Talkin' Trash with SHAD MAE (Guitarist of DEVOID)

When the debut effort from Devoid showed up in my mailbox, I had no way of knowing how much it would still be impacting me all these months later!  A more powerful melodic metal album I have not heard in recent memory, and had I received it earlier, it very well may have been the Album Of The Year for 2017 here at Glitter2Gutter.  So, when band founder/lead guitarist/chief writer, Shad Mae and I started kicking around the idea of an interview, I knew it was one I wanted to run with.  So, if you have a few minutes, hang out as Shad Mae joins me for Talkin' Trash....

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G2G:  Shad, I want to thank you for taking the time to chat with me here a bit!  Not sure if you saw our end-of-the-year lists, but Devoid was definitely one of our favorite efforts of the year...we just got it so late!  What a truly, truly great record, though...

Shad:  Thanks to you, Arttie.  Yes, I saw that...so glad about it!  I feel really honored to receive such good feedback, and to make you list as one of your favorite records of the year...wow!  It pushed me to make a second one quickly.

G2G:  Whoa!  Are we getting some sneak peek, inside information here about a new Devoid record?

Shad:  Yes, I've just finished to write eight songs, and I'll contunue with my mates, Gwen and Jorris to reach twelve tracks.  Sorry about my English, by the way...(Laughs)

G2G:  No worries about your English..I took two years of French and trust me, we don't want to try that!  (Laughter)

Alright, before we jump too far into the future of Devoid, let's talk a bit about the past, shall we?  How did Devoid come together in the first place?

Shad:  Yes, sure.  Devoid came after the second Shadyon (Shad's previous band) album.  I wanted to write a more direct and powerful album with no compromise.  So, I decided to write a full album and

submit the final stuff to the musicians.  We had problems with the Shadyon lineup, and I did not want to waste my time without releasing anything new.

G2G:  So, are any of the guys in Devoid carry overs from Shadyon?

Shad:  Yes, Jorris on keyboards.  We always work together.  And I work with Gwen Kerjan for the producing.  He worked on the Shadyon Mind Control album.

G2G:  When I first heard the Devoid record, it wasn't only your guitar that grabbed my attention, but also the vocals.  Can you tell me how you and Lizard got hooked up?

Shad:  I am a BIG fan of the Evidence One albums, and I was...and still am...very impressed by Carsten's (Carsten "Lizard" Schulz) vocals.  Classic rock touch with a real talent for a catchy chorus...he's such a melody-maker.  So, when I thought about a singer for Devoid, I decided to contact him.  He listened to the stuff and said yes.  I'm really glad and proud to have him on board!  His performance on Cup Of Tears blow my mind and he go further than I expected.

G2G:  His work on the LaValle record blew my mind, as well.  But, I have to ask how you dealt working with a guy named "Lizard" in the band.  Did you worry it would change the band's image at all?  (Laughter)

Shad:  (Laughting) I think I must change my name to Shad "Snake" Mae, and maybe do a concept album on reptilians!  (Laughter)

G2G:  Yes!  (Laughter)  So, do you consider Devoid to be a band, or more of a project?  Is playing live shows something you hope to do with Devoid, or have you already had that chance?

Shad:  Devoid is first a studio project, but I received some good new for gigs, and the most important is I've got great pleasure to work with these guys, so let's see what happens in the near future.  With a second album, maybe we can do some live stuff.

G2G:  You currently live in France, correct?

Shad:  Correct.

G2G:  What is the musical scene like in France?  I know in the 80s and 90s, there was a fairly significant underground metal/hard rock scene.  FISC, ADX, Sortilege, Demon Eyes...all pretty good bands I tracked down over the years...of course, Trust...  But what about now?

Shad:  Oh, yes!  You're right, we've got great bands in the 80s.  You could check Manigance, Satan Jokers, Nightmare, Now or Never, Adagio...really great bands.  Of course, my other band, Shadyon... (Laughs)  The scene here is very diverse, but when you play melodic metal, it is more difficult.  Gojira is the most renowned French metal...great songwriters, but far more brutal than Devoid...

G2G:  Is there a good live scene?

Shad:  Yes, great activity and really great local bands.  And, we can't forget Hellfest!

G2G:  I've heard big things about Hellfest, but have obviously never been.  Pretty crazy scene?

Shad:  Yes, great place with nice atmosphere.  The programation is outstanding...very diverse bands, from Iron Maiden to more obscure death metal bands.  You should come!

G2G:  I may take you up on that some time!  So, tell me about Devoid.  Technology is really a huge part of the band being able to come together, correct?  The members are pretty spread out, right?

Shad:  Yes, right.  Thanks to the Internet!  For this record, we recorded our personal musical lines in our own studios.  I sent the demos to all the guys and then I let them do their own parts.  They all write their own stuff.  I wrote the songs...the guitars and lyrics...but I prefer to let the guys be free to play what they have in their mind for their parts.  It's more fresh, more natural.  Then we debrief and validate the stuff.  I'm going to try to co-write a bit for the next record.

G2G:  That's a pretty unique approach...

Shad:  Yes, we all live in different countries, so...more easy to work like this.

G2G:  ...and now, technology let's you and I communicate like this live!  It truly is amazing when you stop and think about what we seem to take for granted...

Shad:  Yes, it's amazing...so far, but so connected!  Imagine in a few years...all go faster, only for the better.

G2G:  Now, you are quite a bit younger than me, but your music comes across as so much more mature than a lot of newer bands.  Tell me about growing up and your musical background.

Shad:  Well, I'm a child of the 80s, so I grew up with bands like Europe, Toto, Winger, Simple Minds, Metallica...  When I was 13 years old, I began to learn guitar and I was deep into guitarists like George Lynch, Dann Huff, Randy Rhoads, Kee Marcello, Nuno Bettencourt...  I used my fingers playing their songs!  (Laughs)  Then, I discovered Dream Theater.  Images And Words and Awake were big revelations for me.  I became a prog addict.  Shadow Gallery, Fates Warning, Symphony X, Angra, Rush, Kansas, I love it all.  I also really like Evergrey, Devin Townsend, and Winger.  Henrik Danhae and Reb Beach are some of my favorite guitarists.  In the early 2000s, I fell in love with the Swedish metal scene and with bands like Soilwork and In Flames.  Their works on riffs and guitar arrangements are stunning!  Their songwriting influences me a lot, particularly for the riffs.  You mix all of that together, and you get Devoid.  

G2G:  Did you have a musical family?

Shad:  Not really as musicians, but as listeners, yes.  My parents were into pop music and typical Britain stuff, and Celtic tunes, too.

G2G:  Do you remember your first guitar?

Shad:  Yes, sure!  A BC Rich Warlock like Max Cavalera from Sepultura.  I was such a rebel! (Laughs)

G2G:  Big Bloody Roots fan, were you?

Shad:  Yes, I am!  And I love Chaos, A.D., unique atmosphere and a really cool album.  

G2G:  Agreed.  I found myself really drawn to the speed and thrash scenes after going through my 70s classic rock and 80s hair metal stages...

Shad:  Great!  I love thrash...Testament, Megadeth....

G2G:  Testament is my favorite.  I love Anthrax, as well...both eras...and the first four, and the latest, Metallica are all essential...

Shad:  Yes, Alex Skolnick solos are excellent!  Anthrax is so groovy and powerful.  Yes, all essential.

G2G:  Alright, so let's jump back to Devoid.  When we started chatting, you mentioned we may not need to wait too long for new Devoid music.  Can you fill us in on any details?

