From the "Glitter" of arena rock and hair metal to the "Gutter" of thrash, sleaze, and grunge...and pretty much anything that ROCKS...we review it all!
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Quiet Riot has returned with yet another new record, the last (most likely...who knows...) to feature former American Idol stand-out, James Durbin, on lead vocals. In fact, Durbin had been dismissed/left the band before the record even came out this month, but rather than go to the extreme expense and delay of re-recording the lead vocals (ex-Love/Hate singer Jizzy Pearl is BACK in the band...again...), band leader Banali decided to release Hollywood Cowboys as is. Returning to the fray are long-time members Grossi and Wright, both of whom have spent considerable time in the band, though neither was around for the music world-changing Metal Health album (although, Wright has been in-and-out of the band since '85; Grossi has been on board since 2004).
Musically, this new effort finds itself very much in the same vein as the previous effort, Road Rage, but with one exception: Durbin sounds far more at home here than on his QR debut. Grossi remains, for my money, a seriously underrated talent that I enjoy hearing every time I run across something he has worked on. His soloing throughout the record is top-notch, and his rhythm work is excellent. Wright, who has never been an overly flashy bassist, is still a strong presence throughout the record, and Banali is rock solid, with that big arena sound that he has long brought to not only Quiet Riot, but also to the 90s-era WASP albums that I love so much. And, as I mentioned, Durbin is a far more powerful performer here than he was on the last studio effort...or the live record the band released with this lineup.
As far as standout cuts, there are a few, to be sure. Personally, my favorite track would have to be "In The Blood", which has a killer Grossi solo, a big hook, and some of that early 80s magic to the songwriting. Note that I did not say it was a return to Metal Health, because that is not the case. But, between Durbin's strong vocals and the afore mentioned performance from Grossi, there is more than enough punch on this strong, mid-tempo rocker to warrant the video treatment Frontiers afforded it. Check it out below.
Banali produced the record, and while the production is not terrible, it lacks something to my ear. There isn't a ton of energy in the production here, and the record sounds like a lot of the mid-90s independent records that 80s metal bands...like Quiet Riot...were putting out. Along the same lines, the cover art is atrociously bad, again reminiscent of the cheap looking stuff these bands were forced to work with when they had no major labels (or major label cash). Ugh...the cover is just...BAD!
In the end, all in all, this is a decent record...not spectacular, not amazing, not earth-shattering...but most certainly not bad. Probably 3 or 4 songs too long and nothing that fans of the Metal Health through QRIII trilogy (nor the criminally underrated, Paul Shortino-fronted Quiet Riot album) are going to accept as really being worthy of the legendary Quiet Riot name, but how many "retro" bands can actually meet the expectations of their past (well, except for Stryper, I suppose)?. I, personally, have decided to set aside my own opinions about whether or not Banali should still be recording under the moniker and accept new recordings by this iteration of the band for what they are: a means for Frankie to stay on tour, playing the songs he loves for the fans who still love him and the Quiet Riot aura. If you go into this record expecting Durbin to sound like DuBrow, and for the songs to have that same 1983 Metal Health magic, you will be sorely disappointed. But if you give Hollywood Cowboys a fair listen, you will likely hear a band that is musically solid and as relevant as pretty much any 40+ year old band can be in this day and age.
I would be remiss in not mentioning the rather dire circumstances facing Mr. Banali at the time of this writing, as he has made it publicly known he is fighting Stage IV cancer at this time. Here is truly hoping and praying that Banali is able to recover in some way and continue to make music and interact with his fans, which he is currently out doing at this time. The man is a metal legend, both with Quiet Riot and sitting at the kit for some of my favorite WASP albums ever. G2G wishes only the best for Frankie Banali and his family.
Rating: Rock this at a respectable 6.5 and enjoy it for what it is.
Johnny Edwards--Lead Vocals, Backing Vocals, Lead Guitar ("Mountain Of Love")
Mick Jones--Guitars, Keys, Backing Vocals
Rick Wills--Bass, Backing Vocals
Dennis Elliott--Drums
Additional Musicians
Terry Thomas--Keys, Backing Vocals, Additional Guitar, Producer, Mixer
Richard Cottle--Keys
Tommy Mandel--Keys
Tony Beard--Electric Percussion
Felix Krish--Additional Bass
As any rock fan is keenly aware, the musical landscape of 1991 was VASTLY different than it had been just a year or two prior. Grunge and 90s alternative rock was starting to sweep aside all the hard rock and metal bands that had been taking ownership of the Billboard charts for the past several years. And bands, such as Foreigner, who had feet in both the classic guitar rock 70s and the melodic AOR style of the 80s were going to take some of the most serious hits, as not only did they no longer have any radio play, many of these groups were starting to really shuffle through members as money and recording contracts became much more difficult to come by. So in many ways, the fact that Unusual Heat even managed to surface is something of a minor musical miracle, and I have to wonder if Atlantic didn't release the record simply to end their contract with Foreigner (although there were three new studio tracks on the 1992 best of collection, The Very Best...And Beyond).
If you spend much time talking to Foreigner fans (which is a pretty easy thing to do with Facebook groups and internet forums), most will point to Inside Information as the lowest point of the Lou Gramm-era...and then they list Unusual Heat as even lower than that! If Inside Information was the bottom of the barrel, then Unusual Heat was the dirt that Inside... was sitting upon.
Sorry, but that is simply wrong.
For the uninitiated, Unusual Heat was the first Foreigner record to feature a lead singer other than Lou Gramm who had departed after a falling out with Mick Jones. Gramm went out and recorded the fantastic Shadow King record with Vivian Campbell and Bruce Turgeon, while Jones decided to continue on with Foreigner. But, without the iconic lead singer in the band, Jones was in a tight spot, and needed a new vocalist. Enter one-time Montrose and King Kobra frontman, Johnny Edwards.
Unusual Heat starts off with a bluesy guitar riff from Jones and a nice bass line from Wills (along with some pulsing keyboards), before Elliott drops in a simple kick-snare-kick-snare rhythm that sets the tempo for the opening track, "Only Heaven Knows". Then, the moment fans were anticipating/fearing hits just 27 seconds into the song as Edwards vocals kick in. Sporting a rich tenor with a bit of a sassy snarl in places, Edwards' voice fits the song (and the album) in excellent fashion...but he's not Lou Gramm, a fact which doomed his tenure in Foreigner from the start. Still, if the listener were to spin this track with unbiased ears, Edwards does an excellent job, showcasing a solid range, a powerful scream when necessary, and plenty of power and projection on this uptempo rocker that showed the band had plenty of rock still left in the tank, despite the overly keyboard-saturated sound that had been utilized on Inside Information and more than half of Agent Provocateur.
From there, the rock hits even harder with the lead single for the record, "Lowdown And Dirty", which has a lot of punch to the guitars, a great bass line, and some excellent backing vocals that really enhance the work done by Edwards. I remember the first time I heard this track on the radio. I was actually home from college, listening to the local rock station's "Outlaw Radio" weekend evening program. This track and Skid Row's "Monkey Business" were facing off against each other in some sort of listener poll...not sure why they were paired up, but "Monkey Business" won, but according to the DJ, it was a suprisingly close vote. The song packs a pretty good punch for a post-"Jukebox Hero" Foreigner single, and I was immediately determined to hunt down the CD when I got my next paycheck. Unfortunately, I was apparently one of the few who was so taken by the song...or album...as the track didn't managed to make the Billboard Hot 100 (although it did hit number 4 on the Billboard Mainstream Rock chart), and the album peaked at number 117 on the Billboard 200 albums chart.
