LOVE AND DEATH "Perfectly Preserved"

 

(c) 2021 Headdog Music/Blind Tiger Entertainment

1. Infamy
2. Tragedy
3. Down
4. Let Me Love You (feat. Lacey Sturm)
5. Death Of Us
6. Slow Fire
7. The Hunter
8. Lo Lamento
9. Affliction
10. White Flag

Brian "Head" Welch--Vocals, Guitars

J.R. Bareis--Guitars, Vocals

Jasen Rauch--Bass, Vocals

Isaiah Perez--Drums, Percussion

Additional Musicians

Lacey Sturm--Co-lead Vocals on "Let Me Love You"

Keith Wallen--additional guitars on "The Hunter"

Ryan Hayes--Vocal bridge on "White Flag"

It had been eight full years since the release of Love And Death's first album, Between Here And Lost, a full five years since we had heard even a new song from Korn guitarist, Brian "Head" Welch's "side" project, and more than a decade since Welch released his initial Christian project, Save Me From Myself.  Indeed, 2016's "Lo Lamento", which is also included here, was believed by many fans to be the swan song of what looked to be a promising band, as there hadn't even been rumors or rumblings coming from the L&D camp in years, thanks in large part to Head returning to his "day job" as the guitar player for Korn.  

And then the world went sideways...

Whether of not Covid had anything to do with the resurrection of Love And Death, I am not certain, but it would seem to be EXTREMELY coincidental that Love And Death suddenly seemed to be a machine on the move once touring was cancelled across the country/world, and bands started recording new material as an outlet and a way to generate some income.  Regardless of the reason, with a new rhythm section in place, Head and J.R. Bareis have returned with Perfectly Preserved, a brand new, full-length album from Love And Death.  

The temptation here is to refer to Love And Death as something of a supergroup now, as all of the members have a background with other significant acts.  The obvious here is Head who, whether you like Korn or not, has to be considered one of the more influential guitar players of the past few decades as that band was at the forefront of the down-tuned Nu-Metal movement.  Bareis was a relative unknown on the first Love And Death album, but he has gone on to work with notable the Christian hard rock/modern metal group, Spoken.  As to the newcomers, Rauch is not only a well-respected producer, but he is also the guitar player for Breaking Benjamin and was a member of Red on two of that band's albums, as well.  And while Phineas may not be a household name to many people, Perez's drum work for that metalcore band, as well as his time spent in Righteous Vendetta, is well-known in modern metal circles.  Even the guest musicians lend a "supergroup" mentality to Perfectly Preserved, as metal siren Lacey Sturm, formerly of Flyleaf, joins the band for a song, as does Rauch's Breaking Benjamin bandmate, Keith Wallen, on guest guitars, and Righteous Vendetta's Ryan Hayes on vocals, as well.  Through all of this "star power" however, a cohesive sound still emerges on Perfectly Preserved, with a natural growth from the previous record both evident and understandable.  Yes, Perfectly Preserved still sounds like Love And Death, but this is a more mature Love And Death musically, a more accessible Love And Death, for the most part.  This album still rocks plenty hard, and even dips its hand in the Nu Metal pool from time to time, but there are definitely some changes on Perfectly Preserved that let you know this isn't simply a retread of the first album.

The album starts with an oddity of a track, as the moody intro song "Infamy" features far more piano than anything else, and I have to admit to being a bit thrown as I had heard the lead single "Down" already, and it had NOTHING to do with this type of music. Dark and melodic, "Infamy" clocks in at less than two minutes, however, and features the album's title in its lyrics, and while it isn't a precursor of things to come musically, it certainly carries the angst of much of the rest of the track, especially when Head's roaring vocals can be heard beneath the much smoother vocals of Bareis, who does a good share of the vocal work on this record.

Once "Tragedy" roars to life, the oddity of "Infamy" is quickly forgotten and the listener is just as quickly reacquainted with the old friend that is Head's snarling voice and down-tuned guitar style.  It is immediately obvious, however, that something is subtly different this time around, however, as there is a melodic sensibility to this track that never really appeared on Between Here And Lost.  Indeed, the chorus is far more sing-along here than at any point on the last album, a point of emphasis in more than one place on Perfectly Preserved.  It is the interplay between the heavy aggression of the riffs and verse sections and the more melodic moments during the chorus that we find the growth of this band, both as performers and songwriters, a growth which will recur throughout the record.    

Most people into this style of music have likely heard the lead single, "Down" by now, and it is a really good representation of what to expect from Perfectly Preserved.  Haunting clean vocals intro the song with its chorus, before the down-tuned, buzzsaw of guitars roars to life accompanied by the heavy drumming style that Perez brings to the project.  Head handles the lead vocals here, both the clean, more melodic lines and those that sound like a wounded animal yowling in pain, and he does an excellent job.  It is clear why this song was chosen as the lead single, and it has been hanging around the top of the Christian Hard Rock and metal charts for a couple of months now, pushing its way toward number one on a couple of them.  Honestly, the fact that secular outlets (ahem, Octane) have ignored this track is exceedingly frustrating, not only because of the star-quality of the band, but also because there is nothing "religious" or overtly "Christian" about this song.       

I've heard a lot of complaints about the cover of Justin Bieber's "Let Me Love You", and honestly, for the life of me, I don't understand it.  Sure, it comes out of left field a bit, but did you honestly expect L&D to cover "Whip It" on the last record?  Bizarre is what Head does!  Frankly, I think the vocal pairing here between J.R. Bareis and scream-queen, Lacey Sturm, is spot-on, and with Head ruminating angrily in the background with his snarls and growls, I love how the song works, overall.  Bareis has an excellent melodic vocal style...the guy is a really good singer...and Sturm uses both her breathy, clean vocals and her out-of-her-mind-with-rage vocals, both to excellent effect.  The guitar tone is excellent, the drums are still aggressive and punchy, and Rauch's bass is utilized to great effect, so I'm honestly not really sure what the problem is here.  This is a song that is perfectly positioned to crossover a bit, and I highly anticipate this track hitting radio this summer, with it being the kind of song that even Octane might jump all over, further exposing Love And Death to a bigger audience.

"Lo Lamento" is a re-recording of the track from five years ago, and it is in superior form here (although I really like both versions).  Fans of modern heavy rock are going to find themselves drooling all over the riffing, and the various vocal styles utilized throughout the track give this song a truly distinct style.  "The Hunter" is filled with chunky, crunchy goodness from the guitars while also utilizing some very clean, truly sung vocals on the verses, while Head interjects an uber-catchy "and they told another lie, and they told another lie..." into the mix on the first verse that just churns through my brain for hours after hearing it.  

The last two songs on the album seem to form a bridge between the Love And Death world and the Korn world for Head, as far as musical styles go.  While the vast majority of the album is more modern radio rock, these last two songs take on definite Nu Metal tendencies that will likely have Korn fans begging for more.  "Affliction" utilizes some interesting guitar tones to intro the track that is probably the closest to a Korn song on the entire album, especially the way Head handles the pre-chorus in very Jonathan Davis-style.  The interplay between Head and Bareis on the chorus sections is excellent, and there is a bestially-roared vocal bridge that is simply inhuman, coming momentarily close to death metal in its approach.  Obviously a song that is important and special to Head, "Affliction" is all about addiction and recovery, which so much of the album covers, to be fair.   

On "White Flag", the majority of the song is very much in line with the rest of the record style-wise, especially on the clean chorus sections and the haunting atmospheric tones used in the background throughout the song.  But then there is a bridge section where the vocals turn exceptionally harsh, the tempo kicks things up a couple of notches, and we are back in full-on Nu Metal territory for several moments.  Ryan Hayes, from Righteous Vendetta, absolutely tears into the vocals here, creating an even more aggressive vocal approach than even Head's most angry snarls.  Easily the "heaviest" track here (what does "heavy" even mean to people now?), "White Flag" is perfectly placed at the end of the album, not because it is a bad song...not at all...but because it is so starkly different for those crushingly heavy moments, that it doesn't disrupt the flow of the overall album.