Shad:  Yes, sure!  All the demos are done, just have to finish some detals.  But, the songs are ready.  You can expect catchy riffs and heavy choruses, with the mighty Carsten Schulz doing vocals again.  Just need to book the budget.  And there are some great guitarists involved!

G2G:  So you brought in some extra guitar fire power outside of yourself?  I thought you did amazing work on the first record!

Shad:  Thanks, indeed!  Yes, I play most of the parts on the album, but I really wanted to share leads with guitarists I love.  That's why I manage to bring in some guitarists on the songs, just for the pleasure to hear them playing on my song.

G2G:  Any hints or clues?  Come on, quit teasing!  (Laughter)

Shad:  In my dream, I want to have Reb Beach and George Lynch...but it's just a dream....

G2G:  Lynch is probably too busy with one of his other fifty bands and projects!

Shad:  Yes, so true...

G2G:  Did you have a good idea of how you wanted to attack this new record, since you already had one Devoid album under your belt?

Shad:  Yes, I want to attack with a power song, very, very heavy riffs, and some acoustic surprises on it.  And, in terms of business, I have to discuss things with my actual label, get feedback about the first one.  I really want to make a real clip for this one.  And I think about a co-writing session with Gwen Kerjan from the Slab Sound Studio.  We actually worked on the new demos and we plan to rearrange the songs together.  I want an external vision on the songwriting this time.  It could bring more surprises on this record and force me to change my routine.  My goal is to be finished with the producing stuff for the end of the year, then a release in 2019.

G2G:  Shad, one thing we like to do is a quick response, trash talking section in our interviews.  Are you ready?

Shad:  Ready...

G2G:  Best concert you ever attended?

Shad:  Evergrey

G2G:  Worst concert you ever attended?

Shad:  Manowar

G2G:  Really?  No!  Say it isn't so!

Shad:  Sorry...really...

G2G:  Was Ross the Boss still with them?

Shad:  No, not with Ross.  It was the Warriors Of The World Tour...which is a stunning song, by the way.

G2G:  Okay, the world needs to know...were they wearing loincloths and carrying Thor's hammer with them?

Shad:  (Laughter)  No...it was leather...(laughs)

G2G:  Alright, moving on...is it KISS without Ace and Peter?

Shad:  No, not KISS...

G2G:  Van Halen or Van Hagar?  We refuse to acknowledge Cherone was ever in the band...

Shad:  Van Hagar.

G2G:  Really?  Why?  I'm good with either answer, personally...

Shad:  I love the For Unlawful Carnal Knowledge album.  I also love David Lee Roth's solo stuff...

G2G:   Balance is probably my favorite Van Hagar effort, but For Unlawful... is definitely a really good album.

Shad:  Their first album is still my top album, but Hagar's vocals are so soulful...

G2G:  While we are on Van Halen...sort of...which Michael Jackson song has the better guitar solo?  Eddie Van Halen's solo "Beat It", or Steve Stevens on "Dirty Diana"?

Shad:  Steve Stevens.  I love his bends on that solo!

G2G:  Stevens is majorly underrated, don't you think?

Shad:  Yes!  His work with Levin Bozzio Stevens is magic.

G2G:  Did you know he did the guitar parts on the theme song to Top Gun?  I just found that out not too long ago.

Shad:  Really?

G2G:  Have you heard his Atomic Playboys album?

Shad:  I love it and I got it!

G2G:  Aldo Nova...overrated or underappreciated?

Shad:  Underappreciated, for sure.

G2G:  Do you have a favorite Aldo Nova record?

Shad:  Blood On The Bricks

G2G:  Good stuff...good stuff, indeed!  Yngwie Malmsteen, musical genius or bloated egomaniac?

Shad:  Genius with his first album, but now just an ego maniac.  I prefer Jason Becker!

G2G:  Cacophony with Marty Friedman is killer!

Shad:  Oh, yes!

G2G:  Speed Metal Symphony is a shred masterpiece!

Shad:  Yes, absolutely...

G2G:  Okay, so we've chatted a bit about some of the 80s guys that have influenced you,  but what about earlier, classic hard rock guys?  What about a guy like an Ace, or Eddie...or even Hendrix?

Shad:  Well, I love the free playing of Jimi Hendrix.  Without him, there's no hard rock.  And Van Halen is THE guy...tasty and innovative, great soloing and also an awesome rhythmician.  Not a lot of an Ace Freheley, KISS stuff, guy.  Sorry.  I love Kerry Livgren, though!

G2G:  Have you heard the songs he did with Ronnie James Dio?

Shad:  No!  I must check!  Which song?

G2G:  "To Live For The King".  (I emailed Shad the video at this point...)

Shad:  That is a great, great song!  Very melancholy vibe.  I love it!

G2G:  There's another..."Mask Of The Great Deceiver"...

Shad:  Thanks for this discover!  Livgren and Dio...wow!!!

G2G:  If there was a solo out there that you feel people absolutely had to hear, what would it be?  Doesn't matter the time frame or genre...

Shad:  "Mister Crowley" by Randy Rhoads.  "Symphony of Destruction" by Marty Friedman in Megadeth.  Eddie's solo on "Beat It".  They are all perfect with awesome feelings.

G2G:  I always steer people towards "The Idol" by WASP, with Bob Kulick on guitar.  Amazing!

Shad:  Yes!  Amazing song and awesome album!

(Shad at left at Shadyon reunion show)

G2G:  So, while we're waiting for new Devoid music, is Shadyon something that you might return to in the interim?

Shad:  We actually made a live comeback last week with a new drummer and bass player.  We've got all new demos finished, and Walter, our new drummer, wrote a lot of songs and he is so, so good.  So,

you can expect new stuff soon.

G2G:  Shad, this has been a blast!  I love talking to people around the world, and a lot of our readers do, too.  How can fans keep up with you?

Shad:  Facebook is a great way, mate, and there is also a Devoid Twitter page.

G2G:  Shad, this has been awesome.  Thanks so much!

Shad:  Thanks to you!  I appreciate it a lot!

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Awesome stuff from our new friend, Shad Mae!  If you haven't checked out his bands, Shadyon or the absolute masterpiece that is Devoid's "Cup Of Tears", you need to do so as soon as possible!  You should be able to find both projects fairly easily, even on Amazon for those who don't mind using evil corporate giants!  (That's a joke, folks...)  


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STEEL CITY "Fortress"

(c) 2018 Kivel Records

1. Do You Love Me
2. Heart And Soul
3. Turnabout
4. Picture Of Beauty
5. Too Little Too Late
6. Someone Like You
7. Passing Ships
8. Shame On You
9. Rock! In The USA
10. Back On The Streets

Bryan Cole--Lead Vocals

Mike Floros--Guitars, Backing VOcals

Scott West--Bass

Ron McCloskey--Drums

Additional Musicians

Tony Stahl--Keyboards

Mike Talanca--Bass on 1, 5, 7, and 9

It is a true treat for me when I come across a band that is able to create an album that sounds like it could have come straight out of the glory days of the 80s melodic hard rock scene, before everyone was trying to copy the sound of everyone else and not doing anything on their own.  New bands came out that sounded like new bands, not clones of someone else.  Steel City is one of those bands that truly "gets it", when it comes to the sound and style of that scene, and they do it the right way, incorporating the big arena sound of the 80s with strong songwriting and top-notch musicianship to create an album of songs that is catchy and comfortable, sounding like it could have slid into rotation among the Whitesnakes and Bon Jovis and Dokkens and Slaughters of the era.