The album's next track was also its next single. "I'll Fight For You" is a big Foreigner power ballad, still punchy enough to be a rock track (which probably hurt its crossover appeal on the Adult Contemporary charts), but also featuring a strong piano presence. Edwards really pours himself into the track, fueling the song with a lot of emotional power, but I think rock fans had already moved on from this type of song, which likely would've been a Top 40 hit had it been released a handful of years earlier...and with Gramm singing.
The rest of the album is mostly solid classic guitar rock, with Jones' songwriting sounding more inspired than it had in more than a decade. The keyboards are used more as supporting instruments on this record than on the synth-sappy Inside Information, and Jones guitar has more bite to it than on all but a smattering of tracks during the 80s. Edwards also gets a turn at lead guitar on "Mountain Of Love", and he represents himself well. Despite the title, which suggests a possible ballad turn, "Mountain Of Love" is actually an uptempo rocker that has a hook very similar to Damn Yankees' "Coming Of Age".
The next track up, "Ready For The Rain" is a song which I have always felt should have been released to radio, and it is one of my two favorite tracks on the record (along with "Lowdown and Dirty"). The song, which was co-written by Edwards and Jeff "JK" Northrup, is a great mid-tempo number that again allows the blusier edge of Edwards voice to really shine through. And since I'm fortunate enough to have the ability to pick his brain from time-to-time, I asked Northrup about this song. "That song, musically, was written by me in 1984. When Johnny joined up with me in 1987, it was one of the first songs we wrote together. When it was recorded by Foreigner, Mick (Jones) and Terry (Thomas) made some arrangement changes, enough to credit them as writers." He went on to tell me, "When the album (Unusual Heat) was first released, an article in Rolling Stone said that song 'will carry the album'. But, Mick refused to release it as a single because he only had 15% writer's share." So...apparently Rolling Stone and I have/had the same opinion of the song (something that rarely, IF EVER, happens...), and one of the best tracks on the record remained just another (great) album cut.
Not everything here is a winner, however. "When The Night Comes Down" is just flat out cheese, with overwrought keyboards and a melodramatic storyline that just doesn't fit with the rest of the album. Edwards tries his best to revive the track, but it is basically dead on arrival and honestly should have been dropped from the record. The same can be said of the next track, "Safe In My Heart", which just lacks any soul or...errr...heart, and just kind of sits there on the record.
Things right themself with "No Hiding Place", which ups the tempo and the guitar edge, which really shows up on the rocking "Flesh Wound", which has a simple, catchy, punchy chorus that just sticks with the listener. The rhythm guitars on "Flesh Wound" sort of remind me of Jetboy's "Feel The Shake", which is odd, but serves to show that Jones (or Thomas) could still grind out a rocking guitar track when they he/they wanted to.
The title track closes things out in generally solid form. The hard rocking track has some really solid rhythm guitars and nicely layered backing vocals, but it is hampered a little bit by some decidedly mid-80s keyboards matriculating below the surface of the song. There is also a SYNTH SOLO that just SCREAMS to be replaced by a ripping guitar solo, but Jones really fell in love with those keys and synths in the 80s and just doesn't seem ready to let them go. Edwards again offers up a really solid dose of melodic hard rock singing that should have garnered him a lot more praise, and a lot less trash talk, as he truly sports a powerful, soulful tenor that I enjoy listening to.
For the majority of this record, there is a definite comparative line that can be drawn between 1991 Foreigner and the material that fellow 70s classic rockers, Bad Company, were releasing during this same time period, also with a new vocalist (Brian Howe). And there is very little doubt that producer Terry Thomas has a LOT to do with the similarities. Thomas co-wrote all but one track on Unusual Heat, as well as contributing some keys, rhythm guitars, and backing vocals. He did the same for Bad Company on their best albums of the Howe era, Dangerous Age, Holy Water, and Here Comes Trouble. Incidentally, both bands were also on Atlantic Records at the time, so perhaps the label had a sound and style in mind during this time period. If so, that style and sound was definitely fully in place with these two bands. And the ties between the two bands start to really expand during this time period. Former Foreigner toruing guitarist/keyboardist Larry Oakes toured with Bad Company for the Dangerous Age tour. Felix Krish, who plays "additional bass" on Unusual Heat (according to the liner notes) was the bass player on Holy Water. Then, in a weird twist, Foreigner's soon-to-be-ex-bassist, Rick Wills, will become the touring bass player for Bad Company on that band's Here Comes Trouble tour. If you have the time, the ability, and the inclination, put Unusual Heat on shuffle with Holy Water and Here Comes Trouble and you will hear exactly what I am talking about.
(For what it's worth, I am a BIG fan of the Howe era of Bad Company...)
In the end, Unusual Heat is a major turning point for Foreigner, really no matter how you look at it. Yes, Gramm would return for three new tracks on The Very Best...And Beyond, and then one final full album with 1994's excellent, but commercially-disappointing, Mr. Moonlight, but other changes for the band were in store. Unusual Heat would also be the last studio record for Wills who had been in the band since '79, and for Elliott, who was actually a founding member of the band. Gramm would then leave for the final time, ushering in a revolving door of members of a Foreigner that, to most fans, is truly foreign.
So is Unusual Heat the horrible album so many people make it out to be? Absolutely not. In fact, from simply a songwriting standpoint, I would argue it was the most cohesive record the band put out since 4, with far less filler material and a lot less reliance on synthesizers, and more guitars and more grit than Foreigner had shown in quite some time. And while no one would mistake Edwards for Gramm, I honestly feel he is unfairly bashed by "fans" of the band who fail to recognize that this record was going to fail, regardless of who was singing, as the musical landscape had simply changed too much for a band like Foreigner to thrive. And, as for me, I would gladly take Johnny Edwards as the frontman for Foreigner over Kelly Hansen...and I love what Hansen did with Hurricane, so that is saying something right there.
Rating: Not quite crank-worthy, but still a really solid album. Rock this at 6.5.
For anyone who knows me, or who reads G2G with any regularity, it is no secret that Foreigner is one of my all-time favorite bands, hands down. Additionally, I am a sucker (it seems) for buying just about anything that Foreigner releases, even in their current "only-one-original-member-left" version, despite constantly vowing not to do it. However, this purchase was an intentional one, as when I first heard that Foreigner was releasing a boxed set, I knew it was something I was going to own. And, while I realize it was released 5 years ago, I never got around to reviewing it until now.
First off, let me make a tiny correction here, as the title of the set is actually incorrect. It is called the "Complete Atlantic Studio Albums" but there are two problems here. One, Records isn't included. Yes, I know that it is a greatest hits package, but it is also technically a studio album. Second, while speaking of greatest hits packages, the superior The Very Best...And Beyond is also not included despite being an Atlantic release. This one is the biggest omission, which I will get to in the CONS section.
PROS
There are definitely some pros to this collection. I mean, it's Foreigner, so right away there is a pro! But as to actual pros...
PRO 1: For starters, it is nice to have all of the band's Atlantic releases in one, easy-to-access boxed set. If the mood strikes, I can just grab the set, toss it in the Tahoe, and be off. And the box is a pretty solid one, I have to admit. Even after owning it for several years, there is still nary a scratch, nick, or ding in the package, which says something about its construction, I think. It is something of a clamshell box, ranther than a lid-and-base box, and the spine of the box is jointed in such a way that it is easy to get the individual CDs out without having to dump them all out. (I do still dump them all out, however, which I will cover in the CONS section)
PRO 2: As tempting as it may have been, the underrated/unfairly bashed Unusual Heat was not left out of the package. I know a lot of Foreigner purists (which I woul probably be considered to be) absolutely hate this record, but I never really understood why. Sure, it is obviously not Lou Gramm on vocals, but how can someone say they like what Kelly Hansen does on one hand, and then turn around and say they hate what Johnny Edwards does on the other hand? Personally, I think Edwards did a solid job and the songs on Unusual Heat had more grit to them than the majority of Agent... or Inside Information.