Overall, Perfectly Preserved is an excellent return for a band that many had considered dead and gone.  While the music may be a bit more modern hard rock than Nu Metal, there is still plenty for both Korn and older Love And Death fans to sink their teeth into, while also allowing for newer fans to access the band and jump on board, perhaps discovering the older material along the way.  If pressed, I think I would actually say I prefer the songwriting and overall performances on Perfectly Preserved, even if I would be lying if I said I didn't miss the intensity of "Chemicals" or "I W8 4 U" from Between Here And Lost.

Rating:  Extremely crankable!  Rip the knob up to 9 and let's hope that the world rights itself enough for us to perhaps get the chance to see Love And Death on the road at some point in 2021.

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SNAKE BITE WHISKY "Black Candy"

 

(c) 2021 Sliptrick Records

1. Thunderbird
2. Raised In Hell
3. Creep Show
4. Choke
5. Bones In The Fire
6. Reload, Aim, Kill
7. Sweet Cocaine
8. Hammered
9. Dead By Dawn
10. End Of The Line

Jay R--Vocals

Laggy--Guitars

Stacii Blake--Bass

Dan "Sharkz" Weldon--Drums

Australia's Snake Bite Whisky is not a band for the feint of heart, to be sure.  Combining an updated take on sleaze metal with a heavy dose of punk, a dash of Outlaw country, and chaser of grunge, Snake Bite Whisky is unlike any band that has crossed my desk in recent memory.  Gritty, snotty, grimy, and dripping with sleaze and sludge, Snake Bite Whisky may look like they could have ran the streets of Hollywood in 1988, but it would have been because they were being chased by a dozen cops for publicly unrinating on the fire they had just set to the stage they were playing on!  No, these guys are not Monster Ballad darlings of the video era by any stretch, but they may try to do monstrous things to the bands who were! 

From the moment Laggy's guitar screams to life on "Thunderbird", it is evident these guys are here to kick ass, plain and simple.  Reminiscent of the early, hungry, punkish sleaze of LA Guns, this sub-2:30 scorcher sets the stage for the ten tracks of pure adrenaline-infused, heavy sleaze rock that make up Black Candy.     

"Raised In Hell" is up next, and while it dials back the punk just a tinge, the attitude and sneer of the sleaze rock these guys revel in just surges to the forefront even more.  Laggy, the band's new guitar slinger, absolutely shreds on an all-too-short solo and his dirty rhythms chug and churn throughout the track, while Snake Bite Whisky co-founder, Jay R, spits and snarls his way through the verses before getting a bit of help on the gang-shouted chorus sections.  Two tracks in and I'm already looking for Clorox wipes to try to clean the filth that is oozing out of my speakers away so that I can proceed.

As to the Outlaw country?  Well, you need venture no further than track three, "Creep Show" to get your first taste in the form of the vocals on the verse sections of this otherwise full-throttle sleaze punk track.  Particularly noticeable here is the rumbling from the bottom end where Stacii Blake's bass is hard at work, providing a solid foundation for Laggy to absolutely chew his guitar to shreds on the solo, and Sharkz rapid-fire drumming is spot on, as well!  This is a tight, tight band despite the fact that only Jay R and Stacii have been around since the start of the band.  Filthy, nasty, and raunchy, the music here is absolutely in your face and raw, played with an attitude that is just not present in so much of the modern hair/sleaze genre.  Seriously, this is not 1987 Headbanger's Ball-or-radio-ready sleaze, a la LA Guns or Faster Pussycat; this is punch-you-in-the-face-just-to-watch-the-blood-and-snot-leak-from-your-nose type of sleaze that would likely not have been allowed to see the light of day in 1987!  Full throttle and never letting up, "Creep Show" is the kind of song that is going to either completely turn you off of the band or that is going to gear you up to hear what's next.

And what is next?  More of the unexpected, to be honest.  Following a rumbling bass opening, a guitar riff very reminiscent of Guns N Roses churns to the surface, only to be met by lead vocals from Jay R that come in somewhere between Layne Staley of Alice In Chains and Scott Weiland of Stone Temple Pilots...if they were both trying to imitate the lower range of Axl Rose.  Somehow, it works though, and "Choke" is one of those tracks that you seem to keep returning to again and again, even if you aren't 100% sure why.  Laggy again unleashes a frantic fret run before the final verse section, and this rapid fire number just blazes away until it finally burns out.

"Bones In The Fire" is early Alice In Chains worship, from the sludgy tempo to the grungy, down-tuned rhythm guitars, to that previously mentioned Layne Weiland-style of vocals.  Somewhere in the mix, Laggy drops a nifty, sleazy solo upon the unsuspecting listener, but overall, this is more early 90s Seattle than mid-to-late-80s Hollywood, but if you ask the guys, I'm sure that the members of Snake Bite Whisky will tell you they don't really care what you call it because they play what they feel.  For what it's worth, I think "Bones In The Fire" is one of the best tunes on an album that sports more than a couple strong tracks, and I find myself thinking I could go in for a full album of this type of track.

"Reload, Aim, and Kill" picks things right back up into high-speed territory, with more gritty rhythm guitars and thick, heavy bass work before a false ending sets up a straight-up punk rendering of the song's title, while "Sweet Cocaine" comes across as a musically nastier/less accessible narcotics-worshipping cousin of  Buckcherry's "Lit Up" with an even faster tempo and more sleaze and punk than spit and polish.

Lead single "Hammered" follows, again showcasing Stacii Blake's bass kickstarting things before Laggy's rhythm guitars and Jay R's snarling vocals launch themselves upon the track.  You know what, rather than try to explain it to you, I'll just let you check it out for yourself.  So, give yourself about 4 minutes of free time and check out "Hammered" below....  I'll wait for you...

The drum work from Sharkz is on full display on "Dead By Dawn", which also utilizes a decidedly "You Really Got Me" guitar riff throughout the track before giving way to an absolute string-melting solo from Laggy.  The suitably-titled "End Of The Line" closes things out in fine sleaze rock fashion, with Jay R f*bombing his way through the track as Laggy blazes through one last screaming solo, while Blake and Sharkz hoist the whole thing up on their backs and power the track home.  Really a fun way to close out a surprisingly fun listen from start to finish.

The production is as raw and dirty as a band like Snake Bite Whisky would require, but it is an intentional, professional mix and production quality here, not something you would get if you set up a boom box in a bar and listened to the band riff away.  Plenty of life and voice is given to Laggy's guitar, with good reason as the man is an absolute beast in this type of musical setting.  Sharkz and Blake are a formidable rhythm section, and Jay R, despite his Sunset Strip blonde mane, is a spitting, snarling force to be reckoned with on vocals, though admittedly he will not likely be everyone's cup of tea.  The end result is Black Candy, a full-on sleazy/punky blast of heavy rock from Down Under that will have your head banging and your fists pounding from the moment the amps are kicked on.

Rating:  Black Candy is impressively crankable from a band I have never heard of!  Crank this to 7.5!

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WITCH HUNT "Rock N Roll Possession"

 

(c)2021 Rata Mutante Records/Dead Center Productions

1. The Inquisitor
2. Demon Hunter
3. Iron Pact
4. Hijos Del Fuego
5. Margaret
6. Witch Hunt
7. Forces Of The Night
8. Rock N Roll Possession
9. The Beginning And The End
10. Justicia y Venganza (Bonus Track)

Luis Sanchez--Lead Vocals

Robinson Rincon--Guitars

Adriana Lizcano--Bass

Jhonathan Martinez--Drums

Hailing from Bogota, Colombia, Witch Hunt is an old school speed/thrash band that wears its 80s musical influences on its denim jacket with pride.  There is little doubt that the basements and garages of these four metalheads were strewn with records and cassettes from Mercyful Fate, Celtic Frost, Slayer, King Diamond, Onslaught, Grim Reaper, and even old-school Helloween...not to mention a worn out copy of Metallica's Kill 'Em All!...as there are pieces of each of these bands stitched together to create this metallic monstrosity of a band that, despite their musical preferences, has only been around in its current form since 2016.