What is immediately noticeable about Fortress is the powerhouse combination of musicians at work here.  Floros is an absolute beast on the guitar, whether setting the stage for the vocals with his rhythm work or working his magic on a fingers-flying solo.  McCloskey's drums have that huge, pounding arena sound that is so clearly missing in so many similarly-styled bands, and the bass work, whether from West or Talanca, perfectly completes the foundation upon which these hook-laden melodic gems are built.  To have a huge, powerful vocalist such as Bryan Cole belting out the lyrics is just proof of the embarrassment of riches that is Steel City.  At times recalling the early vocal power of a singer like Marc Slaughter, such as on tracks like "Heart And Soul", and of course the Vinnie Vincent Invasion cover "Back On The Streets", while at other times possessing a very Michael Sweet vocal quality, such as on "Someone Like You", Cole is a supremely talented vocalist with an easy movement throughout his entire vocal scope, never sounding like he is straining to reach the rafters nor bottoming out to plumb the depths of his range.  Add in some excellent backing vocals, courtesy of Floros, and you have a massive wall of sound blasting you with waves of guitar-driven, vocally-charged, high energy melodic rock.

While there are no weak tracks here, there are four that I think deserve special recognition.  "Turnabout" may be my favorite track on an overall excellent album.  The echoing backing vocals on the title word in the chorus are absolutely perfect, Floros' guitar solo is mesmerizing, a combination of fluid speed and melodic sensibilities, and the double-time drums driving their way through the chorus section coming out of the solo are the perfect touch to really set this song apart in my mind.  Cole's vocals are just insanely strong here and the band sounds as if it was having an absolute blast while recording this track.  If this song isn't blaring our of your speakers as you cruise down the highway, my guess is you drive a Prius, chase unicorns, and eat only nuts, berries, and other gluten-free plant products, because this song is pure, driving balls-to-the-wall melodic hard rock at its best.  An easy contender for Song Of The Year here at G2G!

"Too Little Too Late" has a Bon Jovi quality to it in places, especially on the bridge to the chorus, while Cole utilizes a vocal approach similar to Michael Sweet that, when coupled with Floros' guitar work, is not too far removed from Stryper's mid-to-late-80s peak.  Smooth and polished where necessary, but with enough edge to the guitars, "Too Little Too Late" would likely be the song that carries many other bands' albums, while here it enjoys the company of so many other high quality tracks that it isn't forced to do all the heavy lifting on its own.    

"Passing Ships" is a slightly mid-tempo number that isn't so much highlighted here for its musicianship...which remains top notch, with a great solo and outro section from Floros...as much as it is for its vivid story-telling...not to mention a fun use of nautical terms throughout the track!  The song's protagonist was enchanted by a beautiful woman "in [a] flowered blue sundress" who was "easily a diamond worth any cost"...perhaps a sailor's siren?  But with hurricanes, the eye of a storm, being lost at sea, and coming under siege...this is a relationship that was obviously doomed, despite the "shadows dancin' 'cross the bedroom wall" and the "warmth and grade of [her] touch".  Just good, good lyrical stuff here that is completely absent from so many songs that either try too hard to be deeper than the ocean (see what I did there?!) or come off as shallow as a...dang, couldn't pull that one off, but you get my point.  An excellent example of big time songwriting.

"Rock! In The USA" is just a flat-out fun song that lets the band show off its talent on an upbeat rocker that will likely come blasting out of your speakers once you punch that time clock on Friday, and cause you to threaten the speed limits of your local highway if it is in the player as you are out cruising about (unless you are in that previously mentioned Prius).  When I first saw the title, I was wondering if it was a cover of "R.O.C.K. In The USA" by John Mellencamp...John Cougar...John Cougar Mellencamp...whatever he calls himself now...but I can happily report that it most definitely is not a cover...although, I'd be lying if I said I didn't like that classic song.    

Okay, I lied...I have to mention five specific tracks, because I would be totally remiss if I didn't give a nod to the album's closer, the cover of the Vinnie Vincent Invasion classic, "Back On The Streets".  Similarly powerful, the song is given a bit of an update by Steel City, with a bit more melodic polish to the vocals, the incorporation of more prominent keys, with just a touch less speed through the guitar solo.  A fun way to close out a stellar debut record and a perfect way to showcase the fact that had it been around in 1989, Steel City would have fit into the scene absolutely perfectly...minus the sky-high hair and copious amounts of eyeliner and blush.

The production here is excellent, courtesy of Johnny Lima, who does an outstanding job of bringing out the talent of this group of musicians.  The packaging, as is expected with Kivel Records products, is top notch, as well, with full lyrics and writing credits, a thank you section, and a cool album cover.  The only thing missing is a band photo of some sort, but as grievances go, this one is of minimal importance.

Steel City is uber-talented, make no mistake, and they have set the bar for themselves extremely high with Fortress.  If you have not already sought out this record, you need to do so immediately, as you are missing out on an album that will have to be in consideration for album of the year when 2018 wraps up.

Rating:  Extremely crankable, I have yet to play this album only a single time through when I pop it in.  Crank this to 8!

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DOKKEN "Return To The East Live 2016"

(c) 2018 Frontiers Records

1. It's Another Day (New Studio Track)
2. Kiss Of Death
3. The Hunter
4. Unchain The Night
5. When Heaven Comes Down
6. Breakin' The Chains
7. Into The Fire
8. Dream Warriors
9. Tooth And Nail
10. Alone Again Intro
11. Alone Again
12. It's Not Love
13. In My Dreams
14. Heaven Sent (Acoustic Studio Track)
15. Will The Sun Rise (Acoustic Studio Track)

Don Dokken--Lead Vocals

George Lynch--Guitars

Jeff Pilson--Bass, Backing Vocals

"Wild" Mick Brown--Drums, Backing Vocals

Let me open by saying I absolutely love classic Dokken.  Those first few albums, up through the "original" version of this album, Beast From The East, are must-haves from the 80s, in my opinion, and I really, really like later albums, Erase The Slate, and Lightning Strikes Again, as well as Don's solo record, which I also feel is practically essential to the collection of any melodic hard rock fan.  But the line-up issues with the band, the vocal issues of Don, the apparent ego issues of Lynch, and some very hit-or-miss albums in the latter half of the band's catalog have left me feeling rather hollow about this band for pretty much the last decade.  So when I saw that the band was releasing a live CD/DVD package of their 2016 reunion mini-tour of Japan, I had to quote "It's Not Love" and ask, "why, baby, why?"

The album starts off in what many would consider to be reverse fashion, with a brand new, full-band track, "It's Another Day".  It took me a few listens to fully appreciate the track, but I have to admit that I like it more and more with each spin.  It is definitely not Under Lock And Key or Tooth And Nail Dokken, by any stretch, but there is little point in denying it is a Dokken song.  Yes, it has a bit more of a modern approach to it than the classic hair era stuff, and no, Don has nothing of the range he used to possess, but I like the darker, edgier feel that Don's vocals bring to this song.  It feels a lot like a song from the more recent Jon Levin-era of Dokken, and doesn't have the feel or flair that Lynch brought to so many of the band's most memorable songs, but it's got a decent hook, the chorus works well with the help of Pilson on backing vocals...which was always a huge boost for the band...and I think most fans will find themselves liking it, even if its for the nostalgic reason of having the full band back together.  