So, ummm....yeah. That's pretty much it for me as far as PROS go.
CONS
And now on to the CONS section, and believe me, there are several.
CON 1: First, and most glaring to me, is that there is absolutely NOTHING in the way of a booklet here. Nothing. No band bio, no backstories, no interviews, nothing. To me, this is inexcusable, especially when we are talking about one of the most successful bands in American classic rock/hard rock history. Heck, there aren't even liner notes to any of the albums! Why?
CON 2: The label thought it would be a good idea to package each of these CDs as if they were small vinyl records. Now, while this may have seemed like a cool marketing gimmick, it's actually not only limiting (due to the size), but kind of redundant with the resurgence in ACTUAL vinly records over the past 5 years. If you want a vinyl record, you can buy it. No need for nostalgic packaging. Plus, if you are really going for the nostalgic vinyl look, why wouldn't you make the CDs themselves look like they were vinyl records? These are just your typical CD faces, so it makes the vinyl packaging style all the more silly, in my opinion. Also, the ultra-thin packages (we're talking your basic slip cover packaging here) make it impossible to determine which CD you are pulling out, with the exception of Inside Information, which is presented here in full, gatefold fashion. But again, even on this one, there are no liner notes despite the fact that one of the cover's sides is empty and would have easily held a nice little booklet. Just a botched job on the packaging overall.
CON THREE: This is actually a pretty big issue for me. There is no indication anywhere that anything here is remastered. NONE. In fact, when listening to them side-by-side, I am pretty sure these are NOT remastered. Why would you go to the work of making a set like this without properly remastering it?
CON FOUR: There are no new songs here. In 2002, the band's first four albums were reissued, and each of those contained a handful of bonus tracks, mostly in the form of demos and live cuts. Now, if you didn't get those reissues, then, sure, it's cool to hear a live-version-only song such as "Love Maker" on the Double Vision record, or the demo-only track "Take Me To Your Leader" from the debut, Foreigner album. But other than those songs, there is nothing here that makes the set a required purchase. I was honestly expecting a full disc of unreleased material, as that was at least initially hinted at when the collection was being put together. (Perhaps this did happen in foreign markets; I am not sure.) Heck, there could be almost an entire disc worth of radio edits and remixes just from the Agent Provocateurrecord, and yet there is not a single bonus track to that album. Not one.
CON FIVE: Missing tracks. Why in the world would you not include the three new songs that were included on The Very Best...And Beyond release? "Soul Doctor", "Prisoner Of Love", and "With Heaven On Our Side" are all completely ignored. And yes, I realize those tracks came out in 1992, and this boxed set covers 1977-1991, but it also claims to be the Atlantic studio years, and these three tracks were clearly recorded in the studio. Just baffling to me.
In the end, this is an okay-at-best attempt at a Foreigner boxed set. There is just so much left to be desired by fans of the band. Now, I don't need a boxed set with hours upon hours of live shows from the Kelly Hansen-fronted version of the band, but I would be completely content with a set that includes ALL of the band's studio albums (including Gramm's last band record, the underrated Mr. Moonlight, and the relatively blah Hansen-voiced Can't Slow Down effort), the missing studio tracks from Gramm (and 2011's "Save Me", the last Hansen studio track) plus a disc of demos, B-sides, remixes, etc., all remastered and with a nice, color booklet with history, facts, interviews, photos, etc. And if live sets were to be included, I'd take one each from both Gramm and Hansen (heck, throw in an Edwards set, also, if a good quality recording exists!). I'd actually pay pretty good money for a pacakge like that. But until then, I guess this is all that we are going to see as far as a boxed set goes, and it mostly sees shelf-time from me. I just grab The Very Best...And Beyond when I want to have a Foreigner package to take with me.
Rating: A disappointing 4 here, simply because of the poor execution on what should have been an 8 or higher package!
For the past three releases (Attack, Long Live The Rebels and the Vultures EP), Disciple had been going the fully independent route, utilizing crowd funding and massive on-line campaigns to get their music to the people. For their latest offereing, Love Letter Kill Shot, Disciple has gone the more traditional label route, signing to one of the biggest Christian rock labels out there, Tooth & Nail. I had heard some grumbling from fans, as many feared Disciple would be forced to alter their sound to fit the vision of the people at Tooth & Nail, and the release of the first two singles, "Cuff The Criminal" and "Reanimate" probably did little to allay anone's fears. However, I am here to tell you that those fears are very quickly laid to rest. If anything, Disciple has come out harder and heavier than they have in some time. Love Letter Kill Shot is a perfect blending of the more radio-friendly hard rock of Attack and ...Rebels, while incorporating the more aggressive, heavier sounds of Horshoes & Hand Grenades, Southern Hospitality, or even older material such as By God.
Now, I understand people being a little skittsh about the previously mentioned singles if they were expecting songs in the vein of "Erase", "Long Live The Rebels" or "Dear X", because "Cuff The Criminal" and "Reanimate", which are the opening two tracks of the new record, certainly don't fit those molds. "Cuff The Criminal" is an experimental, progressive hard rocker complete with effects on the vocals and a stop-start rhythm that probably threw the radio rockers for a loop. And then "Reanimate" came out and punched those same fans square in the mouth, leaving that metallic, bloody taste behind, as this is truly one of the heaviest tracks Disciple has put out in more than a decade. Ferocious guitars, crushing drums, harshly snarled vocals, and more speed than anything since "The Name", from Attack. And if you were fortunate enough to hear these two tracks in the live setting (which my family was), then you had an even better understanding of just how different these tracks were from so much of their extensive catalog. But if you really listened, it was evident that at the core, this is still very much Disciple.
Once you get past those two tracks, Love Letter Kill Shot starts to feel a little more familiar...at least briefly. "Wake Up" is a modern hard rock track that feels like it could have slid onto ...Rebels with very little difficulty or modification. But then, just when the listener is finding their comfort zone, they are slammed into the "Panic Room", which is a contender for song of the year in my book! "Panic Room" starts off with a quirky interview between a psychiatrist and his patient, in which the woman tells her doctor she can hear voices in her head. From there, the guitars absolutely explode in a fast and furious intro, then as suddenly back clear off to a more subdued, rhythmic track, complete with fingersnaps, for Young to layer the verses over. And then, just before the chorus, Young admits to the listener "sometimes I scare myself"...and then BOOM! Sheer aggression in vocal form blast forth in the form of Andrew Schwab of Project 86 as he bellows forth "I try to lock these thoughts inside a tomb, But it ends up being my panic room! When the demons start digging up skeletons, The ghosts leave me with nowhere to run!", while Stanton and Prince absolutely shred their guitars. A second creepy verse, a second chorus explosion, then a false ending with a blistering guitar solo threatens to blow my speakers! At this point, a haunted house piano is added to the verse section, as Young adds even more creepiness to his vocals, before returning to his "sometimes I scare myself" pre-chorus, this time sounding like it is screamed through a wall of static, and then a final torture session with Schwab burns the song to the ground. Simply amazing stuff from start to finish, and I simply can't make it past this song without hitting repeat at least once...usually two or three times.
"Play To Win" sounds a bit more in line with recent Disciple, except the guitar solo is more aggressive than most of the things they have done over the past three releases, and Young likely had to take a break in recording after this one, as I assume his vocal chords may have been shredded.
"Fire Away" is also going to be more comfortable for a lot of people musically, although the subject matter may not be. Incorporating the album title, the song talks about God's Word being His "love letter" to his people, and the truth and honesty of those words are the "kill shot" that is "tearing through my soul 'til there's nothing left" as Young implores God to "let Your love be the weapon" that brings him to his knees. Lyrically, this track could be something of a companion to "Dear X", although this track is far more aggressive than that massive hit.