Musically, this is old school speed metal with tinges of thrash throughout the album.  From the opening guitar riffs of "The Inquisitor", it is apparent this band is very tight and very proficient on their instruments.  With only one guitar player credited, I'm assuming Rincon handles both lead and rhythm guitars, and he handles both with exceptional skill.  The rhythm riffing throughout the album is tight and aggressive, and the lead work is strong with flashes of creativity in the solos on a handful of songs, but nothing that is going to be mistaken as overly original or inventive.  Keep in mind, however, that this is music that is all about speed and aggression, and Rincon has that in spades as he runs the frets with deft skill that is truly incredible to hear.  Again, one needs to look no further than "The Inquisitor" to find examples of mind-numblingly fast solo work that finds Rincon using the typical speed metal scale runs to very good effect, showcasing an ability to nimbly run up and down the strings at high rates of speed, but without showcasing any real flash or flair.   This theme is echoed throughout the record in song after song, as speed is the focal point of pretty much every track here. The title track, "Rock N Roll Possession" is another great example where the song structure is solid, and headbangers are going to absolutely snap their necks to this blistering scorcher, but the solo work is rather bland, overall, and the lyrics are pretty cheesy, to be honest.  But hey, this is speed metal, right?  This is pretty much par for the course as far as the speed metal genre has gone throughout the years.

There are a couple of exceptions, however, where the band seemed to spend more time developing the songs creatively, not relying solely on breakneck speed.  Take for example "Demon Hunter".  Yes, speed is a huge factor, and Rincon and drummer Martinez both get the spotlight shone on them as they exhibit bursts of speed that seem superhuman, but there is also a good deal more creativity, not just in the guitar work...with Rincon delivering possibly his most creative solo of the record...but in the overall song structure, which shows tempo changes and subtle shifts in style throughout.  Likewise, the instrumental track, "Iron Pact" shows some impressive work from Rincon, both on rhythms and leads, and bassist Adriana Lizcano gets the chance to step into the spotlight for a bit, as well.  Again, this song is more about musicality and texture than it is about blazing a metallic path through your ears, as this song never moves past mid-tempo but still manages to hold the listener's attention throughout.  Perhaps it should come as no surprise that these two tracks are near the top of my favorites list on the album.

Also vying for favorite status is the oddly-titled "Margaret", a full-force metallic assault that has Kill 'Em All influence dripping from the strings of the rhythm guitars!  Martinez opens the song with massive drum intro, and his double kicks dominate the bottom end of the track throughout.  For the most part, Sanchez reigns himself in on vocals, spending most of the time in the lower, snarled end of his range, although he does rip into a couple of glass-shattering wails that I really and truly could do without, but they don't do enough damage to keep me from really enjoying the old-school attitude and approach of this proto-thrash monster.  I could really find myself getting into an album filled with speed/thrash of this style.  I also find myself drawn to the track "Witch Hunt", with its tempo changes, machine gun drumming, and insanely fast rhythm guitars all supporting the most controlled vocal work that Sanchez puts forth here.  And then there's the NWOBHM influenced "Forces Of The Night" that utilizes some guitar tones on the solo that are not found anywhere else on the record, while also delivering some of the strongest bass lines on the album.  Once again, Sanchez maintains a firm grip on his vocals here, and Rincon delivers a far-above-average guitar solo here that really makes me wish the entire album was crafted the way tracks 5, 6, and 7 were.  These three songs form a back-to-back-to-back stretch that is absolutely punishing and really fun to listen to!

"The Beginning And The End" is an instrumental piece that closes the album proper, and features some haunting guitar from Rincon as a seemingly dark wind blows in the background.  Its a nice piece of music, but it has nothing to do with the rest of the album, stylistically, and I'm not really sure what the point of this couple of minutes is.  Being at the end of the album I don't skip it, I just let it bring the album to a close and move on, plain and simple.  

"Justicia y Venganza" is listed as a bonus track and sounds all the world like a demo to me.  The production is considerably different than the rest of the album, and the lyrics are all in Spanish, which was not the case for the bulk of the record.  Upon further research, I discovered this was the very first single recorded by the original version of Witch Hunt, clear back in 2007, hence the sonic differences in the material.  I'm not 100% sure who the band is comprised of at that time, although there seems to be no doubt as to the vocalist, as Sanchez is running pretty free with those King Diamond-esque wails, which I have no use for, and overall this track seems like it was tagged on simply to extend the length of the record, perhaps part of the deal when it was picked up for American distribution.  Not a track I spend any time with, honestly, and if I decided I wanted to burn the CD for personal consumption, I'd honestly give this track the axe and stop at just nine songs.

So, if it sounds like I enjoy Rock N Roll Possession for the most part, that is because I generally do.  I honestly really enjoy a lot of what this band brings to the table, and Rincon and Martinez, in particular, show some real skill on their instruments for playing this type of metal.  There are a couple of weaker tracks here, sure, but there are also stretches of surprisingly good material, as well, particularly on the second half of Rock N Roll Possession.  Overall, there is a lot to like about this record musically.

That being said, whether or not you find yourself enjoying Witch Hunt is going to depend largely upon your tastes, and therefore your tolerance, of Sanchez and his vocals.  Personally, I could never get into the high-pitched wailing of Mercyful Fate or Grim Reaper, even when I found myself impressed with their musical prowess, and a couple of tracks here are borderline ruined by this type of ear-piercing vocal work.  This is going to be key for people seeking out Witch Hunt, as the vocals of Sanchez are all over the place, ranging from snarling, not-quite-death growls to piercing wails that will startle sleeping dogs throughout the neighborhood.  And while the falsetto-screamed vocals are not my thing...at all...I will say that the vocal performance from Sanchez is strong, with seemingly no issues as he moves from style to style and rides the elevator up and down his range.  Likewise, the production on the vocals is very clean, and at no point to I feel like the vocals were buried in the mix or too heavy-handed and out front.  

In the end, I was pleasantly surprised by Witch Hunt, and I think a lot of old school metalheads will take an instant liking to this Colombians band.  If you can get past a couple of iffy vocal spots, and you can accept a few speed-over-substance guitar solos, Rock N Roll Possession may be exactly what fans of early speed/thrash metal are looking for.  And while not an album that will ever be a frequent player for me, as I have largely moved on from this style, Witch Hunt has a definite skill and passion for this style that translates into a far more enjoyable listen than I would have ever anticipated.

Rating:  Surprisingly, I found myself cranking this to 7!

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**RETRO REVIEW** CINDERELLA "Still Climbing"

 

(c) 1994 Mercury Records

1. Bad Attitude Shuffle
2. All Comes Down
3. Talk Is Cheap
4. Hard To Find The Words
5. Blood From A Stone
6. Still Climbing
7. Freewheelin'
8. Through The Rain
9. Easy Come Easy Go
10. The Road's Still Long
11. Hot & Bothered

Tom Kiefer--Lead Vocals, Guitars

Jeff LaBar--Lead Guitars

Eric Brittingham--Bass

Additional Musicians

Kenny Aronoff--Drums on 1-10

Fred Coury--Drums on "Hot & Bothered"

In 1994, one of my all-time favorite bands released what I have always considered to be one of...if not THE...last great albums from one of the members of the so-called "hair band era".  Never really fitting in with the Hollywood hair scene (probably because they were from Philadelphia), Cinderella was still lumped in with the Poisons and Warrants of the world, much the same way Great White and Tesla were.  Sure, they had long hair...heck, they pretty much had the whole "hair metal" look down...but Cinderella (and Great White, Tesla, etc.) had far more blues rock to their sound than glam pop, and generally rocked a lot harder, also.  In the end, genre-splitting was going to make very little difference, as by 1994, the whole "hair band" scene had imploded and been replaced by grunge and hard 90s alternative rock, and most 80s bands were forced underground if they were allowed to survive at all.  And while a lot of those bands tried to bend with the times and eke out an existence by distancing themselves from their past (such as Warrant did...), Cinderella refused to play the game, releasing Still Climbing, which, as I stated above, I truly believe to be one of the last great albums from those 80s bands.  And if that doesn't strike you as a bold enough statement, I'll throw another one at you; this is the best album in Cinderella's catalog.  BOOM!  Take that!