To close the album, we have two acoustic reworkings of classic Dokken tracks, both of which are perfectly suited for the acoustic treatment.  I know that "Heaven Sent" is the bigger of the two tracks, but I have always thought "Will The Sun Rise" is one of the band's most underappreciated moments, and this acoustic rendering just adds to that.  Don's voice actually works perfectly with this approach, as does the choice of percussion instrumentation utilized here.  I'll admit to being reticent to hearing these acoustic tracks, initially, but I can honestly say they are actually the high point of the record for me now, especially "Will The Sun Rise", which I think has something of a haunting quality to it here.  Love it!

And in the middle...the live set.  The first thing that will likely be obvious to anyone who picks this up is that the track order for the CD and the DVD are totally different.  I mean not even close.  Now, I have not seen the DVD (nor do I plan to), but the CD certainly feels like it is running in the correct order, based upon live performances I have seen personally, previous live recordings, and just the flow of the album.  And we all know that live crowd noise can be easily manipulated in the studio, so I can't say for sure which track order is correct, and in the end I suppose it doesn't really matter...it's just...weird.

Musically, the band sounds really good.  Considering they hadn't all played together in quite some time, the band is actually very tight sounding.  The set-opening "Kiss Of Death" is a great example of a band that is lock-step right from the start, with Brown's galloping rhythms on the drum setting the tone immediately.  No, it doesn't sound like Beast From The East, but it sounds a lot better to me than Live From The Sun or the rather poor-sounding Japan Live '95.  Pilson and Brown have always been a...ahem..."beast" of a rhythm section, and that continues here.  There is a reason both men are so well-respected throughout the industry for their talents, particularly Pilson, and there is nothing in this live set that would detract from the great work of their catalog together.  But it doesn't matter who is playing bass and drums for this band...for most, it's about George Lynch.  And Mr. Scary doesn't disappoint in the live setting, as he effortlessly rips through solo after solo on these beloved songs, sometimes playing them note-for-note perfectly, and other times toying a bit with the arrangement or length.  The intensity isn't quite what it was on Beast From The East, but there is also a TON of speculation about how much that album was touched up in the studio, especially by Lynch, what with the band being at the peak of their popularity and album-selling prowess.  This record feels more organic, less "tweaked" than Beast... does, at least to me, and Lynch is a big part of that. 

So....how about Don?  Well, there is good and bad.  Surprisingly, the good is that there are songs where I think his new vocal approach actually works really well.  This is largely due to the fact that he has seemingly accepted his limitations and has adjusted his approach, rather than helplessly try to force himself to reach pitch heights he couldn't get to with a ladder now.  And I'm actually fine with this adjustment.  As I said above, it actually works incredibly well on the new acoustic studio tracks, and is equally effective on several live tracks here.  But note that I said "several", and not "all".  There are a couple of places where Pilson's backing vocals are so much more powerful than Don's that it sounds pretty bad to my ears.  "The Hunter" is one such song.  And then there are songs where Don's changed register actually sounds somewhat off key, with "Into The Fire" being the most notable culprit in my mind, and one point in "Kiss Of Death" pops to mind, also, as Don seemed to really want to go for it, octave-wise, before remembering to back off.  There'e aren't many places like this, and overall, the backing vocals really support Don and serve the songs well, "Unchain The Night" being an excellent example, and "Dream Warriors" being another.  Plus, there are times when Don's more subdued approach makes a song like "It's Not Love" come off a bit darker, edgier, maybe even angrier than the original, which surprisingly isn't a bad thing.        

One thing that I feel must be said about Don here....and which has been said about him seemingly forever...is that he sounds, well, bored at times.  He's always been a singer, not an entertainer, as a front man, and always seemed to have his feet nailed to the floor.  Now, obviously I can't "hear" if he is moving around, but I can say that in the places where he addresses the crowd here, he just sounds like he's going through the motions and isn't having any fun in his interactions.  And, having seen them live several times, I can say I have ALWAYS felt this way about Don.  He was always so serious about his vocal performances that I sometimes felt like he forgot that rock shows are supposed to be fun, spontaneous, and energetic, not necessarily technically perfect.    

There are a couple of songs that I really miss from the setlist, with "Just Got Lucky" and the instrumental "Mr. Scary" being chief among them. (I wouldn't be surprised at all to learn that "Mr. Scary" was contractually left out of the set, focusing only on full-band songs, but I don't know that for a fact.) I also would have loved to hear the band do "Paris Is Burning" and "Walk Away" for this set, especially since "Walk Away" was the new studio track on the Beast From The East album.  Woulda been cool, right?  As it stands, the choices here are all pretty obvious and represent the best-known material from the era of the band where all four guys were together and not trying to kill one another.

The mix is pretty good...not amazing, but not bad...with some muddiness in places and a few spots where I think the vocal mix needs adjusting...but, again, it feels more organic, more natural...more live...than a lot of live albums do, especially today.  Again, mine is a digital review copy, so I can't speak to the quality of the DVD recording or the packaging.  

I will admit that when I listened to this record the first few times, I really wasn't all that impressed.  In fact, I was semi-negative about it in a couple of early musings in some Facebook postings and discussions.  But with repeated listens, I have changed my tune.  Now, overall, I don't think this is a bad live record at all, and it has a couple of really, really good acoustic studio tracks that fans will want to grab hold of, as well as "It's Another Day".  But it's just that the live material has been done better in other places, specifically on Beast From The East.  In the long run, that is going to be the version and sound of the band that I would prefer to remember live.  Its the sound of my youth, and neither I, nor the band, are of that era now.  And let's face it, when we seek out live albums, its generally for nostalgic reasons, and I'd rather remember the 1988 version of Dokken...and sometimes (not often, but sometimes) the 1988 version of myself!!!!....than the 2016 version.  Do yourself a favor, however, and buy the three new tracks, even if you don't want to buy the entire package, as they are worth the time and money.

Rating:  This mostly-live album definitely rocks.  I give it a 6.5 overall, with crank-worthy nods to the new tracks, especially "Will The Sun Rise", which is simply amazing.

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JK NORTHRUP & DAVID CAGLE "That's Gonna Leave A Mark"

(c) 2018 Melodic Rock Records

1. The Night Is Mine
2. Gone
3. The Moment
4. Can't 
5. Sting Of Her Kiss
6. Another Goodbye
7. The Honeymoon Is Over
8. That's Gonna Leave A Mark
9. For Sure Thing
10. Sirens
11. Forever Starts Tonight
12. Chasing Ghosts

JK Northrup--Guitars, Backing Vocals

David Cagle--Lead, Backing Vocals

Larry Hart--Bass

Steve Brown--Drums

Additional Musicians:

Kelly Keeling--Backing Vocals on "For Sure Thing"

Richard Kendrick--Backing Vocals on "Can't"

Gunnar Nelson--Backing Vocals on "Forever Starts Tonight"

Eric Ragno--Keyboards on 2, 3, 4, 7, 11, and 12 

Dan Zoid--Drums on "That's Gonna Leave A Mark"

JK Northrup is one insanely busy guy.  Besides mixing, mastering, and producing various projects for his Alien Productions company, the guy still manages to keep churning out amazing melodic hard rock projects seemingly every couple of months.  Case in point, it was just 3 or 4 months ago that the excellent Fiction Syxx was released.  Now, here we are again in early March of 2018 and Northrup is preparing to release another project, this time with the seriously underappreciated David Cagle on vocals, Larry Hart on bass, and Steve Brown on drums, along with a great collection of supporting talent.  That's Gonna Leave A Mark is set for release on MelodicRock Records later on this month, and I can already tell you it is going to be a must have.