Another of my personal favorites is the next track, "Misery", as it speaks so much to the world we live in today, as the second verse expounds upon the epidemic problems of today's social media world with "would you pay any attention to me, Without the drama of hashtags, so depressed...". The chorus then declares, "I don't want help, I don't wanna get better/All I want is your sympathy./Can't stop myself, can't keep it together/'Cuz I'm in love with misery". A hard-hitting social commentary, to be sure, and set to a great, fist-pumping rock anthem that is sure to be a live hit.
The hidden gem of the record for me is the album's closer, "Best Thing Ever". While lyrically simplistic, I love the way the song is delivered, with Young chanting out to Christ, "You are the best...thing...that has ever happened to me! The best...thing...that has happened!". A nice, uptempo modern rocker that could possibly find itself into a more modern and progressive praise playlist, this is the perfect closer for one of the absolute best records in the now 12 album catalog of Disciple.
Lyrically, as always, Disciple is scripturally sound and socially in tune, with Biblical references for the vast majority of the songs' lyrics included in the full lyrics sheet. "Panic Room" screams about anxiety issues and our desire to control everything, "Reanimate" is an interesting twist on the idea of Christ being the physical manifestation of sin for us, and "Chemical Wisdom" tackles issues of chemical dependency, both self-induced and prescribed. "Never Too Late" talks about the opportunity to turn our lives over to God and "start again" because "it's never too late, if you're breathing!", and the lone ballad-esque moment of "Walk With Me" is a song of friendship with Christ.
Musically, the band continues to get tighter and tighter, with the comfort level among the men, who all contributed to the writing of Love Letter Kill Shot, seemingly never stronger. Josiah Prince gets a couple of chances to step up to the microphone here, which work out well, and the twin guitar attack continues to explore new levels of aggression, experimentation, and harmony. West is a beast on the drums, something that can be further appreciated in the live setting, as he absolutely tears things up. But, as is always the case with Disciple, regardless of the lineup surrounding him, it is the passion of Kevin Young's vocals that are the driving force. His vocals are so expressive, whether he is singing, screaming, quasi-rapping, or in some cases doing little more than talking to the listener. Young just instantly draws you in, and never more than in the live setting, where he seems to make eye contact with the fans no matter where they are located, making his messages all that much more personal. Add in the fact that long-time producer Travis Wyrick (with assistance from Prince) is almost as much a part of the band as any other member, and Disciple is a sonic force of massive proportions, virtually unequaled in my mind, in the Christian or secular musical world.
If listeners are seeking only what they have heard before, then Love Letter Kill Shot is going to be uncomfortable, and perhaps even scary at times. But for those fans that have longed for the band to completely unleash themselves musically, lyrically, and thematically, Love Letter Kill Shot may be the album they have long been searching for. Time will tell where the record stands for me in terms of top albums by Disciple, but for now, it is definitely at...or extremely near...the top of the heap. As much as I have loved everything this version of Disciple has released, and as great as older albums like Horshoes & Hand Grenades, O God Save Us All, and the self-titled release were, Love Letter Kill Shot is on a different level for me.
It's going to take an amazing record to bump this disc out of my player, to remove it from the status of "favorite Disciple record", or to knock it from the perch of Album of the Year for me.
Rating: So, so crankable and near to perfect for me. This CD hasn't left my changer since I got it, and I don't see that changing soon! Crank it up to a 8.5!
Greece's Silked & Stained was the surprise band of 2017 for me, and the most read review of 2018...heck, the most read review of all time...here at Glitter2Gutter was the review of their debut album, Love On The Road! A very good melodic hard rock record, Love On The Road quickly bolstered the band to some rather impressive heights in Europe, and even garnered them a smattering of recognition here in the States (although no melodic rock bands really get that much attention on the national level here in the US these days). Heck, the album sold so well in Europe that the first pressing actually sold out within six months, according to their press release. Every thing seemed to be trending in an upward direction for the band. But then, lead singer Bill Tsaklidis left the band for personal reasons, and I found myself wondering how this surprise band was going to handle the loss.
It turns out, I didn't really need to be concerned, as the band quickly recruited Harris Mos to fill the vocalist void, and Silked & Stained has already returned with a brand new album, Goes Up To Eleven, due out on Halloween of 2019.
Almost immediately after putting the new album in to play, it is noticable that the sound on Goes Up To Eleven has a bigger, fuller sound than their debut effort. Don't mistake that for me saying that the band sounds slick and polished now, because that is not the case, and the band still retains a rawness and edginess that I truly enjoy. But to deny the production is smoother and more refined would be a lie. Also gone from this new record is the excessive use of keyboards that threatened to do some serious damage to a couple of tracks on the debut. Yes, there are still keys here, but nothing that takes center stage or detracts from the power of Gavalas' guitar, which is one of the key elements that makes this band go.
The album kicks off in a big way with "How Many Miles To Heaven", which intros with an acoustic guitar line that sounds VERY much like "We All Die Young" from Steel Dragon, before soon morphing into a big, heavy riff, a la Whitesnake, and then transforming into and excellent 80s-styled rocker. As I stated above, everything here sounds bigger, and this track showcases that right off the bat; the drums are of the big arena variety here, and Galavas absolutely goes off on an extended guitar solo after the second chorus run. Heck, even the brief keyboard drop-ins are big, sounding very much like the intro to "Tom Sawyer" by Rush. New vocalist, Mos, sounds very confident and very at home on this track...and throughout the record...utilizing a slightly lower, more bluesy style than that of his predecessor, which works to great effect. There are no rafter-scraping wails or ear-piercing screams here, but that was never the style of Silked And Stained anyway. Mos' voice is definitely on full display right from the get-go, and I have no doubts that he will be able to handle the older material from the band as both singers are in that lower tenor range. Still, even after just this one track, I find myself thinking I'm going to really enjoy what Mos brings to the band. Before we wrap up, that "We All Die Young" riff returns as the song begins its closing run, and it become immediately apparent that Silked & Stained has not missed a beat here.
Next up is "Come Closer", which is one of the few tracks here that still really incorporates a true keyboard presence, and even then it is mostly limited to the track's intro and then as a supporting instrument in the chorus sections. Probably the most commercial sounding track on the record, "Come Closer" has a definite 80s melodic hard rock feel to it, with big harmony vocals and a smooth guitar tone that hearkens back to so many of those great summer driving songs of my youth. Again, Mos' voice fits the mood and tone of the track perfectly, and Galavas tears his way through a particularly tasty solo which blends flashes of speed with some soulful, melodic string-bending. I'm not a huge fan of the hard fade close to the track, as I think a big, sweeping guitar outro would have served the song well, but this is a minor point made mostly as a fan of multiple guitar runs in any given song.
The album's lead single, "Woman You're The Devil" is up next, and the band kicks things into another gear for this song. Grittier, edgier than the polished "Come Closer", this is a prime example of what I think Silked And Stained does best. As is the case with many English-as-a-second-language bands, the lyrics here are a bit muddled in places (read along with the lyrics video below and you will understand what I am talking about), but the gist of the track is easy to pick up on, and the lyrics certainly aren't distracting. There is a strong bass presence in this track, and once again, the drum work from Lazz is top-notch. But as is typical with Silked And Stained, it is the guitars of Galavas that really propel this hard rocking track to another level. It's hard to give the guy too much credit, as I think he is one of the truly great guitar players that most people have not heard yet. Make it a point to really focus on his skill as you give the following video a run through.
"Take Me" starts off with a big drum intro before some jangly guitar work from Galavas draws the song forward, leading into Mos' smoky, bluesy vocals on the first verse. I love the groove of this track as it builds to its first chorus run, as the bass is given a definite voice here. The chorus is a catchy, poppy sing along that I am betting will become a staple of the live show. A burst of speed catches fire in Galavas solo before a final run through the chorus punctuates this quick rocker that just eclipses the three minute mark. Short, sweet, and to the point, "Take Me" is an earworm for sure, and one that I find getting stuck in my brain pretty much every time I run through the record.
