a catchy hook, some really good backing vocals, and top-notch rhythm guitar work from Kohne.  Mijik's vocals really stretch toward the upper end of his tenor range here, and he proves himself more than capable of sustaining a note or ripping out a scream when necessary, then slipping back into that edgier Jorn-ish approach.  Good stuff here.

"Rome's On Fire" is probably my second favorite track here (probably switching on-and-off with "This Is Your Moment"...), and is one of the more straight-forward power metal tracks on the record, with big, thundering drums, top notch rhythm guitars, multiple mini-guitar solos, big backing vocals, and a really strong performance from Mijik.  Also, the keys take a more subordinate role here, which is what I typically prefer. 

"Unconditional" is simple too saccharine for me to stomach, with its pop radio rhythm, the echo effects on the guitars, and the overly emotional female vocals of Liv Kristine threatening to push me into a diabetic coma.  Honestly, despite the weirdness of having pseudo Extreme and Journey tracks mixed in, this is the lone skipper for me as I seriously just don't enjoy it at all.

The album recovers to finish strong with both "Saints and Sinners" and "Jericho" both being top five tracks on the record.  "Saints..." is extremely catchy, with Mijik again showing his vocal versatility on this symphonic speed metal treat, and "Jericho" is the album's "epic" track, clocking in at just under eight minutes and featuring multi-layered vocals, several time changes, chorus-styled backing vocals, and some straight-from-the-80s power chords and rhythm guitars, interspersed with healthy doses of symphonic keyboard sweeps, some 70s-sounding synthesized Hammond organ, and high speed guitar-keyboard solo interplay.  A big song to wrap up a slightly uneven, but overall impressive album from a band I thought to be dead and gone.

The production is clean and all of the instruments are separated nicely, which is pretty typical of good symphonic metal.  Compression is not an issue here, as the sound is full and vibrant, with plenty of highs and lows throughout the mix.

The vast majority of Cardinal doesn't stray too significantly from the material the band was putting out with Eden at the mic, although there are some definite AOR/melodic radio rock elements mixed in now that I don't recall being a significant part of older records (I'll now have to pull those to check them out more closely, I guess), and the occasional oddball track slips in to challenge the flow of the record near the middle.  But, for the most part, if you are a fan of symphonic metal and/or power metal, Cardinal is going to be right there in your wheelhouse and I can't imagine you not enjoying the majority of the record.

Rating:  Crank this to 7, with the high points pulling more weight than the scattered low points.

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**RETRO REVIEW** GREAT WHITE "Hooked"

(c) 1991 Capitol Records

1. Call It Rock N Roll
2. Original Queen of Sheba
3. Cold Hearted Lovin'
4. Can't Shake It
5. Lovin' Kind
6. Heartbreaker
7. Congo Square
8. South Bay Cities
9. Desert Moon
10. Afterglow

2005 Reissue Bonus Tracks (Japanese Edition)

     11. Train To Nowhere

     12. Weak Brain and Narrow Mind

     13. Down At The Doctor

     14. The Hunter

Jack Russell--Lead Vocals, Backing Vocals

Mark Kendall--Lead & Rhythm Guitars, Backing Vocals

Audie Desbrow--Drums, Percussion

Tony Montana--Bass

Michael Lardie--Rhythm Guitars, Piano, Synth, Hammond, Backing Vocals

Additional Musicians:

Alan Niven--Backing Vocals, Production
Michael Thompson--Slide Guitar on "Cold Hearted Lovin'"

Everybody has that go-to album that they can pop in at any time and it instantly changes their mood for the better.  It may not be the most popular album a band has ever released, it may not even be by your favorite band, but that one album is a game changer for you.  For me, it just so happens that it IS an album by my all-time favorite band, Great White, but the first part of my statement rings true, as Hooked is definitely not the most popular album in the band's rather extensive catalog.  In fact, I would dare say it is one of their most underappreciated albums, despite it's musical greatness.