If some of the the song titles on the record sound familiar, that is because most of this record was previously released in a limited, digital format under the Liberty N Justice name as The Vow, with JK doing a large portion of the writing, playing, and producing on that record.  However, the rest of the lineup for this record is new, with JK recruiting not only Cagle, but also Mick Brown's younger brother, Steve, for drums, as well as Larry Hart on Bass, and keyboardist extraordinaire, Eric Ragno, who jumps in to help on half of the album. 

The album kicks off with the high energy rocker, "The Night Is Mine", and once he joins the fray, it is easily understood why Northrup is so high on Cagle as a vocalist.  A generally smooth tenor, Cagle has the ability to throw in just enough grit and edge to keep the sound from becoming flowery or saccharine here, which I feel is an important tone to set from the get-go.  JK rips off the first of numerous catchy, lively solos on this track with a style and sound that will definitely have listeners recalling his more hair metal days with King Kobra.  A solid start for That's Gonna Leave A Mark.

An introspective and lyrically melancholy song about love lost, "Gone" is up next, and for my money, its on melodic numbers such as this that the album really shines.  Ragno bolsters the sound of this mid-tempo number with his typically solid keyboard fills, and the rhythm section of Hart and Brown is absolutely lock-step here, melding perfectly with Northrup's rhythm guitars throughout the course of the tune.  The solo from Northrup perfectly fits the mood of the track, delivering both power and emotion, which Cagle matches perfectly, as he really finds his voice...and his vocal home...on "Gone" and similarly styled songs.  Good stuff, here.

"The Moment" is pure 80s bliss, sounding very much like a Warrant track, a la "Heaven", in places, mixed with hints of Slippery When Wet-era Bon Jovi and, to my ears, the more melodic moments from Damn Yankees, (think "Come Again" and "High Enough").  Not purely a power ballad, but definitely a lighter-inducing track that I could imagine filling the gymnasium during my late-80s prom years, "The Moment" is absolutely outstanding and, again, a place where Cagle's seemingly effortless approach really shines. 

"Can't" re-ups the energy, heading back to mid-tempo rock territory.  The chorus is plenty catchy, and the layered backing vocals work well on this track that reminds me a lot of the style of music that Nelson has put out on their past couple of efforts...which is a good thing.  Northrup's solo is short and sweet...actually a bit too short for my tastes...and the rest of the band is in excellent form here on this track that, while not the best on the record, still offers up plenty to like.

"Sting Of Her Kiss" is a song that I remember really liking in its original LnJ form on The Vow, so I was a bit concerned about how this reworked version would come across.  I needn't have worried, as this snarky rocker delivers in much the same way as the original and is definitely one of my favorite uptempo numbers on the record.  The solo section here is longer than on the original, if memory serves me correctly, and JK absolutely tears up the frets on a run he drops just before the bridge that leads into the last chorus run.  Hart's presence is definitely felt on this track, as the bottom end is definitely more pronounced here than on a couple of other tracks, and the resultant groove is a fun one, to be sure. 

The album head back to more mid-tempo melodic rock territory on "Another Goodbye", which really benefits from solid lyrics, excellent backing vocals, a nice hook, and the by-now-expected premium guitar solo from Northrup.  I often wonder if JK would have been one of the 80s "guitar gods" had he been in a band that gained more exposure or catered more to the hair metal crowd than King Kobra or the excellent, bluesier hard rock he played with Paul Shortino.  The guy is a beast on the axe and he has a definite flair for the melodic solo style that he so frequently employs on this album, as well as his recent releaes with Fiction Syxx and others. 

Initially, "The Honeymoon Is Over" has an odd vibe to it, with programmed drums and some odd keyboard elements and vocal effects at the start, but these quickly give way to a decentmid-tempo melodic rocker, largely supported by some extra-smooth guitar riffs from Northrup.  The chorus is a bit simplistic lyrically, but Cagle manages to keep it from sinking.  Not my favorite track, by any means, but again, this collection of musicians seems capable of taking a song like this one and giving it life.

The title track brings things back into focus with some excellent kit work from Brown and a more 70s classic rock vibe than most of the tracks here.  I especially love the frenetic guitar work here, feeling like JK really just went in and free-styled this solo, just having fun with it and letting it go where the song and his mood dictated.  A top three or four moment for me on this album.

"For Sure Thing" is another fun, uptempo rocker, which features Baton Rouge's Kelly Keeling on backing vocals.  Another lyrically strong track, "For Sure Thing" is all about cruising with the top down and the speakers up, as far as I'm concerned, and is another example of the type of good-time rock n roll that simply isn't played enough today, at least by American bands.  Cagle rocks, plain and simple, and the entirety of the band has the feeling of a group of guys that are out to have some musical fun and take all the listeners with them.  Great stuff here!

"Siren" has a funky, "Brick House"-meets-Extreme kind of groove to it that is unlike anything else on the record.  Definitely a fun song, but one that I'm guessing many listeners are going to have to give a chance to so that it can properly grow on them.  Another quirky track lyrically, "Siren" is a tune that gives Cagle a chance to showcase his ability to handle something other than the standard melodic rock fare, and he passes the test with flying colors.  For what its worth, Northrup launches into an ultra-cool solo just before the final chorus...but you probably guessed that, right?

"Forever Starts Tonight" gets some backing assistance from Mr. Gunnar Nelson, and his presence is felt immediately as the song actually opens with a layered line from the chorus section before the guitars and drums come kicking in.  Once again right in the wheelhouse of Cagle, and Northrup digs into his bag of licks n tricks one more time on this rocker, and yet again the rhythm section of Hart and Brown deserves special mention on "Forever...", which is a really good song that I'm surprised to find this late in the record. 

Album closer, "Chasing Ghosts" drops the tempo a bit, not quite into ballad territory, but close, and closes the record with another dose of smooth melodic rock that, again, really allows Cagle to shine.  I truly hope he and JK hook up again in the not-too-distant future, as they definitely have something working here.

Mine is a digital promo version, so I have no idea about the packaging of the album, but generally speaking, Melodic Rock Records is solid in this area, so I don't have any pre-conceived concerns in this department.  Additionally, I am told there is a Japanese bonus track that I don't have access to at this time, but I know that it is one that was on the LnJ version of the record, so I am anxious to get my hands...and ears...on that track whenever possible.

The production is solid, professional, and clean, with no glaring issues with mix, muddiness, or excessive polish.  Northrup has proven himself to be equally talented behind the mixing board as out in front of it, and the work here is no exception.  Initially I thought there was a bit of middle-to-bottom end missing in the mix of some of the tracks, but it turned out to be an issue with my EQ, which I had to adjust when listening to another review album that...ummm....let's just say "lacked in appreciable mixing and production skill"...and leave it at that. 

Overall, That's Gonna Leave A Mark is very likely to leave a mark on listeners, as it is a really good, generally upbeat-but-always-real, lyrically fun album with a whole lot of musical talent shining through in various areas.  Nostalgic-yet fresh, comfortable-yet-not cliche, this effort from Northrup, Cagle, and Company is well worth picking up.

Rating:  Crankable, unquestionably, I give this an enthusiastic 8.