"Sweet People" changes things up considerably, and I have to be honest in saying that this is the track on the album that I had the most difficulty deciding how I felt about it. In ways, it reminds me a lot of an 80s/early 90s U2 track, from the female backing vocals to the production style and the songwriting approach to the quasi-spiritual feel of the lyrics. Despite my initial misgivings, I find myself liking the song quite a bit, and I will not be surprised if this track becomes a big hit with the band's female fan base, especially in the live setting. It's a nearly perfect track to transition from a hard rocker to a ballad (or vice versa), and there isn't really anything to dislike about the song, even if it is a bit hard to categorize. Galavas has a pretty cool guitar solo here, and this song is definitely square in the middle of Mos' wheelhouse, vocally. You may have to give this song a few chances, but I think most people will admit, even if it is begrudgingly, that they like this song in one way or another...even if they can't put a finger on exactly why.
"Forevermore" is the first ballad of the record, and it is solid. A piano is utilized throughout the track, giving it a nice 80s power ballad feel, complete with the big, sweeping guitar crecendo after the first verse and leading into the big, layered chorus. There is a definite Kix "Don't Close Your Eyes" feel to the rhythm guitars and the tempo of the track, but it is certainly not a rip off. The backing vocals are really nicely done here, and the guitar solo has that big MTV power ballad sound. Mos is given the chance to really shine here and he doesn't disappoint as he delivers a powerful performance without drifting into the sappy, saccharine territory of so many "baby, please don't go" ballads of yesteryear. While I don't find myself yearning for the power ballad the way I might have back in the day (I said MIGHT HAVE), when one is well done, it does a good job of breaking up the tempo of an album that is otherwise basically heavy mid-tempo to high-speed rock. "Forevermore" is one such song.
"That Feeling" is one of the best songs on this record, as it does a good job of capturing the feel and flair of the best of 80s hard melodic rock, with the guitar tone and songwriting style reminiscent of early Dokken. I'm not saying Galavas is Lynch, and Mos is not Don in his prime, but they also don't pretend to be something they are not. As such, Galavas and Mos both hold their own very nicely here, with the rhythm section also handling their duties perfectly, supporting the frantic flash of the guitar solo and the power of the lead vocals expertly. This is a great song, and while I could do without the seemingly pointless "f*bomb" in the chorus, I think it is this type of song where Silked And Stained is at their best. Good, good stuff here!
"No Way" is another up-tempo rocker...complete with a cowbell intro...that features some nice rhythm guitar work and solid drumming, but honestly, this is the first song I would point to as being "filler" material. Mos' is a bit snarlier here than on the rest of the record, and it sounds a bit out of place. The chorus is pretty simplistic, and I am instantly reminded of the way Klaus Mein would sometimes kind of drag out words in the chorus of a song, especially early in the Scorpions' career when he wasn't as comfortable with his English. Galavas has another solid solo, but even that isn't enough to push this track past "good, but not noteworthy" status. Definitely not something I would bother to hit the skip button for, but not something I'm likely going to hit repeat for, either.
I really wish the band would have gone straight from "That Feeling" right into "Locked & Loaded", as this is another example of some of the best songwriting and musicianship that Silked And Stained has put onto a record. Again, a definite throwback to the glorious melodic hard rock of the mid-80s, this is another Dokken-esque track that finds itself in a fight with "That Feeling" and "How Many Miles To Heaven" for song of the album. I really dig the hard rhythm guitars that intro the best Galavas solo on the record, and while the chorus is again fairly simple, it is simple in a way that is also nostalgic and very reminiscent of some big 80s rock gems. There is also some nice bass soloing at the back end of the guitar solo as a moody, almost haunting vocal bridge propels the song back into the pre-chorus and chorus sections. This is just a really good song and...you know what? I'm going to call it. This is the best song on the record. I really dig this track.
Rather than give in to the temptaiton to close things out with a ballad or some mid-tempo romp, Silked And Stained close out Goes Up To Eleven with a really good rocker with Mos' letting his vocals soar a bit in places on "Reach Out For The Sky". Again, the "f*bomb" is dropped into the pre-chorus for no apparent reason (do Europeans throw that word around as casually as American rappers?), and the barked "REACH...FOR...THE...SKY!" sounds a bit forced...and, okay, I could have done without the brief Hammond sounding keyboard section after the guitar solo...but overall the song is a strong closer and leaves the listener with something pretty tasty rolling around in their head when the record ends.
If Goes Up To Eleven is an indication of where Silked And Stained is heading with their sound from now forward, I can guarantee I will be seeking out their albums for as long as they want to keep putting them out. Showing a healthy respect for the great melodic hard rock of the past, but also being mindful of who they are and what they want to do going forward, Silked And Stained has made a fan of me with two consecutive really good records. In the end, Goes Up To Eleven is a fine follow-up to the band's big debut, and in many ways it exceeds everything that was done before. From improved songwriting to a bigger, fuller sound, to better production, Goes Up To Eleven is a nice step forward for a band that has to be considered one of the class acts of the new wave of melodic hard rock bands in Europe, and Galavas cements himself as one of the truly great...if under-recognized...guitar talents to cross my review desk in recent years.
Rating: Definite crankage here! Goes Up To Eleven goes up to 8.5 for me!
Everybody's favorite Norwegian dirty rockers (well, at least MY favorite Norwegian dirty rockers), Razorbats, return with a new single, "White Trash Radio". Following very much in the footsteps of the band's superb discography, "White Trash Radio" combines retro-rock elements from the 70s with doses of punk and sleaze to create some of my favorite music of the past decade. Seriously. I love what Razorbats do, and "White Trash Radio" is an excellent addition to their growing catalog.
A classic rock guitar lick and a shrill whistly intro the song, with rapid fire drums building to the first verse. This song is pure ear candy, with a catchy hook, some nice, fuzzy distortion on the rhythm guitars, and a stong, 70s-inspired guitar solo, complete with a cleaner-yet-still-powerful sound. The production is perfect for the style, raw and edgy rather than the over-processed slickness of so much music today. But for me, so much of the real magic of Razorbats is in the honest-and-humorous songwriting, and "White Trash Radio" is no exception. The chorus is typical tongue-in-cheek humor from Razorbats. The song, itself, is a reference to the fake front we put out on social media, showing ourselves as much better than the "white trash" that we know most of us are on the inside. Following the humorous pre-chorus of "Fake it to the top!" Vercouteren sings on the chorus:
"I don't know about you, But I'm White Trash, Are you White Trash, too?
Just sing along if you're White Trash, I'm just like you!"
Lead singer Vercouteren continues to establish himself as the voice of the band, which was no small task for anyone who heard the band's first full-length release, Band Camp. His lower-range vocals are spot-on throughout the song here, and I find myself actually preferring his approach to that of original vocalist, Even. Vercouteren slips a bit of snarl into his vocals when necessary, but is easily understandable at all times, and he never sounds strained or off key. While only Wevling remains from that first line-up, the band heard on "White Trash Radio" is my favorite incarnation of the group and 4 of the 5 have been working together since their sophomore release, II. Torris Illievski is the new drummer for the band, filling the seat behind the kit in excellent fashion, showing off some nice double bass work in addition to the tight rhythms he drives throughout this track. The twin guitars of Wevling and Tangen only get stronger with each release, and bassist Hervig, who even gets a few solo seconds to be heard coming out of the guitar solo, is rock-solid as ever.