After bursting onto the scene in 1986 with their multi-platinum debut, Night Songs, Cinderella reeled off a couple more albums, including the Billboard Top Ten album, Long Cold Winter, which also eventually went triple-platinum, and 1990's Heartbreak Station album, which while decidedly less "hairy" or "glammy", somehow managed to sell a million copies and crack the Billboard Top Twenty by landing at #19.  Years on the road had taken its toll on the band members, with LaBar reportedly falling deeply into alcoholism, Coury feeling like a hired-gun (he had only actually performed on one album), and Keifer essentially losing his voice, so Cinderella stepped away from the scene from 1991 to 1993 to regroup and recover.  Of course, during that time, the music world was put on its ear, and it seemed there was little room for...or interest in...Cinderella by the time Still Climbing was released in late 1994.  In fact, to this date, the album still has not gone platinum (a million records sold), which is a true pity, as Still Climbing takes the best of all the Cinderella albums and blends it into an absolutely killer hard rock record.

Checking in at 11 songs, Still Climbing has no weak material from start to finish, and in fact features some of the best songs Kiefer has ever written...but not all of them were new tracks.  A couple of older non-album tracks from the band's heyday are dusted off, beefed up, and fine tuned for this record, and both serve Cinderella well.  If you ever track down a bootleg of some of the band's older live shows, there is a chance you might hear a slightly different version of "Talk Is Cheap" in the set, but this version is far superior, with Tom's sassy vocals and biting, sarcastic attitude on full display.  It's also worth noting that "Freewheelin'" is an older track as well, and there is a bootlegged version of this track in its pre-Night Songs version floating around out there if you desire to search for such things.  More than any other track on Still Climbing, "Freewheelin'" definitely has that earlier, "hair metal" sound, and is fast and aggressive on this record, but still manages to fit into the tracking order nicely.  Seriously, if you have the time, compare that track to something like "Push Push" or "Once Around The Ride" from Night Songs, and I think you will hear some definite similarities in style and sound.  And, as most fans of the band likely already know, "Hot & Bothered", which is the only track that drummer Fred Coury performed on, had appeared on the Wayne's World soundtrack in 1992.  That means of the 11 songs that made the cut for Still Climbing, only 8 were new tracks.  

Big deal...  

As far as new material goes, the album is filled with some of the hardest-hitting tunes Cinderella ever recorded, while still managing to keep the bluesy swagger that they had started implementing in a big way with Long Cold Winter.  From album opener, "Bad Attitude Shuffle" to the soaring "All Comes Down" to the title track, there is more punch and more grit to this record than anywhere else in their catalog.  "Blood From A Stone", which features some great Hammond organ on the intro section, may be the best song the band has ever recorded, and "Easy Come Easy Go" is a barroom-blues rocker that will flat out stomp a hole in a sawdust-covered floor if given the chance.  And don't let the acoustic intro of "Road's Still Long" fool you into thinking this number is a ballad, as you will likely be smacked upside the head by the punch of the drums and the the thunder from the bass as this mid-tempo rocker builds to a snarling, gritty peak with Keifer at his absolute vocal best.

For the casual fan who fell in love with the band based on the monster ballad "Don't Know What You've Got (Till It's Gone)", or perhaps that song's older predecessor, "Nobody's Fool", you need look no further than the two MASSIVE ballads from Still Climbing to find something to sink your teeth into!  "Hard To Find The Words", a ballad written from Tom to his mother, is a true gem and should be played every Mother's Day by every guy in the world!  Tom pours his heart out on this remarkable track, apologizing for who he was and crediting Mom for who he has become.  Poignant, but never sappy, "Hard To Find The Words" is truly top-notch songwriting at its best.  Not far behind is the equally powerful, "Through The Rain", another inspired piece of balladry that had all but died on rock radio by the time the album was released.   

The production on Still Climbing is the best of the band's catalog, as well, with the drum sound, in particular, being excellent, with a lot of punch and a nice, tight sound to the snares.  The guitars, from the rhythms to the leads to the slide solos, are just spot-on perfect, and a couple of years off had given Tom the strongest, richest sound from his voice that he had achieved on record since Long Cold Winter for sure, as he was able to hit the raspy highs and the cleaner lows, seemingly with ease...even though Kiefer has gone on record stating that the album was a vocal nightmare for him to make.  You'd never know it to hear Still Climbing, as he sounds truly incredible from note one.  Sadly, the vocal issues would return in some subsequent shows...of which I attended more than a few...and Tom would have troubles in the live setting for a few years.  Thankfully, he has been able to return to singing in recent years with a couple of solo albums, including the really strong The Way Life Goes, and the live videos I have seen of his solo act seem to indicate a lot of his vocal struggles are behind him at this point in his career.

If you have never given this record a chance because of the timeframe it was released it, do yourself a favor and pick it up.  Don't assume you are getting Warrant's Ultraphobic or Dokken's Dysfunctional, as there is not a single attempt at grunge or alternative on Still Climbing.  All you get is good, hard, blues-based rock that rattles the windows and shakes the floor, regardless of what radio stations and critics were clamoring for at the time.  No label support, no official videos, no airplay.  None of it mattered, as the band just did what the band wanted to do with Still Climbing.  As a result, although they didn't know it at the time, Cinderella brought their career to a close at an all-time high, which is what we should aspire to.  

Rating:  Such a crankable record, even 27 years later!  Crank this to 9.5, as it is darn near perfect and, to state it one more time, possibly the last great record of the hair era!

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RAZORBATS "Little Miss Crazy" (Single)

 

(c) 2021 Rob Mules Records

Razorbats is:

Paul Vercouteren--Vocals

Kjetil F. Wevling--Guitars

Asle Tangen--Guitars

Martin Hervig--Bass

Christian Hapnes Svendsen--Drums

Everyone's favorite Norwegian band, Razorbats, returns with a brand new single and video, "Little Miss Crazy".  Following up last year's "White Trash Radio", "Little Miss Crazy" is the latest tease from the band's upcoming album, Mainline Rock N Roll, which is set for an April 9th release on Rob Mules Records.  Band founder and guitarist Kjetil F. Wevling (he keeps the "F" in there so you don't confuse him with all the other Kjetil Wevling's out there...) told me the band is "proud of the album" which will feature re-recordings of "White Trash Radio" and "The City" (previously recorded for a split-EP with The Sick Things), as well as 8 new songs, including "Little Miss Crazy".  This latest track is a moody rocker with a cool opening guitar riff and an undeniably catchy chorus that grabs the listener from the first spin.  "Why are the cutest ones always insane?" Vercouteren asks when singing about his "Swan in a pond of doves".  The straight-forward, somewhat sparse nature of the track and its production really allows the song to take on a haunting feel, and nothing here comes off as forced or over-produced.  Hervig's bass is given a strong voice throughout the track, and a smooth, soulful guitar solo from Wevling is pure ear candy that is really set off from the simple acoustic guitar riff that runs throughout the track.  Vercouteren is absolutely spot-on with his vocals here, and some female backing vocals thrown in at the end really serve to add to the unique feel of this great new tune.

According to the press release for the track, the song "is about a normie who falls in love with a free-spirited rock chick.  Of course, he doesn't really understand her, and he starts thinking maybe there's something wrong with her."  After watching the video, I asked Wevling specifically about his performance, which finds him at all times being recorded in a mirror.  "We tried to make the most of the rooms we filmed in, and give each guy a different look.  One of the camera guys suggested it.  In addition to just looking cool, it can be a metaphor for how we see ourselves as a reflection of how other people see and treat us.  But mainly it just looks good!"  Check it out for yourself below...