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SKILLET "Unleashed Beyond"

(c) 2017 Atlantic Records

1. Feel Invincible
2. Back From The Dead
3. Stars
4. I Want To Live
5. Undefeated
6. Famous
7. Lions
8. Out Of Hell
9. Burn It Down
10. Watching For Comets
11. Saviors Of The World
12. The Resistance
13. Breaking Free (featuring Lacey Sturm) (Bonus)
14. Stay Til The Daylight (Bonus)
15. Brave (Bonus)
16. You Get Me High (Bonus)
17. Set It Off (Bonus)
18. Feel Invincible (Y2K Remix) (Bonus)
19. The Resistance (Soli Remix) (Bonus)
20. Stars (Film Version) (Bonus)

John Cooper--Lead Vocals, Bass

Korey Cooper--Rhythm Guitars, Keyboards

Jed Ledger--Drums, Vocals

Seth Morrison--Guitars

The undisputed kings (and queens) of Christian modern rock...and one of the most successful modern rock bands in America, period...Skillet have once again repackaged their most recent effort with new material and offered it up to fans, most likely to tide them over until the next album.  Originally released nearly two years ago, Unleashed has seen multiple songs hit radio as singles, from the huge, arena anthems "Feel Invincible" and "Back From The Dead", to a couple of slower, more ballad-esque moments with "Lions" and "Stars", and the original album closer, the crunchy, modern metallic screamer, "The Resistance".  Sandwiched in between are several other solid songs, whether it be the more symphonic "I Want To Live", the poppy "Saviors Of The World", the crunchy "Undefeated", or the breakneck-speed rocker "Out Of Hell".  Not everything on the album worked overly well for me, as I am not a fan of "Watching For Comets", per se, nor did "Burn It Down" really grab me, though neither is a bad song, necessarily.  The same could be said of "Famous", which is a little too electro-pop/dance rock for me, what with its looped drums, syths, and electronic noises, but again, it's not brutal or anything.  But, if I had wanted to cut the album down to the ten best tracks, "Comets" and "Burn It Down" would have been the two to go.

But rather than trim the album to ten tracks, Skillet went the other way and tacked eight bonus tracks, including five new songs, onto the deluxe edition of the album, giving us Unleashed Beyond.  A lot of people love this kind of thing, but I really, REALLY wish I wasn't forced to buy a new CD just to get the new tracks (sure, I could download them, but I'm a physical product guy).  There is enough material here between the five new songs and the multiple remixes that an EP could have been easily released and I wouldn't now have two versions of the same CD on my hands.  I know...First World problems...  Anyway...released near the end of 2017, the expanded album has already seen one song starting to climb the Christian rock charts, with the modern rock screamfest of "Breaking Free" charting seeing growing airplay in March of 2018.  Much like the album proper, the new songs are mostly really good-to-great, with only one minor miss, and then there are three remixes thrown in for good measure.

The first of the new songs is the previously mentioned "Breaking Free".  I called it a screamfest above, and there is really no other term I could think to apply as this is exactly what the song is.  Big pounding drums and hard, churning guitars abound on this catchy song, which is to be expected from the majority of Skillet's hardest-edged output over the past five albums.  But "Breaking Free" takes things to a new extreme when John's powerful roars and shouts are matched by scream queen, Lacey Sturm, the former lead singer of Flyleaf.  Mix in Jen Ledger's tame...dare I say "sweet" sounding by comparison?...backing vocals, and you have quite a track on your hands.  This would be my favorite of the new tracks were it not for the hyper-catchy "Set It Off", which feels to me like it could have/should have been included on the original version of Unleashed.  Heck, I prefer this track to more than half the songs on the original album, trailing only "The Resistance" and "Feel Invincible", and possibly "Lions" and "Undefeated".   A guitar-driven rocker with a chant-along chorus, "Set It Off" should definitely be released as a single and may be one of the few bonus tracks that I can think of that have the potential to actually top a chart.   Seriously, it is that dang good, and I hope it finds its way into the band's live set for the next tour.  

Also really good, but a slight step below these two is the more straight-forward rocker, "You Get Me High", which features a more classic rock-styled guitar riff but retains the huge, arena-filling drum sound the band has really become known for.  I also really like more mainstream-sounding, "Brave", which reminds me a LOT of "Lions", but with a bigger, more anthemic chorus, and fuller, bigger-sounding drums.  Ledger sounds really good here, and I don't think she gets enough credit for what she brings to the band vocally, as well as on the kit.  Again, this could have/should have replaced "Watching For Comets" on the original album, in my opinion, and could very well be another chart-topping bonus track for Skillet, again coming out of the bonus tracks of a re-issued album.  An impressive feat, to be sure.

I'm not completely sure how I feel about the acoustic-based ballad of "Stay Til The Daylight", which has a definite "Stars" feel to it, but there's something that just seems off to me.  John is in full singing mode here, and the band incorporates some nice strings into the mix, but it isn't until the final run through the bridge/chorus section that the drums find their way into the track, which left me kind of hanging, to be honest.  More time may help me better figure out what it is that I don't like about this song...or give me more of an appreciation for what it is.

The band also incorporates three remixes here, with two of them being total wastes of disc space.  Seriously, the remixes of "Feel Invincible", and especially "The Resistance" are just abysmal.  Totally, unquestionably, 100% pure skip material for this guy.  Just...wow...just bad stuff.  As to the "film version" of "Stars", which was remixed for the movie The Shack, if memory serves, it's okay, but kind of redundant.  It features an incredibly long intro (my oldest son thought they made it into an instrumental), one of the choruses is removed, with two verses pretty much running into each other, and the whole affair feels fairly sappy and rather boring.  I like the original version, especially in the live setting, but I don't see any time when I am going to pull out this album just to hear this reworked version of the song.  Sorry Skillet, but I may actually rip and re-burn this CD without the closing three tracks, as I can't stand two of them and don't find any reason for the third.

The repackaged album also features an expanded insert which folds out into a poster of the sludge-covered band.  Full lyrics for all of the new songs are included (along with all the original songs' lyrics, also), along with updated credits and thank-yous.  The artwork is basically identical, with the updated and relocated title being the only change to the front cover, and the updated tracklisting being the lone change to the back.

At WinterJam 2018 a few weeks ago, John Cooper hinted that the band had some big news coming up, so perhaps a new album is in the offing.  Perhaps he was simply referring to "Breaking Free" being dropped to radio as a single, or maybe their WinterJam performances were being recorded for a live EP.  I'm not sure, so stay tuned to www.skillet.com and the band's social media outlets to stay up to date.  And if you haven't already done so, I would strongly encourage you to pick up Unleashed Beyond for the five new tracks, as most fans will find at least four of them strong additions to the band's catalog, and I have no doubts there will be fans of "Stay Til The Daylight", also.

Rating:  When you have a crankable album and add new, crankable material to it, you get more crankability, right?  The two BRUTAL remixes (and one pointless one) can't even really do much to drop the rating here, which I top out at 8.

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ODYSSEY DESPERADO "Don't Miss The Sunset"

(c) 2018 Lions Pride Music

1. Rush Of The Wave
2. You And Me Against The World
3. Cruisin'
4. Dreams Die Hard
5. Can't Live Without You
6. Oasis (In The Desert Of Your Soul)
7. Holding Onto A Dream
8. Fragile
9. Tomorrow You'll Be Gone
10. Wings Of Silk

Odysseas Karapolitis (Odyssey Desperado)--Lead and Rhythm Guitars

Manos Fatsis--Lead, Backing Vocals

Bob Katsionis--Bass, Keyboards, Programming

Additional Musicians

Paul Laine--Backing Vocals

Ah, the Greeks.  Gotta love the Greeks and their strong love for that smooth, polished AOR sound, which they seem to do as well as just about any other country.  Odyssey Desperado is the latest project from Greece to grace us with their updated interpretation of 80s American, guitar-driven AOR, but they do it better than most, including many of the American bands trying to do the same thing, and they make it sound so smooth and effortless!  Combining an obvious love for 80s AOR (and movie soundtracks, in my opinion...but more on that in a bit...), with a passion for tight modern production and high level musicianship, guitarist Odysseas Karapolitis has finally managed to find the right voices...both lead and backing...and supporting instrumentation to bring to life an album that has been in the making since 2014.