Now, I know that it's hard to say an album is underrated or underappreciated when it manages to chart Top 20 and sell over 500,000 copies, but hear me out on this.  Yes, it sold and charted well, but I have always argued that it did so on the basis that it followed up the MASSIVELY popular ...Twice Shy album and the band's biggest hit song, "Once Bitten, Twice Shy".  Had it not been for that album, and that song, in particular, there is a very good chance that Great White would have been little more than one of the dozens and dozens of hair bands of the 80s vying for attention in an over-saturated and often-under-talented market.  If that were the case, I dare say that Hooked would have been little more than a blip on the scene's radar despite the fact that I consider the album to be one of the highlights of the band's career.

Personally, I own numerous different versions of this record.  Starting at the top right and going clockwise, there is the the "censored" pressing, the nude cassette version, an import censored pressing, the censored exterior/nude interior pressing, the Japanese double-disc reissue with the nude cover and the Live In New York album as a bonus disc, and the very cool Hooked promo kit that comes with a fisherman's net bag, held together by an imitation shark's tooth, surrounding an entirely different alternate cover on the outside and a CD and cassette on the inside.  The center disc is a censored exterior/nude interior version, autographed by the Jack, Mark, Audie, Michael, and then-new bassist, Teddy Cook.  I also own two vinyl versions, as well as all of the CD-singles from the album, both foreign and domestic, which included "Desert Moon", "Lovin' Kind", "Call It Rock N Roll", and "Congo Square". (Did I mention I love this record?) 

Sure, some are going to say it's the collector in me, combined with the fact that I love this band, that gives the record such high praise, but I truly do feel that this album was where the band fully developed the "Great White sound", and where they really seemed to hit their stride musically and creatively. This was the last full-length album to feature Montana on bass, as he would depart after this record, but the "Core Four" of Russell, Kendall, Desbrow, and Lardie would continue on for several more releases, honing the sound that was really first developed on Hooked.  This style and sound included a lot more blues influence to their hard rock material, with far less of the "Hollywood hair" flair than had been previously employed.  The ballads, which Great White, and Russell in particular, is possibly most famous for, also incorporated a lot more soul and substance in their approach, going more for emotional content than "lighter in the air" power balladry.   Both ballad entries here, "Lovin' Kind" and "Afterglow" showcase this more 70s-inspired, soulful approach.  

The rockers, meanwhile, are among some of the best ever recorded by the band.  "Call It Rock N Roll" starts the album off in fine form, not overly flashy, but to the point and indicative of where the band was headed with Hooked.  And while many point to "Call It Rock N Roll" as being a "Once Bitten, Twice Shy" clone, I don't find that to be the case at all, and actually prefer this track.  "Original Queen Of Sheba" is catchy 3-chord AC/DC-styled rock but with far superior vocals and more bluesy sass, and the Stones-esque "Can't Shake It" should have received airplay, in my opinion, at least on album rock stations.  Two of my personal faves from the band appear on this record, with the hard-hitting "Heartbreaker" sounding a bit like a throwback to the band's earlier sound, but again with a bit more blues and soul incorporated, and "Desert Moon" is catchy as heck and would likely have become a radio staple had it been recorded and released even 5 years earlier.  Sadly, "Desert Moon" will likely always be known as the song that was being performed when the fire broke out at the Rhode Island Station nightclub, forever altering the Great White story.  I also think that "South Bay Cities" is a particularly fun track, even if its not exactly the deepest song the band has ever worked on, lyrically, nor is it meant to be.  Jack's howl on the chorus is just a treat to listen to here, and "South Bay Cities" works very well to help inject some fun, laid back atmosphere into the more emotionally-charged mid-to-slower-paced tracks here.

Three singles were officially released from this record, with "Desert Moon", "Congo Square", and "Call It Rock N Roll" all achieving some sort of chart recognition in either the United States or United Kingdom, with "Call It..." actually cracking the Top 5 on Billboard's Mainstream Rock chart, while "Desert Moon" hit number 16 on that same chart.  "Lovin' Kind" was pressed as a single in Europe, as well (I have a copy, so I know it exists) but it received no push at all, and I've heard (but haven't verified) that the band was pretty upset with Capitol for not working that song, which they felt could have been a chart hit.  I'll have to ask Jack the next time I see him.