And, since it has been so long since the last Razorbats album, I have thrown in the videos for their last two singles, as well, both of which are slated to appear on the new album!  

Just to whet your appetite, here is "The City"...

...and the super-fun "White Trash Radio"...

All I know is that April can't come soon enough for this guy, as it has been a LONG TIME since the last full album from these guys, so Mainline Rock N Roll is definitely on my must have list for 2021!

Rating:  As per usual, I don't rate singles, but suffice it to say if you liked the moody material Razorbats released previously..."Desolation Highway", "Sister Siberia", "Born In The Fast Lane"...you will love "Little Miss Crazy" as well!

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GUNNER "Back 4 More"

 

(c) 2020 Lion's Pride Music

1. Back 4 More
2. Faster Than Lightning
3. Sunset Kiss
4. Begging Love
5. Searching For Victims
6. Liar
7. Dangerous Eyes
8. Cold Nights
9. Delilah
10. Thrilling Dream
11. Street Kid
12. Stay Strong

Oscar Muguertegui--Vocals

Rodrigo Bugallo--Guitars

Marcos Prevalil--Keys

Sam Carabajal--Bass

Gustavo Jamie--Drums

Hailing from Buenos Aries, Argentina, Gunner is a retro-styled melodic rock band with a definite flair for all things 80s.  I mean, seriously, check out the cover of the album!  If I didn't know better, I'd swear I have that vinyl stashed in a box of stuff from high school in my garage somewhere.  But don't mistake these guys for being hair metal, because they are not.  Think more along the lines of the mid-80s, pre-Hollywood takeover days.  Think EARLY Dokken, EARLY Ratt, even hints of Y&T and Keel in places.  Lion would be a good comparison band, as well. Same with Icon.  Stuff I like to call "power rock"...not quite metal, but definitely punchier than hair metal.  The band has been together for over 15 years now, and this is not their first album, I am told, just their first for Lion's Pride Music.  And how does it fare?  I guess that all depends upon what you are looking for from these five South American rockers.

First off, the songs are actually pretty solid all the way through.  The majority of them remind me of the harder-edged material some bands would record to have placed on those classic 80s action flick movie soundtracks.  You know, killer guitar solos and hard-charging tempos and rhythms, usually wrapped around some inspiring chorus or something, but typically not radio single material.  That is pretty much every song here...and while some of them are excellent songs, a few wind up in the "fun but not really memorable" category.  

On the excellent side, we have tracks like "Searching For Victims", a big, brilliant 80s movie anthem if I ever heard one!  The guitars scream with a big, fret-running solo from the sensational Bugallo tearing a trench through the song, the drums are big and aggressive, the backing vocals are in great form, and the lead vocals from...well, I'm just going to call him Oscar rather than type out Muguertegui any number of times....are edgy and delivered with conviction.  Heck, even the song title has attitude!  "Faster Than Lightning" is another great, great action flick track!  Thundering drums, a massive...and LONG...guitar solo from the uber-talented Bugallo, big, gang "whoa-oh-oh" backing vocals, and a really solid lead vocal from Oscar.  "Sunset Kiss" is another excellent 80s flashback through and through, complete with the edgy radio-rock guitars and unmistakable keyboards that hearken back to the summer nights of my teenage years! And, as is really a trend on this record, Bugallo absolutely dominates with another smoking solo that absolutely nails the style and sound of the era.  This guy has MAJOR skills, folks!  His soloing abilities alone are worth hunting this record down!  Here is a livestream video the guys did for "Sunset Kiss" during the Covid shutdown...

For more from Bugallo, simply  check out the intro work on "Begging Love" for yet another example of that stunning skill, followed by some era-appropriate rhythm work and yet another top-shelf solo that finds Bugallo pulling out all the tricks!  And even when things slow down a bit, such as on the more mid-tempo romper "Liar", the band has plenty of heft in the right places, and the bass work from Carabajal really jumps out at the listener.  "Street Kid" takes us back to that action flick feel, with a really gritty guitar setting the tone right from the start, and I can see the song's titular down-on-his-luck character jumping rope or working a speed bag as he puts in his time to get his title shot!  Or maybe he was a loner and his Army dad was kidnapped and the kid has to find his inner-hero and hijack a helicopter so he can go rescue his father!  Yeah!  You can come up with your own scenario; Bugallo and his pals will provide the soundtrack for it, with another excellent solo, gang-shouted chorus vocals, and a solid rhythm section driving the song along perfectly.  "Stay Strong" closes the record in excellent fashion, with the mid-tempo rocker firing on cylinders musically, and the perfectly-titled (for an 80s action flick) track is definitely a top 3 or 4 song on the entire album.  "Cold Nights" is another slower track, definitely carrying a plodding tempo, but Carabajal's bass again gets to rumble and Bugallo is afforded the opportunity to showcase a different style of playing here than on the flash and fire solos of the up-tempo material.  

This is not a perfect record, however, but rarely does Back 4 More just completely blow it for me.  In a couple of spots, it's just one little thing that will hold a track back from being all it could be.  Maybe it's the vocals, maybe it's the mix, but something is a tiny bit off somewhere.  The opening track and title cut, "Back For More" is a perfect example.  The track starts with a muscle car's engine roaring to life, and the guitars come blazing out of the gates, but Oscar's vocals really sound strained to hit the higher end notes here, even pulling him a bit off-key in places, and his accent is really noticeable here.  Check it out and see if you agree....

The previously mentioned "Cold Nights", "Street Kid" and even the excellent "Searching For Victims" are also victims to this to varying degrees.  Again, they are far from ruined, but I wish the producer would have gotten another take or two on a couple of lines to strengthen what I think are some of the best tracks here.  I want to state for the record  that even when he is a bit off, Oscar's husky, lower-tenor is perfect for this band and the style of songs they present here, and he projects a power across the majority of these tracks that is a key element to them being pulled off as well as they are.      

There is one track on Back 4 More that NOTHING could save, not even flawless vocals from Oscar, or Bugallo delivering the most soaring guitar performance in the history of 80s power rock.  There is absolutely nothing that would save "Delilah".  Seriously, if there is one track that really shouldn't have been included, "Delilah" would get the axe...and I wouldn't sharpen that axe.  I would leave it dull so the song could feel every painful swing I took to rend it from this album's track list!  This track is so sugary, so stomach-churningly saccharine sounding, that my ears feel like they are dripping syrup by the time the five minute long ballad oozes to an end.  Again, this is one of those tracks where Oscar's vocals are just a bit off, and I think it comes from him just trying too hard to spread the frosting-thick emotion across the track.  There are too many tinkling keys and even Bugallo's solo can't save this song from the ooey-gooey mess that it creates for itself.  When I burned Back 4 More to CD so I could listen to in my truck during my work commute, I left this track completely off and I skip it every time it pops up on my computer.

"Dangerous Eyes" is a decent rocker, but for some reason it doesn't really connect with me the way most of the tracks do here.  The mix seems a bit muddy in the verse sections and Oscar is really hard to understand in places (more on this in a minute), which detracts from the overall feel of the song.  Additionally, the keyboard flourishes are too out front for me and they really draw the attention away from the overall feel of the song.  It's not a terrible song, I suppose, and Bugallo drops a nice solo on the listener, but this song is definitely one that I would have considered trimming if it was required for time constraint reasons.

The only other track I really don't care for all that much is "Thrilling Dream", which is almost TOO 80s for its own good.  Rather than an action flick track, this song reminds me of something that ends up on a Michael J. Fox movie soundtrack, like Secret Of My Success or something, as the "rock track" among a bunch of New Wave tunes.  The keys are too out front and too dominant for my liking, and the fact that a keyboard SOLO cuts into Bugallo's six-string time...well, little can be done to forgive that! 