The album sets its melodic rocking tone right from the start with "Rush Of The Wave".  Starting off with some background "ahhs" from, I'm assuming, Paul Laine, and a wave of keyboards, the song builds into a mid-tempo rocker complete with some modest tempo changes, solid rhythm guitar playing, and a short burst of speed in Odysseas' first solo of the record.  While a good song, to be sure, it's on the album's second track, "You And Me Against The World" that the overall feel and style of the record is really established.  A catchy hook, a driving tempo, and gritty-yet-melodic vocals from Manos Fatsis, serve to lay the foundation for this top-notch melodic rock record.   

"Cruisin'" is laid back perfection with exquisitely smooth guitar tones from Odyseseas gliding across the pulsing rhythms of Katsionis' bass and what I have to assume are programmed drums (no drummer is credited here).  Not really a ballad, this mid-tempo number has an excellent solo...moody and soulful...and some of the best vocals on the entire album.  perfectly fitting with the summer scene being painted throughout the track.  What I want to know is who is playing the uncredited saxophone on the outro of the song, as this adds another dimension to an already great song and I love the feel that it adds.  A great track, "Cruisin'" drips with memories of the sun-soaked summers of my youth spent driving around the seemingly endless highways and backroads that I grew up on.

"Dreams Die Hard" adds an edge back into the band's sound on a track that feels like it would have fit well into an action scene in an 80s movie, much like those used in Rocky IV (go check out "No Easy Way Out" for an example), or even King Kobra's contribution to Iron Eagle.  This is just such a cool song with a great feel, and the soaring guitars, whether on the intro, the outro, or during the solo, are truly great stuff to hear.  Fatsis sounds powerful and confident here, and the strength of the songwriting really shines through.

The piano-based ballad, "Can't Live Without You", slows things down considerably and gives Fatsis a chance to really shine.  His powerful tenor is showcased on this emotional track, and Katsionis' talent at the keyboard is put on full display, as well.  Nicely layered backing vocals compliment Fatsis when the drums and guitars kick in at about the 2:30 mark, and Odysseas' emotive solo is spot-on here.  Excellent stuff here, and one of the more complete sounding ballads I have heard in some time, combining just enough power...and leaving off just enough sugar coating...to not come off as sappy or overwrought, despite the emotion Fatsis pours into his vocals.

I'm not a fan of the what passed for 80s futuristic sounding keyboards that are used to intro "Oasis "In The Desert Of Your Soul)", and while they are quickly shaken off, the overall feel of this song is a bit too cliched for me to really get into it.  Not necessarily a skipper, but definitely more of a filler track than most here, "Oasis" slips in a nice guitar solo, but it isn't enough to overcome the saccharine-sounding chorus or the atmospheric, tinkling keyboards dropped into the middle of the track for no apparent reason.

"Holding Onto A Dream" rights the 80s AOR ship nicely, again really grabbing hold of that movie soundtrack quality that seems to be so prevalent on this album, and just absolutely running with it.  I'd never heard the song before, obviously, yet there was a part of me that felt so nostalgically drawn to this track, like it was dragging me back to a cherished part of my teen-aged years filled with gymnasium dances and late night street cruising.  It is perhaps this, even more than all of his obvious skill on guitar, that is the true greatness of Odysseas on this record; that ability to connect the listener with another time and place in their life through powerful songwriting.  To me, this is a true gift and one that I appreciate time and time again on Don't Miss The Sunset.

"Fragile" continues in this nostalgic vein, but in an even edgier, grittier guitar rocker that is one of the best tracks on an album full of great tunes.  Oddyseas' guitar carries an attitude all the way through this rocker, and Fatsis' vocals take on a similar, urgent-feel edge that helps to drive the overall feel of this track.  Yes, the keys are still there, but they are a purely supporting instrument here, and the drums, whether programmed or live, have a tempo and pattern that just keeps the song pushing forward, never slowing, never wavering, just driving hard to the finish that finally finds the band backing off, letting a few keyboard notes and a final line from Fatsis close things out.

"Tomorrow You'll Be Gone" is another excellent rocker, but one that carries a bit more of a modern take on the classic AOR sound, very similar to the approach taken by recent faves, Romeo Riot.  Great backing vocals supporting strong leads, pounding drums propping up supportive keys, throbbing bass laying the bedrock for searing fretwork...pure melodic hard rock greatness!  Again, a song that I find myself compelled to repeat multiple times whenever I pop this album in, much like its predecessor, "Fragile".

Album closer, "Wings Of Silk" is a big, epic sounding track, packed with power and emotion, with Fatsis utilizing something of a Coverdale approach to his vocals, gliding across the guitars in a manner that reminds me of what Def Leppard did at the beginning of "Too Late For Love".  Unlike Lep's track, however, "Wings Of Silk" remains firmly in power ballad territory from start to finish, with Odysseas' guitar screaming to life one final time on the album in an emotive solo that, for me, was all too short and could have easily stretched out for another 15 to 20 seconds without even coming across as remotely bloated or self-serving.  I also have to say I like the way the song is allowed to just conclude, to just come to an end, without the band feeling like it needs to be given some massive, fading-outro send-off, and without the band just drawing the track out endlessly.  Its a nice capping to an overall great album.

If I had any complaints at all, it would likely be the heavy accent on the vocals of Fatsis in places.  It's not a big issue, and it isn't always prevalent, but there are places where the simple fact that I notice the accent pulls me away from the overall song for a moment, which is a bit of a distraction.  This was especially true when I first received the album for review, however, after repeated listens, I notice it less and less, and as I said, it is a minor complaint now.

The production is excellent here, with nice brightness and polish, as most really good AOR has, but not coming at the expense of the guitars or rhythm section.  The keys aren't overly dominant (thank you!), and the backing vocals are overall very strong, which is to be expected from a vocalist as talented as Paul Laine.  Just a really, really good album from start to finish, and I wouldn't be surprised if Don't Miss The Sunset is right there contending for a spot on the "Best of 2018" lists of many review sites at the end of the year.

More AOR than fellow Greeks Silked & Stained, less keyboard-reliant than Wild Rose, Odyssey Desperado is something of a hybrid of the two bands, stylistically. Makes me want to get over to that big island to check out the rest of the music scene if everyone is this talented!  Regardless, hopefully we will hear more from Odyssey Desperado in the not-so-distant future.  While Don't Miss The Sunset is definitely an album worth waiting to hear, I'd rather it not take four years between efforts from this project, especially if they are always going to be of this high quality!

Rating:  Definitely a cranker...Odyssey Desperado gets an 8.5 from me!