Blazing along with plenty of 90s pop-punk speed during the intro and chorus sections, and backing off slightly during the verses to give the vocals a chance to expand, "White Trash Radio" is sassy and cheeky, filled with a fun, in-your-face attitude that Razorbats seemingly have cornered the market on. I am so looking forward to a new full release from these guys, and Wevling has told me that the band is working with more self-production and engineering and that a new album is hopefully on the way soon. Until then, enjoy the brand new video, which was released just today, October 25, and was produced by the band, with Wevling directing! Fun, fun stuff!
Rating: I don't rate singles, per se, but I will tell you that if you have enjoyed what Razorbats have done in the past, there is absolutely nothing to not love here! Track the new single down on their Soundcloud page.
No, Glitter2Gutter is not dead...we were just under water! Less than 48 hours after my last review, my home town received about 3.5 inches of rain in a 45 minute period. That, coupled with an unusually wet June and July, led to some fairly serious flooding, and I awoke to five and a half inches of water in my basement/man-cave, where my music collection and office were located. I lost my computer, my sound system, and roughly 20-30% of my personal music collection, along with thousands of dollars worth of damage to carpeting, drywall, furniture, and other items.
It was a mess...
Last weekend, I was able to finally get all of the flooring replaced, and the walls will be going back up shortly. Hopefully, my office will be back to normal within a month or so, but until then, reviews and interviews will be very sporadic...BUT PLEASE KEEP CHECKING IN! Honestly, I was surprised by the people who emailed me or messaged me to ask what had happened and why G2G was no longer updating, and not only readers, but several artists as well, which was cool. It's nice to know that people enjoy what you do.
So...enough blathering about the past, as there is nothing I can do about it. Just know that G2G is still around, and I will be working on getting things back to normal as soon as possible.
For artists and labels still looking to have their music (and books) reviewed, or to set up interviews, you can still contact me for information at: arttieTHE1manparty@yahoo.com
Mark Allen Lanoue--Lead Vocals, Lead Guitars (2, 5, 6, 8, 9), Acoustic Guitars (10, 12)
JK Northrup--Lead Guitars (1, 3, 4, 7, 10), Slide Guitars, Backing Vocals, Production
Eric Ragno--Keyboards
Larry Hart--Bass
Rory Faciane--Drums
Fiction Syxx returns with The Alternate Me, the follow-up to Tall Dark Secrets, one of 2017's biggest records here at Glitter2Gutter. Retaining 4/5 of the line-up from that amazing first record, with only bassist Larry Hart (King Kobra/Montrose) being new to the group, the band explodes out of the speakers sounding every bit as energized and electric as they did on that debut effort. Whether speaking of the powerhouse vocals of Mark Allen Lanoue, or the guitar wizardry of Northrup (Lanoue is no slouch in this department, either, for that matter), there is a musical magic in Fiction Syxx that is simply not found in so many of the melodic rock/metal bands that find their way across my desk and into my CD player on a regular basis. Perhaps it is the addition of the uber-talented Ragno on keyboards, or the extreme lock-step tightness of the rhythm section of Hart and Faciane, or perhaps it is just the way each of these guys hit on all cylinders together that makes them so special. Regardless of the recipe, the resulting record is one that has to be heard in 2019!
Blending an obvious love for 70's prog rock and hard rock with modern AOR and melodic rock, Fiction Syxx is an animal unto themselves as far as I can tell. There really isn't anyone doing what these guys do, at least that I have come across. From the moment the opening guitar lines of "My Darkest Hour" come sweeping in, it is clear the band is determined to up their game from their great debut. Lanoue's vocals are even more powerful than they were on the debut, and it is difficult to overstate the greatness of Northrup's fret work. Fingers are definitely flying on this track, as well as the follow-up, "Monster In The Mist", which combines a great retro vocal style, especially on the backing section, with a more modern melodic rock approach to the guitars. I especially like Hart's bass work here, as it is given room to be heard in several places on the song.
"Angel Of Mine" leaves the classic rock sound behind for the time being, and steps firmly into the melodic rock arena to great success. Perhaps not as complex as some of the other tracks here, "Angel Of Mine" has a melodic charm, nonetheless, that is driven by Lanoue's emotive voice. Ragno's keyboards are expertly utilized in a supporting role here, while the guitars from Lanoue are powerful but not overly dominant. If any instrument is given special treatment here, it is likely Faciane's drums, with some fancy footwork being required to pull off some of the rhythms he flashes, particularly near the end of the song. Good, good stuff.
The 70's prog approach returns on the big, bombastic title track, which boasts hints of Kansas, Styx, and Uriah Heep, especially when Ragno interjects his keys into the big solo run that follows the second chorus. Northrup rips off another scorching, extended lead run here, mixing things up with Ragno's keys, and it all works to great effect, as does the catchy, sing along chorus. Definitely a contender for my favorite track here. Love this.
"Wind Reminds Me" backs off from the note density of much of the first half of the album, reminding me a bit of Styx's classic "Come Sail Away" in its approach and tempo. A smooth rocker with plenty of room for Lanoue's vocals to expand, it's Hart's bass that seems to really stand up and grab my attention whenever I give this song a listen. I'm not sure why, but the older I get, the more I notice the bass work in songs, and Hart definitely delivers on this album. The guitar work is much more laid back here than on pretty much any other track on the record, although there is still some fairly furious riffing from Lanoue near the end of the solo section before the guitars give way to the percussion work of Faciane.
"Better Part Of Me" deserves some love and attention, as once again Hart's bass work is exceptionally strong, and Faciane's percussion is really given the chance to shine during the verse sections where the majority of the musical work is carried by an understated rhythm guitar and Ragno's keyboards. I love the fact that this is treated as a band, and not just a project, and that every member gets the chance to contribute and be heard. This is another place where I think Fiction Syxx outclasses so many of their contemporaries.
"Tall, Dark Secrets" is another contender for song of the album (and it likely wins), as it has such an epic feel to it. What should have been the title track to the debut album of the same name, "Tall, Dark Secrets" is melodic rock bliss, combining Zeppelin-esque riffing with big, string bending solo work, and an eerie keyboard presence throughout the track. Lanoue is just spectacular here, his tenor soaring to powerful heights without giving in to the temptation to become over-wrought or self-important. He never feels like he is saying, "Hey! Check out these pipes!" Rather, the sweep of his vocals always blends perfectly with the overall scope of the song he is working in, and "Tall, Dark Secrets" is, for me, the pinnacle of that work here (although is take on a Styx classic will give this song a run for its money...but more on that in a bit).
One other original song that I feel has to be pointed to specifically is "Tragic Magic", which perfectly spans the two cover songs the band chose to include here. When both covers are taken from the works of 1970's prog legends such as Styx and Uriah Heep, linking them together could be a monumental task if a band wants to keep their album from sounding disjointed. Enter "Tragic Magic". An uptempo rocker with a solid dose of 70's fuzz added to the rhythm guitars, "Tragic Magic" is the puzzle piece that fills in the middle section of the really strong second half of The Alternate Me. Punchy bass? Check. Rollicking guitar leads? Yep. Some cool slide guitar? Got that, t00. Big, sweeping lead vocals? Covered. A big, proggy keyboard run? Definitely here! Rapid fire drums? "Tragic Magic" has all of these things, all wrapped up in a song that not only sounds, but also feels like it comes from the same time period as the two songs it bridges together.
As mentioned, the band tackles a couple of classic cover tunes here, and both really shine. Fiction Syxx's treatment of "Suite Madam Blue" by Styx is excellent, with Lanoue really holding his own on the vocals here, and I dare say I prefer his vocal take to that of Dennis DeYoung (pardon the sacrilege Styx fans). Likewise, Northrup's massive solo here is an absolute stunner, as are the keys from Ragno, who is absolutely in his element on a classic rock track such as this. Even Hart's handling of the bass lines here is given plenty of voice in the track (the mix here is spot-on perfection, in my opinion), and Faciane's drums are solid and serve to support all of the greatness heaped upon them. Despite the fact that this is a cover, it is easily one of my top three songs on the album, which is generally NOT the case with cover songs. I would think that if the members of Styx were to hear this track, they would have to smile and nod at the brilliant handling of this epic classic.