The bonus tracks on the reissue are, for the most part, throw-away for me, largely because I already have the songs from other compilations and live albums.  Still, if you can find it for a decent price, I suppose the reissue may be the best way to go if you are looking for musical quantity for your dollar.  All are cover songs, and none fits the flow or sound of Hooked overly well, but all are done well, with "Down At The Doctor" and "The Hunter" being the best two, in my opinion.

Russell is in top-notch form throughout the record, with his raspy tenor adding edge and sass to the rockers and soaring effortlessly on the ballads here.  Kendall's guitars are the perfect complement to the approach and sound of the songs on this record, with simple-yet-effective solos slipped into the mix, while he and Lardie work so well as a tandem on the rhythms throughout the record.  Lardie's keys are also a nice supporting character here, as well, not stepping on any musical toes by trying to jump out front to grab the spotlight, which is clearly not where they should be in a band taking a decidedly more blues-based approach.  Montana and Desbrow are locked in on the bottom end throughout the effort, whether the band is in full-on rocker mode or tackling a more honky-tonk, shuffle-styled track like "Congo Square".  Again, as I stated previously, I think the band really hit their musical stride here, as all facets of the band were clicking, from the individual performances to songwriting to the production of Alan Niven. 

Rating:  Again, many will say it's because this is my "go to" record that I crank this record to a 9.5, but I argue that if people had heard the Hooked record before Once Bitten... or ...Twice Shy, this would be the style of Great White that most fans would grab hold of, and "Can't Shake It" or "Call It Rock N Roll" would be the hit that "Once Bitten, Twice Shy" has become.

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DIMINO "Old Habits Die Hard"

(c) 2015 Frontiers Records

1. Never Again
2. Rockin' In The City
3. Can't Stop Loving You
4. The Rain's About To Fall
5. Even Now
6. Tears Will Fall
7. Mad As Hell
8. Sweet Sensation
9. Tonight's The Night
10. The Quest
11. Stones By The River

Frank Dimino--Lead Vocals

Justin Avery--Keyboards

John Miceli--Drums

Danny Miranda--Bass

Guest Musicians

Oz Fox (Stryper)--Guitars

Punky Meadows (Angel)--Guitars

Jeff Duncan (Armored Saint)--Guitars

Eddie Ojeda (Twisted Sister)--Guitars

Ricky Medlocke (Blackfoot)--Guitars

Pat Thrall (Hughes/Thrall)--Guitars

Paul Crook--Guitars

Every now and then, I get releases that completely seem to come out of left-field, totally unannounced, and 100% unexpected.  DIMINO did exactly that for me when it was sent to me for review, and this was for a couple of reasons.  First, the album is over a year old (didn't know that when I got it), and was just NOW sent to me.  Second, I hadn't heard ANYTHING from Dimino since his days in Angel, although I had heard he has made an appearance or two with the Sin City Sinners out in Las Vegas.  Other than that...nothin'.

Then Old Habits Die Hard shows up out of the blue.  And, I have to say, I'm actually pretty glad it did!

The first thing that most people will grab onto is the fact that this is essentially Dimino with an all-star backing band, of sorts.  Not only does he have a total Who's Who of guitar players on board here, but even his "band" is a bunch of recruits from Meat Loaf.  Secondly, with the addition of Punky Meadows as a guitar player here, there are likely to be those who wonder if this record will sound anything like Angel.  The answer is a short, sweet, but emphatic...NO.

One thing to note immediately is that Dimino has brought his vocal range WAY down from the rafter-scraping heights it sometimes reached in Angel.  Yes, he can still belt out a pretty good, high-pitched scream, as evidenced in "Sweet Sensation", for example, but on this record, Dimino uses a much more blues-based, mid-range tenor than the falsetto some people will remember him for from the 70s with Angel.   Think of the range of Biff Byford from Saxon, Dave Meniketi from Y&T, or possibly David Reece from Bangalore Choir/Accept/Tango Down as far as where his vocals tend to center themselves pitch-wise.  