Overall, this is a really enjoyable project for me, even after numerous listens, and even if there isn't anything new about it.  In fact, what you think of the record is going to largely depend upon how you feel about pure nostalgia trips, which is exactly what Back 4 More is.  There is literally nothing about this record that comes off as modern, from the performances to the writing style to the production.  And if that is what you are after, you are going to love this record!  But, if you are looking for retro-based music that incorporates the latest production tricks and styles, you will likely be a bit disappointed, even as you listen slack-jawed to the skill of these guys (particularly Bugallo).  

For me, it is really hard to not love what these guys are doing and the passion they obviously have for what they are doing.  There are a couple of minor missteps, and nothing here screams "hit single", either in 1985 or in present day 2021, but Gunner delivers exactly what I think they were after, which is well-executed, fun, bombastic mid-80s power rock that never drifts into the glammy or hairy side of the Hollywood hairspray scene.  

Rating:  I'd say Rock this to 6.5 every time you put it on, and minus a couple of tracks in the last half of the record, it may even become a crankable 7!  It's not perfect, but it is definitely fun!  I think I also will be seeking out Gunner's older material (I believe they were called Gunner Sixx at that time).

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VOODOO CIRCLE "Locked & Loaded"

 

(c) 2021 AMF Records

1. Flesh & Bone
2. Wasting Time
3. Magic Woman Chile
4. Locked & Loaded
5. Devil With An Angel's Eyes
6. Straight For The Heart
7. Eyes Full Of Tears
8. Devil's Cross
9. Trouble In The Midnight
10. This Song Is For You
11. Children Of The Revolution

David Readman--Lead Vocals

Alex Beyrodt--Guitars, Vocals

Mat Sinner--Bass, Vocals

Markus Kullman--Drums

Additional Musicians

Corvin Bahn--Keyboards

Melissa Bonny--Backing Vocals

There have been a slew of great releases already in 2021, and it is only January!  Not that I am complaining, because I am most definitely not.  In fact, it makes me hopeful that 2021 is going to be one of those magical years we look back on in a couple of decades, much the way that people fondly recall years like 1986 and 1988.  And while there is still a LOT of year to go, 2021 is shaping up to be pretty special.

One of the records that I would say has to be considered as being at the forefront of this new year is Locked & Loaded, the lastest effort from the Voodoo Circle.  For the uninitiated, Voodoo Circle is the brainchild of axe-slinger extraordinaire, Alex Beyrodt, who has an uncanny feel for the classic heavy bluesy-and-ballsy rock that legends such as Deep Purple, Rainbow, Led Zeppelin, and Whitesnake are synonymous with.  Unlike so many of today's "un-Ledded" clone bands, however, Voodoo Circle understands that being a soundalike is not enough; you have to have a passion for the music, the chops to perform at a high level, the songs to showcase that talent!  Fortunately, Voodoo Circle has proven time and again that they have all three requirements in spades!

On Locked & Loaded, frontman David Readman returns to the fold after stepping away for a couple of records, and the entire line-up from 2011's Broken Heart Syndrome record is reformed, which has stoked a lot of anticipation among fans of the band.  And while the previous efforts were still fine records, Readman's return serves to complete the package, in my opinion, as his vocals are a huge part of what drew me to this band in the first place.  This is immediately evident with album opener, "Flesh & Bone", which is about as perfect a beginning to an album as one could hope for, showcasing a tight band that sounds as if it hasn't missed a step despite not playing together as a unit for nearly a full decade!  Snarling guitars and big, arena-styled drums kick this high-energy rocker into gear and never look back, blazing a hard rocking path for four solid minutes that will have the listener immediately transported back in time to an era where this type of anthemic rock was the standard and not the exception!  Clearly pulling influence from Whitesnake and Deep Purple, this is a scorching example of Voodoo Circle at their finest musically.  Throw David Readman's massive vocals into the mix, and you have a song that is almost guaranteed to be the set-opener for the band in upcoming live shows.

I have long professed to NOT be a particularly big fan of Led Zeppelin, yet I love so many of the bands that Zeppelin inspired.  While a lot of people point to bands like Kingdom Come, the best or me would be Bonham, whose Disregard For Timekeeping is an absolute go-to album for me.  I have played that particular album hundreds, if not thousands of times, and continually go back to it even today.  For those who are fans of that band, "Wasting Time" is going to be an instant come-hither track, as the intro and the tempo are so much like Bonham's "Wait For You" that it is almost eerie.  No, it is definitely not the same song, but the sultry swagger, the "Kashmir" accents to the music, and the approach to the vocals are every bit as addictive as those from "Wait For You".  "Wasting Time" has a HUGE guitar solo, complete with speedy fret-runs and blistering picking, yet it somehow still fits the track.  I've hit repeat so many times on this track that it's a minor miracle the button still works, to be honest, and "Wasting Time" is easily the most-played track of this very young year so far.  

"Magic Woman Chile" continues that Middle-Eastern/Indian vibe, especially with the backing vocals and the rhythm and tempo, and once again, comparisons to Led Zeppelin are going to be impossible to avoid.  Vocally, Readman is more controlled and somewhat lower in pitch than Plant typically was a lot of the time, but the delivery style on this track (and "Wasting Time" for that matter) is a dead-ringer in places and serves to enhance the track all that much more.  The solo from Beyrodt here is a wicked one, and this is a powerful, guitar-driven rocker of the highest order.

Title track and single "Locked & Loaded" continues with the punchy, 80s-inspired blues-rock stylings that will likely have David Coverdale on the phone seeing if he can recruit Beyrodt and company for his next record!  Utilizing some horn-sounding keyboards as an enhancement, a catchy "big, boom, bam, here for you mama!" vocal refrain, and an insanely simple-and-singable chorus, "Locked & Loaded" is almost guaranteed to become a fan favorite in the live setting (once we get back to live settings)!  Naturally, Beyrodt rips into yet another huge solo, but for me, it is Readman who is the real centerpiece on this track, as he is able to track up and down his powerful range throughout the song and he sounds particularly strong here, adding and subtracting a bit of snarl as needed.  Really, really loving this track.  

For the Whitesnake fans, the comparisons on a couple of tracks are going to be immediate and intense.  "Devil With An Angel's Smile" is an uber-catchy, bluesy riff rocker with a huge hook and some great backing vocals, and gritty rocker "Straight From The Heart" has a killer "Bad Boys"-styled intro riff that would have Coverdale doing a double-take to make sure Whitesnake wasn't performing without him!  But perhaps it is the big power ballad, "Eyes Full Of Tears", which finds Readman in full-Coverdale worship mode, that has the biggest connection with Whitesake's self-titled masterpiece from 1987...which was also considered to be a rip-off/clone effort in its own right.  And while I get it...in both cases...I also disagree with the assertion in both cases.  Sure, there are a lot of similarities in style and approach, but as I stated at the opening of this review, without the ability to write the songs and the ability to then pull them off, none of the comparisons would be made.  

The intro to "Devil's Cross" is a bit of a slip for me with its dated, 80s keyboards, but once the guitars and Readman's vocals hit, all is quickly forgiven and forgotten.  A bump-and-grind, mid-tempo groove 

worms its way through this track that is another one that fights for repeat time from me.  Readman adds the smoky snarl back to his vocals, further enhancing the ultra-cool vibe.  If there is a video made for this track at some point, I would fully expect a nighttime shoot with a Tawny Kitaen look-alike shaking her money maker down on a dock somewhere, bumping and grinding along with the solo that Beyrodt carves through the mid-section of the track.  In fact, Beyrodt's axe is given more time to really shine here than on most of the other songs, as there is some serious riffage going on for the last couple of minutes, with the solo and then the outro work that flows under the last runs through the chorus section really putting Beyrodt's talent on full display.  Love it!