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HELIX "Rock It Science"

(c) 2016 Perris Records

1. Billy Oxygen
2. You're A Woman Now
3. Heavy Metal Love
4. Rock You 
5. Deep Cuts The Knife
6. Wild In The Streets
7. Good To The Last Drop
8. Shock City Psycho Rock
9. Get Up!
10. Make 'em Dance
11. Even Jesus (Wasn't Loved In His Hometown)
12. (Gene Simmons Says) Rock Is Dead

Brian Vollmer--Lead Vocals

Kaleb Duck--Lead Guitars, Vocals

Chris Julke--Guitars, Vocals

Daryl Gray--Bass, Keyboards, Vocals

Gregory "Fritz" Hinz--Drums

I have had a soft spot for Helix pretty much since I discovered the band back in the early 80s.  There was just something about the catchy, hooky hair metal that these guys played that struck a chord with me.  Heck, when I did my first bodybuilding contest, I posed to the song "Rock You"!  For me, the stretch of albums from 1983's No Rest For The Wicked through 1987's Wild In The Streets was just about as solid of a 4-album run as any band put out during that time, and Helix did it with a new album every year.  Their 1990 Capitol Records swan song, Back For Another Taste, was also very good, if not quite up to the same level as their previous four, and 1993's It's A Business Doing Pleasure, which was supposed to be a Vollmer solo record, also contains several good tracks.  I wasn't nearly as fond of their output from about 1994 on, but still continued to follow the Canadians and their musical endeavors.  Then, in 2009 the band kind of pulled itself out of a funk of about 4 pretty bad albums with Vagabond Bones, which while not spectacular, showed life and promise for the band, and then in 2014, things really seemed to click again with that year's album, Bastard Of The Blues, which I absolutely love.  So when I saw the band was putting out a new compilation album of largely re-recorded "hits", along with one new song, I was interested to hear what was going on.

This collection starts off with two old tracks, as in "pre-my-Helix" songs that most people aren't likely familiar with, and neither one really gives even an inkling of what the band will sound like in just a few short years.  "Billy Oxygen" and "You're A Woman Now" both come off of the band's debut Breaking Loose album from 1979.  Vollmer is the only current band member to have played on these two songs, and, if I'm not mistaken, these are the only two originals on the record.  Honestly, I'm not really sure why these two tracks were included, as they are so starkly different sounding, both in style and in production quality, from the band's later material...and the re-recorded material here...that they really don't fit.  As part of a very limited retrospective of the band's career, I can see why they are included on Rock It Science, but I don't think anyone would have missed the "Ballroom Blitz"-inspired "Billy Oxygen", and while the Aerosmith-sounding ballad "You're A Woman Now" is a really good track, it doesn't have the pomp or polish of "Deep Cuts The Knife", which most view as the true Helix ballad.  

While Vollmer is the only original member of Helix still in the band, both Gray and Hinz have been with the band throughout their biggest moments.  Hinz came on board starting with 1983's No Rest For The Wicked album, which is represented here by "Heavy Metal Love", which was the band's first charting single in the US, cracking the Top 25.  Gray then joined up with Helix on the band's seminal Walkin' The Razor's Edge album, which features the band's most well-known song, "Rock You".  Both of these songs have been faithfully re-recorded for Rock It Science, but longtime fans will definitely be able to pick out differences, particularly in the chorus vocals on "Rock You", although it is amazing how good Vollmer still sounds all these years later.  A lot of times re-recordings will grate on my nerves as there is just no comparison between the originals and the re-recordings, but that is not the case here, as these reworkings are of top-notch quality.  Add in the updated production and recording methods, and an honest person would have to say that the new versions actually have better sound quality than the originals, even if you still have a nostalgic cling to the album versions.

"Deep Cuts The Knife", from 1985's Long Way To Heaven album, is the band's highest charting US single, hitting number 20.  Once again, this classic track has been re-recorded, but is done so faithfully and executed so well that only a truly discerning ear will likely notice any major differences.  Again, major kudos to Vollmer and the boys for staying so true to themselves and their fans on these re-recorded tracks.

"Wild In The Streets" was the title cut from the band's 1987 album, and is one of my favorite songs ever from the band.  As I mentioned previously, this album was the last really good album in their most successful stretch, and the re-recording of this song is another really strong contribution to Rock It Science.  There are some keys/synths added to the mix that were not on the original (particularly in the chorus section), and I am not completely sure as to why the band felt the need to incorporate these.  They are not distracting, however, and give the song a bit fuller sound here, which was perhaps the goal.  

"Good To The Last Drop", which I think is the last re-recorded track here, comes from the band's last major label release, 1990's Back For Another Taste.  A slower rocker, not really a ballad, this is another one of my faves by the band yet is one that most non-fans likely have never really heard.  Interestingly, this song was not actually released as a single from the album, as that distinction falls to "The Storm", which I think would have been an excellent inclusion here, as well.  However, with each represented album only getting a single track, "Good To The Last Drop" is a sensible choice to help change up the pace of this collection.

"Shock City Psycho Rock" is an absolute barn-burner of a song, and it is a lot of fun...for a few spins...but it wears thin after repeated listens.  Taken from 1998's Half Alive album, this was one of five new songs recorded for an album that also featured 10 live tracks from the band's 1997 tour.  While a fun song, you can only listen to a kazoo solo in the middle of a song that otherwise skillfully blends Helix's hard rock style with Chuck Berry or Jerry Lee Lewis styled 50s rock n roll.  It's really too bad this cutesy little novelty was thrown into the song, as it is overall a really, really good song that showcases a lot of musical skill and a fun, old time rock n roll.

The rest of this package focuses on songs that were the best from the albums they were lifted from, which often isn't saying a lot, as so many Helix albums from about 1997 on were not overly good and featured maybe one or two truly good songs.  "Get Up!" is a pretty good rocker that comes from 2006's album of the same name, and "Make 'Em Dance" comes from Vagabond Bones, which was the album that I felt found Helix starting to find themselves once again.  Of course, "Even Jesus (Wasn't Loved In His Hometown)" jumps from the excellent return, Bastard Of The Blues, and leads into the fun new rocker, "(Gene Simmons Says) Rock Is Dead".  Yeah, the lyrics are kind of stretched in spots as rhymes are reached for, but overall, this is a fun listen that shows a band that never took itself overly seriously...sometimes to their own detriment...and that is still making music for the fun of it.  

When I look back at the track listing for this album, especially when considering the overall run time of the project, I am a bit surprised that no songs were included from 1981's White Lace & Black Leather, or 1993's It's A Business Doing Pleasure, which featured several strong songs, including "Misery Loves Company" and "Love Is A Crazy Game", both of which would have fit well here.  I'm also a bit curious why albums from 2004 (Rockin' In My Outer Space), 2007 (The Power Of Rock N Roll), and 2011 (Skin In The Game) were all skipped over...except for the fact that the first two were, in my opinion, generally awful albums.  If I ever get the chance to interview Vollmer, I will try to find out the reason for these exclusions...

All in all, this is a pretty good collection, even if it is a bit under-representative of the band's great years and completely ignorant of a few albums.  The re-recordings are excellently done, Vollmer's voice is still in great shape for what he does, and the trio of Vollmer, Gray, and Hinz continues to carry on the Helix name and tradition in fine fashion.  While probably not my choice for introducing new fans to the band (I would still steer those folks toward the 1999 Deep Cuts compilation), it is a good cross-section of the band's music from their earliest form to the latest new song they have recorded.  Perris Records did a nice job with this collection, and I hope Helix has another really good album or two in them before they call it a day.

Rating:  I don't generally rate compilations, but with so much of this being re-recorded, and since it has a new song, I'll give this a crankable 7.

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