What we have here is a nice collection of bluesy hard rock that runs the range from galloping rockers, like the album opener, "Never Again", the straight out of the 80s metal scene, "Rockin' In The City", to the amped-up, hard-charging "Mad As Hell", which reminds me musically of a classic mid-80s Y&T.  All really, really good stuff that had me grinning from the get-go, but nothing even remotely Angel-esque in its approach.  

In fact, a lot of this record has a solid 80s-era Y&T feel to it, which may be why I find myself digging it so much, as Meniketti and Co. has long been a Top15 band for me.  Take the previously mentioned "Sweet Sensation", for example.  We have some really good, hard power chord rock here, a soulful-yet-edgy vocalist who can let a wail rip when he wants to, a conservative use of the organ in the background, all running atop a simple bluesy rhythm section with a nice hook and a fairly impressive guitar solo.

"Tonight's The Night" liberally borrows from "Johnny B. Good" in its guitar approach on the intro and leading into hyper-simplistic chorus sections, and is a fun, if not overly memorable, rocker that flashes one of the catchier guitar solos on the record.

For those who are looking for a bit of 70s nostalgia, there are a couple of songs that will likely fit the bill.  "Tears Will Fall" has a definite 70s classic rock sound, but it has more in common with Rainbow than Angel, in my opinion, both musically and vocally.  "The Quest" is going to be another nostalgic choice here, and it is done very, very well and is probably my second favorite song on the record.  The driving guitar riff and harmonic solo, the excellently integrated Hammond in the background...and then on a solo of its own...the layered "dreamy" vocals on the bridge, and the simple-yet-sharp drums all hearken back to a time when Angel was making it's cult presence know, but Angel, this is not, as once again, Dimino's vocals are huskier and, dare I say, more powerful than they ever were in Angel. 

Album closer, "Stones By The River" starts off with a really cool blues rock riff and a simple kick drum leading in a song that has something of an old time gospel song feel to it.  Once again, Dimino's vocals are directly in their wheelhouse here, as his new bluesy rasp fits perfectly on this slower, more laid back number.

Dont' go into this album expecting a resurrection of Angel or that style, and I can pretty much guarantee you are going to love it, especially if you love blues-based 80s -era hard rock (NOT hair metal) like Y&T, Whitesnake, Deep Purple, etc.  However, if you are looking for a throwback to the Angel days, you are bound to be sorely disappointed, as this is NOT the record for you.

Not sure why it got here so late...but really glad it got here!

Rating:  Really good stuff here.  Crank this up to 8 and let the rocking begin!

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OTHERWISE "From The Roots: Volume 1"

(c) 2016 Another Century/Century Media

1. For The Fallen Ones 
2. Love & War
3. Crimson
4. Vegas Girl
5. Die For You
6. Never Say

Adrian Patrick--Lead Vocals

Ryan Patrick--Guitars

Tony Carboney--Bass

Brian Mederos--Drums

So...apparently the MTV Unplugged movement didn't die with the Stripped series which featured a lot of the hair bands of the 80s offering up acoustic renditions of their biggest hits.  Las Vegas rockers Otherwise have also decided to...not rock?  Well, kind of.  From The Roots: Volume 1 is an all-acoustic set or songs from the foursome, featuring three new renditions of songs from their major label debut, True Love Never Dies, plus three from their most recent studio effort, Peace At All Costs.

One thing to note on these acoustic re-workings here is that they are just that...re-workings.  The arrangements are altered, which was more than necessary in a couple of places, and more for effect in a couple of others.  So, if you are a purist who only wants to hear songs in their original format...why the heck are you even picking this EP up in the first place?!  Anyway...

The first two tracks come from Peace At All Costs, with "For The Fallen Ones" and "Love & War" getting the first run at things.  Both are done very well, with the interplay between the Patrick brothers being a focal point not only here, but throughout the record.  "For The Fallen Ones" has some of the coolest percussion on this entire EP, with the tambourine and snare being the main instruments used, but it also sounds like some maracas or shakers of some sort are also being utilized, giving the track a bit of a Latin percussive element.  "Love & War" is an interesting turn on a pretty hard rocker, and I think it works pretty well in this format.  It has something of a country rock feel to the track in this format, although Adrian doesn't slip into any twang territory vocally.  Obviously there are some dynamics that are changed when you venture into the acoustic realm, but I think the band handled it very well on these first two tracks, as well as follow-up, "Crimson", from True Love Never Dies.  Here, Adrian softens up his vocal approach, giving an extra bit of emotion to the track and really driving home the feeling on one of my favorite album cuts from the band.