"Trouble In The Moonlight" speeds things back up a bit with some nifty double kick drum work and yet another smoking string melter from Beyrodt, before the deep blues approach of "This Song Is For You" slows things WAY down.  Opening with a lyric straight from Prince's "Purple Rain",  ("Never meant to cause you any sorrow...never meant to cause you any pain...."), "This Song Is For You" is pure soul-searing pain set to music, and Beyrodt proves beyond a shadow of any doubt that he has a feel for this type of playing.  For that matter, he and Readman may want to consider a project of just this style of blues rock, devoid of the pomp and hair of the arena rock that tinges every song here, this is just smoldering blues rock at its finest, with both men delivering some of the best performances on the entire album.

The record closes with a rollicking, galloping rocker in "Children Of The Revolution" that wraps the record right back around to where it started, with hard-edged, blues-based arena riff rock of the highest order.  A great way to end a great record that long-time fans of the band will immediately begin comparing with the best the band has ever released, I have little doubt. 

With Readman back in the fold on vocals, with Sinner providing the solid bass work he has always been noted for, and with Kullman's unheralded work behind the kit, Beyrodt has the freedom to unleash on every track here, putting together what is in my estimation the best record that Voodoo Circle has released to date...which is saying something considering the greatness of the first few records.  Beyrodt plays with an unbridled passion on every track here, and I have read he used multiple different guitars on various songs to get exactly the tone he was looking for, which seems to have paid dividends here, as this is a guitar lover's album, without question.  Big hooks, powerful vocals, a retro-yet-modern sound, and amazing production all come together to help form what will likely end up being a Top 20 release of 2021, which is quite a statement in January!

Rating:  The best Whitesnake album that band never released!  Crank this to a definite 9!  This is an EXCELLENT record!

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KICKIN' VALENTINA "The Revenge Of Rock"

 

(c) 2021 Mighty Music

1. Freakshow
2. Somebody New
3. Rat Race
4. Strange
5. Lookin' For Me
6. War
7. Heart Tattoo
8. End Of The Road
9. The Revenge Of Rock

D.K. Revelle--Lead Vocals

Heber Pampillion--Guitars

Chris Taylor--Bass

Jimmy Berdine--Drums

Atlanta's Kickin Valentina has been around for a bit, now, starting with their debut EP nearly 8 years ago, and steadily building a fan base and a solid reputation as a live act.  Now they return to kick off 2021 with a roar on The Revenge Of Rock featuring a slightly adjusted lineup but a familiar formula, attitude, and approach that will be a welcome distraction from this crazy world for long-time fans, and a great starting point for newcomers to the sleazy parade. 

"Freakshow" kicks off the nine track The Revenge Of Rock (Nine?  What an odd number...), and will likely kick off the band's live shows when those return.  Pure adrenaline-fueled rock is the name of the game here, and this is a great track to introduce new vocalist, D.K. Revelle, who some may recognize from his stint in Jetboy.  Pampillion lays into a killer solo on this opening track that may be the best on the entire record, and with the very first song, Kickin' Valentina is off and running!

"Somebody New" has a Sunset Strip catchiness that honestly took me by surprise when I first heard it.  This is borderline radio rock material here, with a melodic factor not regularly found in KV tracks.  A sing along chorus with some really strong backing vocals reinforce the fact that this is not your typical Kickin' Valentina song, but dang it if it doesn't work!  Revelle's lower-ranged vocals remain gritty and dirty enough to keep you from mistaking this for something straight out of the Euro-Glam-N-Sleaze scene, as does the dirty blues guitar solo, but this is a seriously catchy track that will have more than a few people turning their heads, I am sure.

"Rat Race" ups the dirt and grit factor by ten, pouring the sleaze on in heavy doses along with edginess and anger in Revelle's vocal delivery.  Aggressive rhythm riffing and straight-forward, driving drums power this rocker on in a manner that is completely unlike "Something New".

For the most part, from here on out the record drips with attitude and oozes with raunchy.  I mean, this is Kickin' Valentina we're talking about!  "Strange" is definitely one of the coolest, catchiest sleaze tracks to grace my player in some time, and Revelle's approach nails this track!  Imagine the snarl of a slightly-less angry Lemmy and you have a good idea of where Revelle's best work is done, and he lives in this realm throughout this hook-laden rocker.  There is a solid groove that powers through "Lookin' For Me", which sounds all the world to me like AC/DC and Dangerous Toys had a love child at some point, with this three-chord rocker being doused in grimy, sweaty southern sleaze, complete with sing-along chorus and a scorching guitar solo designed to rip a smoldering hole through the wall of thump that is built up by the foot-stompin' rhythm.  "War" follows up nicely with another gritty, angry romp that features a simple call-and-response chorus that is going to be huge when we get to start going to live shows again!    

"Heart Tattoo" is the lone slower moment on the record, and it is a good one.  More of a shuffle than a ballad, this is a solid piece of songwriting that shows a slightly different side of the band.  I'm not going to lie, the first thing I thought of when I heard this track was the great stuff that Hinder had to offer back in their best days of All American Nightmare and Take It To The Limit.  Gritty, southern guitars, solid bass work, and simple, straight forward drums accentuate Revelle's delivery on this number that will likely have a few lighters in the air at a live show, even though we never wander into power ballad territory here.  Not my favorite track, but it is a good one that I'm sure will get some repeats from fans. 

"End Of The Road" returns to a bit more good-time, party rock style, and again the band makes it work in an environment that should otherwise spit out a track like this.  Once again, a simple-yet-catchy chorus with really solid backing vocals set this song apart from the spit-and-snarl tracks that surround it, and the...dare I say "poppy"...rhythm and tempo make this a great song to blast with the windows rolled down as you hit the road.  The guitar solo here is an all-too-short Southern romp, and Revelle's vocals are as clean as anywhere else on the record, but there is no denying that this track works well and is definitely a contender for the best stuff here, depending upon your own personal musical tendencies.

The album closes with the title track, a high-octane blast of snarling sleaze that packs quite a punch as the The Revenge Of Rock comes to a close.  Gang shouted "hey hey heys" punch their way through the verses, with Crue, Zeppelin, AC/DC, KISS, The Who, Van Halen, and numerous other rockers from the past name-dropped along the way.  I would have to imagine that if "Freakshow" opens up shows in the near future, "The Revenge Of Rock" would be the perfect closer to leave fans sweaty, screaming, and ready for an encore!

Nine tracks feels a bit short, and with only about 40 minutes of music on the entire album, it all goes by too quickly.  But there is something to be said...a LOT to be said, honestly...about quality over quantity, and Kickin' Valentina has that ration down perfectly on The Revenge Of Rock.  Short, sweet, and ready to repeat, this is an album that deserves your attention and will likely not let go of you once it sinks its teeth in!  Do yourself a favor and pick it up ASAP.

Rating:  A crankable sleazefest from start to finish, with a couple of hidden surprises!  Crank this to 8!

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ROXX "Lynze"

 

(c) 2019 Independent Release

1. Too Fast To Stop
2. No Return
3. Dark Side Of Love
4. The Vigilante
5. Break Off Your Walls
6. Insanity
7. In The Cold Of The City
   
8. The Eye Of The Lynx
9. Now Or Never
10. Caballo Salvaje

Rodrigo "Roxx" Bugallo--All Guitars, Bass, Keys, Programming

Goran Edman--Vocals on 3, 5, and 8

Ah, the shred album!  I have always been something of a sucker for a good instrumental album, especially if the guitar player is just insanely talented.  Those Cacaphony discs, Friedman's early solo stuff, Michael Harris Defense Mechanizms, early Satch and Malmsteen and Vai (although he gets a bit weird for me in places)....I love that stuff, especially if I am in just the right mood. They tend to make good workout music for me, also, as I don't find myself distracted by the lyrics.  Actually, that is how I came across Lynze again!  I had digitally purchased Lynze a year or so ago when I first heard some samples, but after I got it, the world went wonky and I never got around to reviewing it.  In fact, I honestly forgot about it until recently, with the continued expansion of my home gym (thank you, Covid!), I have been working out at home exclusively and I started going through some playlists and folders I had made for my iPod and I stumbled across this album once again.  And, man, I am glad I did!