The other cover here is Uriah Heep's "The Wizard", which is again handled marvelously. The acoustic guitar intro is perfect, and the leads here are excellent, as well. In fact, once again, the cover here is practically flawless, with the production again giving it a truly retro feel, but with a crispness and clarity not generally found in 1972. While not the biggest song on Heep's Demons And Wizards album (that would be "Easy Livin'"), this song fits the scope and feel of The Alternate Me perfectly and is a great conclusion to a truly great album.
I don't own a physical copy of this album, so I cannot speak to the booklet information, but I can say the cover art is pretty cool, and generally, Melodic Rock Records does a really good job with their packaging, so I have a hard time thinking their handling of this record would be anything but top line.
Everything that was great about Fiction Syxx's debut is even better on this record...bigger, faster guitars, more powerful rhythm section work, a more pronounced bass presence, and even bigger backing vocals...to go along with excellent songwriting and production. Elements of Styx, Asia, Kansas, Uriah Heep, Deep Purple, and even bits of Led Zeppelin are scattered across a sonic landscape that also blends modern melodic rock into a style and sound that I still find myself marveling at after literally dozens of listens. I truly hope that Fiction Syxx continues on, and hope that somewhere down the line we will get the chance to see the band in a live setting. I think that would be something to behold!
Rating: As great as Tall Dark Secrets was, The Alternate Me cranks just a bit harder! A definite 9 for me!
Normally, I don't drive hundreds of miles to see a concert, especially when there is only one band playing. But, this Disciple show in Rapid City, SD was the impetus behind a family vacation (yes, we also saw Mt. Rushmore, Crazy Horse Memorial, the Cosmos, Custer State Park, etc., etc.), as not only do I love this band, but both of my sons are Disciple...err...disciples(?), as well.
As I stated before, there was no opening band for this show, which found the band on a long stretch across the United States, heading west to California before trekking south to Texas. Not having an opening act is a bit of a risk for any band, because of a couple of things. First, you minimize the draw of the show, because sometimes people will come to see the opening acts...maybe they know the band or are already fans of those early bands...and then they stay for the headliner's show, as well. Without an opener, that draw is gone. Secondly, with no opener, the success or failure of the show is placed squarely on that one band, and if things go badly, people can potentially leave with a bad taste in their mouth toward that band. Fortunately, Disciple has established themselves as one of the main forces in the Christian hard rock world (behind only Skillet and perhaps Thousand Foot Krutch and Red, at least to listeners outside the Christian sphere), so the draw was a decent one, especially considering the show was on a Wednesday. At one point I had done a headcount and tallied 89 people in attendance, but I am pretty sure that number exceeded 100 by the time the show started. And, as far as having a bad show? I had attended three previous Disciple shows over the past 5 years, and every single one was solid. This show made it four-for-four, as the band was in top form both in sound and performance.
The band kicked off their show at about 7:15, with long-time members Joey West (drums) and Josiah Prince (guitar) taking the stage first, followed by the band's touring guitar player (I don't know his name), and finally the exuberant frontman, Disciple's founder and sole-original member, Kevin Young. I am not sure if there is an off-stage bass player, or if the bass lines are pre-recorded/triggered by the sound man, but I can say with 100% certainty that the vocals were live, as were the guitars and drums. This has become a big issue of late, with so many bands being accused (and accusing each other) of lip-syncing and using pre-recorded tracks. Yes, there were some effects tracks used here, such as the cello introduction to "Dear X", but I never felt that I was being robbed of a live performance, as it is simply not feasible for most bands to travel with multiple non-member performers, and the use of these effects in no way negatively affected the show for me.
Once the show kicked off, the majority of the crowd immediately went to the front of the stage area, with my wife and sons joining me at the very front of the crowd, right in front of the stage, about ten feet left-of-center. It was straight into the music for the band, as they launched into consecutive full-throttle rockers, "Rise Up" from 2005's self-titled album followed by "The Name" from 2014's Attack, the album where the current line-up came together. "Secret Weapon" from the latest album, Long Live The Rebels, followed, with "Invisible" somewhat slowing things for a moment, before "First Love", also from LLtR concluded the "first movement", if you will, of the show. By this time, the crowd was definitely fully into the show, as was the band, who put on their
full-scale show for the appreciative crowd. If you have never attended a Disciple show, you are really missing something, as Kevin Young is an absolute ball of non-stop motion and energy, as he is all over the stage, jumping onto and off of the various boxes set up on stage, and putting everything he has into his vocals, as well.
At this point, Kevin took a couple of minutes to catch his breath and to talk to the crowd about the band's soon-to-be-released new album, Love Letter Kill Shot, which will be the fourth collaboration from the current version of the band, which is sometimes referred to as to as Disciple 3.0. To give the fans a taste of what they can expect, the band launched into two new tracks, "Cuff The Criminal" and "Reanimate". "Cuff The Criminal" features some electronic elements, but still rocks very hard, while "Reanimate" definitely falls more on the metallic end of the Disciple music spectrum. I would imagine both will find significant success on Christian rock radio, but I find it too bad that the stations such as Sirius/XM Octane will likely ignore these tracks (and continue to ignore this band), as they are likely considered to be too Christian for their listener base. Check out the videos below for BOTH new songs in the live setting (not from the show I attended), as well as the promo video for "Cuff The Criminal"....
By the way, the first lines of the verses are performed by Prince on lead vocals before Young comes in on the second half. In concert, this song is a big audience participation number, with Young inciting everyone to jump around during the chorus section, followed by a group sing along on the big "whoa-oh-oh" section, which was a big hit with those in attendance. My family had a lot of fun bouncing around and chanting along, and it was especially entertaining to see my seven year-old's shoes light up with every jump!
From there, the band returned to more familiar waters, with two of the band's biggest hits, "God Is With Us" and "Erase", both from Long Live The Rebels, leading the show into it's midpoint and Young's traditional sermon.
For those who have never attended a Disciple show, Young regularly spends about 15 minutes speaking to the crowd, usually mixing in stories from his youth to help illustrate his point, which is based in Scripture. On this particular occasion, Young spoke about society's need to win at all costs and our need to seek approval and reward for everything we do in life. He talked about his band's successes and failures, all culminating in receiving a Dove Award (think Christian Grammy) that now sits on a shelf in Young's home, essentially meaningless and more or less forgotten. Young became very emotional at one point as he talked about his youth, about not fitting in as a child and teen, and about eventually being befriended by the most popular student in school because that student had the courage to care about someone outside of his circle (they remain best friends today, according to Young). The crowd was obviously moved by Young's willingness to bare his own emotional scars, which led the rest of the band back on stage to kick off the band's biggest track, the 2010 Christian Rock Number One song, "Dear X", which is also my oldest son's favorite song. It was awesome to
see him get into the song so much, and the picture I managed to take during the track was, in my opinion, the best shot of the entire show, as it showcases a smiling Young next to the song's title as West hammers away at his kit.
"Game On" followed, with a three song medley of early Disciple scorchers being melded into what the band refers to as their "heavy medley". Portions of videos to the songs are spliced together to show the band in their younger stages, particularly focusing on Young and his change in appearance and style over the years. For those of us who have been following the band for more than a decade, this was a pretty cool treat, but I have a feeling much of the crowd had no idea where these songs came from. The band continued in a heavier vein with the post-hardcore infused track, "Scars Remain", closing out the "regular" show.