The only real stumble for me comes on track 4, as "Vegas Girl" comes across like an acoustic lounge song, although the arrangement allows for the song to morph entertainingly into "Horse With No Name" for one verse and a chorus, before flowing seamlessly back into the original track.  I will guarantee this is a hit in a live setting, but here, while cute a few times, it wears itself out after repeated listens.  And, while it's humorous to hear Adrian drop the f*bomb in this track (he REALLY emphasizes the "ck" at the end of the word with just makes it completely pop out of the acoustic setting it is surrounded by), as I've stated before, I can easily live without a bunch of swearing in songs...especially this word...and it sounds rather juvenile after a time.  That being said, I can't deny it made me chuckle the first couple of times I heard it.

"Die For You" stays the closest to its original song structure, and probably works better than any of the re-recorded material presented here in that aspect, which makes sense since it is the biggest hit the band chose to rework on this effort.  Ryan uses a flamenco-sounding style on the solo here, which is really cool, and Adrian, again, shows just how powerful his voice can truly be.  Also, Tony's bass work is a bit more noticeable here than on other cuts.  I'm not sure if he's using a traditional acoustic 4 string...I'm assuming it's not an upright...but he definitely gets some feel going here.

The album closes with "Never Say" from Peace..., and, again, the band tinkers with the song structure a bit, but the punch of this rocker still shines through more than on any of the other tracks.  I would actually go so far as to say I prefer this version, to be honest, and I am anxious to see if it makes it into the band's live set, as I think it most accurately conveys the personality of this typically high-energy, high-interaction band.

The name of the album leads one to believe that there will be a second acoustic EP at some point in the future.  If they do decide to go this route, I hope the band steps a bit out of their comfort zone and tackles some of the harder/heavier songs in their catalog.  I would be particularly interested to hear "Coming For The Throne", "Darker Side of the Moon", and "Soldiers"...maybe even "Demon Fighter"... given the acoustic make-over, just to see where they decide to take the tracks.   

Musically, this EP is extremely clean, with no squeaks and squawks from the acoustic guitars, and Ryan really gets the chance to showcase just how good of a guitar player he is.  That's one thing about an acoustic record that I love; your strengths and your weaknesses are really laid bare for the listener, without a lot of production tricks to cover up mistakes or musical deficiencies.  Likewise, Adrian's vocals are very strong and very clear, with no real backing vocals used anywhere on the record.  I'm guessing that this album was tracked and not just recorded as a single in-studio jam session, so there could be a good deal of cleaning up that was done here, but it doesn't bother me either way.  The quality of the final product is what matters, at least to me.  The band has nothing to "prove" to me with this set.

The packaging is very simplistic, with just a simple thank you list to the bigger contributors to this fan-funded effort, and a single black and white band photo under the clear disc tray.  My copy is autographed by the band (my scanner is down at the moment, so I had to snag this picture from the 'Net), and, yes, I was a campaign contributor.

All in all, this is a cool little set that I have played several dozen times already.  Will it become a long-laster for me?  Honestly, I doubt it, as acoustic albums don't do a ton for me unless there is new material on it, but I can see myself putting it in from time to time, much the same as I do with Alice In Chains' or Godsmack's acoustic efforts, or even Bon Jovi's, for that matter.  There is certainly nothing wrong with the performances here that would deter me from popping it in when the mood strikes.

Rating:  Taken for what it is, rock this at a really good 6.5.  Once the shine is off the humor of "Vegas Girl", it drops things for me just a bit, otherwise this EP would likely have reached crankable territory.  Still very much worth picking up, especially for fans of the band or for fans of acoustic rock in general.

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