After several chants of "one more song", the band returned to the stage, starting off with "After The World", a largely acoustic track that gave Young a chance to showcase that he is so much more than just a screamer. The energy was cranked back up to ten for the final two songs of the evening, both from Attack, as Young broke out the band's signature flag for "Dead Militia", and then closed the evening with another massive fan scream-along track, "Radical". All in all, the show ran for roughly an hour and fifty minutes, which is impressive for any band performing without a support act.
The band cooled down for a few minutes, before Young, Prince, and West returned to the church sanctuary and took their places behind a table and talked with fans while taking photos and signing autographs. Prince stated that he wasn't feeling amazingly well, but he was still extremely friendly and cordial with everyone, as were West and Young. All three men took note of the Kansas City Royals shirt and hat I was wearing (and pretty much ALWAYS wear), stating that they knew that KC had just swept their beloved Atlanta Braves team, and we chatted baseball briefly as they signed my sons' CDs and took a group picture with my 11 year old, which was likely the highlight of the entire vacation for him!
I was impressed with the show from start to finish, and even more so after talking to Prince, who was obviously struggling a bit with his voice. This was the band's fifth show in six days, but you would never know it, as the energy level was high throughout the evening. I was especially grateful for the band taking the time to chat with their fans, as they still had to load up and head off to another show the following night, but they never rushed anyone they were talking with. I also want to say thanks to Destiny Foursquare Church and whomever helped to finance the concert, as amazingly, this was a FREE show to all attendees. Truly a blessing for those who may not have been financially able to attend otherwise.
As to the venue, Destiny Foursquare Church has a very large sanctuary area and an excellent stage set-up which should appeal to other bands who may be travelling through the area. The acoustics were very good, with no echo issues, which has been the case with shows I have attended in churches and smaller venues in the past. The band was able to set up a merchandise area near the entrance to the church, which was easy to navigate, and the volunteers were all very pleasant to work with. The merchandise selection was a bit thin, especially in the t-shirt department, but hopefully that is because Disciple is selling out of everything on a regular basis! Both boys still managed to find shirts they didn't already have, and anyone who purchased a t-shirt also received a free copy of Long Live The Rebels on CD, likely so that inventory is cleared out in preparation for the arrival of Love Letter Kill Shot
This was a great experience in an intimate environment that allowed for a lot of interaction between the band and concert goers. This was my youngest's first time seeing Disciple, and the third time for my oldest, and both are ready to see the band again any time they roll even remotely through our area!
Steven Rester--Vocals
Ryan Carver--All Guitars
Jacob Hannah--Drums
"Never give up, Never surrender!" Those are the words of Tim Allen's character on one of my favorite sci-fi comedies, Galaxy Quest! It springs to mind because that had to be the philosophy of The Grave Denial, a new modern metal band based out of Nashville...and Phoenix...as in Tennessee and Arizona! Following a relocation of one of the members, as well as a decision to change the band's name, which could cause confusion among the band's followers, it would be easy to throw in the towel for a lot of bands. But, thanks to the digital world, putting a band together, and keeping it together despite large geographical separation is not the problem that it once was. So, for The Grave Denial, the separation of members led to a perseverance and focus on the end goal, which was the creation of this new 4-track EP.
Formerly known as EverCross, The Grave Denial plays a heavy brand of modern hard rock/metal which they deem "metal with a message"! Bands such as Demon Hunter, Fight The Fury, and As We Ascend would be fair comparisons to the sound of The Grave Denial, while the band also claims Metallica, Iron Maiden, Trivium, and Parkway Drive as personal influences. In my opinion, the closest the guys come to sounding like any of these bands is As We Ascend, and that is with good reason, as Jake Jones, vocalist and guitarist for that band, produced this EP. That is not to say that the band comes off as AwA clones, because they do not, with Rester generally employing a far gruffer vocal style than Jones, and the heft of three of the four tracks falls more in line with Demon Hunter or Fight The Fury than anything As We Ascend has done thus far.
The EP opens with the lead single, and my personal favorite track, the most "radio-friendly" song here, in "Fake". Currently climbing the Christian Rock charts and receiving strong airplay from Christian rock stations, "Fake" deserves to be heard by a much larger, less exclusive audience, as it ranks right up there with just about anything Octane is currently playing on SiriusXM satellite radio. Some programmed elements open the track before Rester's vocals jump in along with the rest of the band. For the majority of the track, Rester sings in a clean style, which is very reminiscent of the approach used by Jones on As We Ascend's debut effort. A song about putting on a false front in order to deceive others, this crunchy number has a crushingly heavy chorus section, starting with Rester's building roar of "You're....so....FAKE"! The rest of the chorus is equally biting with its condemnation of the song's subject matter, as Rester more smoothly sings about, "All the faces you create/ All the lies make your escape, /Honey dripping from your lips/ Burning bridges, sinking ships...". The guitars are hard-edged and aggressive, and the drum patterns fall outside the typical, varying from ther cadence and approach that is so common on most hard radio rock these days.
From here, things only get heavier. "Breath of Death" has some classic guitar elements to it, with big power chords at the beginning, but things change rapidly when Rester comes roaring in on the verse sections in a decidedly more modern vocal approach. Then, during the pre-chorus and chorus portions, Rester's lower-range vocals have an almost Gothic feel to the way they are sung over Hannah's double bass rhythms. There is a tempo change coming out of the second chorus, with some straight-forward metal rhythm guitar riffing and a nice metal solo from Carver, before some effects-enhanced drums lead Rester back into the fray for one more run through the pre-chorus section, and a power chord fades the song out. A pretty cool combination of styles and approaches all mixed together in one song, showcasing the band's diversity and influences.
"Take The Pain", with its chug-chug-chugga-chug rhythm guitars and punchy drums is extremely catchy, especially with the chant along chorus and a really cool guitar solo from Carver. There are some production effects added to certain parts of Rester's vocals, but they only serve to enhance what he is already doing with his harsh screams. Don't think something ridiculous like AutoTune here, rather think of how a computer might digitize and fade out the end of a scream. When done with minimal repetition, it is a cool effect, and The Grave Denial nails its application perfectly here.
"God Awaits" closes things out, and once again, a cool, catchy chorus is a huge part of the draw of this song. Sang rather than shouted or screamed, the chorus really stands out from the rest of the song, which is a choice combination of guitar riffs, barked vocals from Rester, and rapid fire drum fills and syncopated rhythms leading into and out of the chorus from Hannah. There's also a cool vocal bridge before each chorus, with Rester screaming out "Fear", "Death", "Hope" and "Pray" while a lower, more spoken return follows each word. Pretty cool stuff. Carver lays out a fairly extended, melodic solo before the layered vocals of the chorus take their final few runs through the song. A great way to close out an all-too-short EP from a band I am definitely going to keep an eye and ear on!
As one would expect with Jones as the engineer and producer, the sound here is top notch and professional despite no label backing. The guitars are crisp, the vocals sharp, and the drums have a full, hard-hitting sound, with nice separation throughout the EP. Getting Jones on board was quite the coup for the band, and I have been told they hope to have him work with the band on their full-length album when it is ready to go.
As great as the music is, what impresses me equally is the mission of the men involved in The Grave Denial. Fully willing to back up their Christian stance, the guys have all declared themselves to "be there" for their listeners whenever necessary, and have gone so far as to set up an on-line chat on their website, and even published their own personal phone numbers for people to be able to reach them if they need someone to talk to. Now THAT is dedication and putting your money where your mouth is! If you feel you need to talk to them, or if you want to tell them how much you love their music or their ministry, you can find more information at www.TheGraveDenial.com .
Hopefully, we will see actual CD copies available at some point, but for now, you can get your digital EP at CD Baby.
Rating: An excellent, crankable debut! Blast this one at 8!