Rodrigo Bugallo is an incredibly talented multi-instrumentalist who puts his full skill on display on this insanely catchy record!  Yes, from the moment "Too Fast To Stop" kicks things off, there is a lot of speed, a lot of fret tapping, a lot of hammer-ons and pull-offs and whammy-bending, but it is not all six-string masturbation going on here by a long shot!  Bugallo showcases a real feel for heavy guitar writing, particularly evident on tracks like "The Vigilante", which features some deep, melodic riffing to go along with the lightning-speed solo work, or the virtuosity of "Insanity", with its mind-numbing speed balanced with slower, dramatic passages and melodic sweeps.  For all of the intensity of the guitar work, the bass work from Bugallo is also worth mentioning here, as it really adds to the individual songs to have a solid foundation to build upon, especially when the drums are programmed...although they are done very well on Lynze.  

If its the instrumental work that you are here to feast upon, its very hard to pick a favorite, as all are so well done, but for my money it likely comes down to two amazing tracks.  "In The Cold Of The City" is a mid-paced string-bender with progressive elements thrown into the neo-classical mix.  Bugallo blazes through multiple solo sections, but the overall impression of the song is a more soulful, emotionally-charged track, enhanced by interesting almost-tribal drum patterns and deep, in the pocket bass work.  Bugallo truly pulls out all the stops on this amazing track.  If its aggression and sheer speed you crave, then "Now Or Never" is probably going to be your song of choice, as Bugallo comes out flying from the start and never relents.  Fret run after fret run blister through the speakers on this amazing piece of music, and the rhythm guitars and bass frantically charge to keep pace along with the jackhammer drum patterns.  There is a brief keyboard section to allow Bugallo a moment...a BRIEF moment...to catch his breath before diving back into another long solo section, and I am left in awe of the note density ever time I hear this track...or pretty much anything on this album, to be honest.  And, if it is variety you are after, you can't sleep on the Spanish guitar stylings of the album's closer, "Caballo Salvaje" ("Wild Horse" if my Spanish is correct).  Yes, it is completely different from everything else here, yet it somehow is a fitting closer and really serves to showcase the overall talent of Bugallo, regardless of style.

For many, while the guitar work is jaw-dropping, the real treat here is going to be the vocal performances from former Yngwie frontman, Goran Edman, on three of these tracks.  In each instance, I am drawn back to Malmsteen's Eclipse and Fire & Ice albums, which I consider to be two of the Swede's true masterpiece records.  Hearing Edman glide across these tracks that are also launching pads for some insanely catchy solos and gorgeous riffing gives me chills, to be quite honest.  In my opinion, Bugallo sounds every bit as good as Malmsteen on these types of tracks, and Lynze is better than anything Yngwie has released in more than a decade or two.  If I had to pick a favorite of the three, it would probably be "The Eye Of The Lynx", with its aggressive opening riff, machine gun drum patterns, and subtle supporting keyboards that all form up to create the sonic bedrock of this earth-rattling rocker.  The solo is, of course, absolutely off the chain, and the rapid-fire pace of the verse and chorus sections is set off nicely by a bridge section that brings things down to a more mid-tempo smolder for a few bars before flaring back to life.  Excellent stuff, but all three of Edman's tracks are top notch and you can't go wrong with any of them.  Ask me again tomorrow and I might tell you "Dark Side Of Love" is the best, with its thumping bass line, 80s-inspired electric drums, AOR-ish keys, and exquisitely layered backing vocals (also Edman, if I understand correctly).  Heck, I could make a case for "Break Off Your Walls" to be the best of Edman's work here, with its galloping rhythm guitars and searing solo section.  They are all three excellent tracks and I have to wonder if these two men won't get together again in the near future to build upon the greatness they have started with Lynze.

I simply love this album, programmed drums and all, and I seem to find something new to like about it with every listen.  As great as the instrumental work is, the composition of these songs is top-notch, as well.  This isn't riffing and running just for the sake of playing as fast as possible; there is thought and intent behind the melted strings and smoldering fretboards left in Bugallo's wake.  Add in the fact that the man handled pretty much everything on this record, and it is breathtaking to me the level of musical talent one beholds when they spin Lynze.  Seek it out, people!  I believe it is still available on Amazon, and even as a digital download album, it is well worth it!

Rating:  Crankable to the extreme!  Crank this to 8...which is about as high as I will likely ever rate an instrumental album...and then shred the dial!  This is some excellent neoclassical speed/power metal!

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SPEED STROKE "Scene Of The Crime"

 

(c) 2020 Street Symphonies Records

1. Heartbeat
2. Scene of the Crime
3. After Dark
4. Soul Punx
5. No Love
6. Red Eyes
7. Out Of Money
8. Who Fkd Who
9. One Last Day
10. Hero No. 1

Jack--Lead Vocals

D.B.--Guitars

Michael--Rhythm Guitar

Fungo--Bass

Andrew--Drums

Speed Stroke is a band I first encountered about a decade ago, and many of you may have ran into them, as well, on the Crashdiet tribute album, Reborn In Sleaze.  After releasing a couple of albums and touring with a virtual Who's Who of New Wave of European Sleaze and Hair Metal bands (Confess, Reckless Love, Hardcore Superstar, Backyard Babies, Crazy Lixx, 69 Eyes, etc.), the Italian band made the move to Street Symphonies Records and the Burning Minds Music Group to release Scene Of The Crime.  With the move comes the most complete record of the guys' decade-long career!

If you are familiar with Speed Stroke from previous releases, much about the band stays the same on the new record.  Jack's vocals aren't your typical hair/sleaze vocals, as he tends to stay lower in his range than most.  Yes, he can scream, and he has some higher end, but he relies more on snarl and attitude in his delivery than he does on range, which is okay with me.  They may take a bit of getting used to for some folks, but to me, Jack is a big piece of what makes Speed Stroke the quality band they are.  They twin guitars are every bit as solid as they have ever been, with D.B. really ripping into some tasty leads throughout the album while Michael works with Fungo and Andrew to set a gritty rhythm and tempo for the rockers that dominate the album.  But on Scene Of The Crime, the songwriting takes a definite step forward (not that it was bad before) and several songs here are more mature in their approach than in the past.  Oh, sure, there are still the rough and rowdy sleaze rockers (I mean, come on..."Who F'd Who"?), but to me, a track like "No Love" would never have been the excellent ballad that it is here.

"Heartbeat" opens the album and has a straight-outta-88 guitar riff and some group "oh oh ohs" from the outset, as the music builds and the drums intensify before the dirty rhythm riffs from Michael's guitars burst forward into a balls-out rocker to kick the album off.  Jack's easily identifiable vocals ooze from the speakers through the verse sections, with some gang back-up, and then the melodic "oh oh ohs" return in the chorus section.  D.B. launches into the first of numerous high octane solos here, and to say he has the 80s style and sound down pat would be an understatement.  Just an excellent launching pad for Scene Of The Crime to take off from.    

Speaking of the title, the title track is up next, and it is instant ear candy.  The gang-shouted chorus actually kicks off the track, with the drums and guitars kicking in shortly thereafter, giving the track a different feel from the rest of the songs here.  Those gang-shouted vocals show up in numerous spots on this record and are really a great addition to a song like this, even tackling small parts of the verses here and there, which I think is pretty cool.  Jack shows off a wailing scream before the solo run from D.B., and there is a definite Skid Row feel to this track that I think will hook listeners from the get go.  Love it.

"After Dark" has a swinging feel to the rhythm that is unlike anything else on the album, and the first point of reference that popped into my head was "D'Stroll" by D'Molls, although "After Dark", to me, is a far superior song.  There's just more meat to the track, more going on musically, and a better solo from D.B.  Fun and bouncy, but with a shade of darkness to the overall vibe, "After Dark" isn't going to clobber you head on, but it's going to sneak up on you and take you by surprise, sandwiched as it is between the two up-tempo tracks, "Scene Of The Crime" and the next on, "Soul Punx".

Speaking of "Soul Punx", this is a fun, high-octane rocker that I think truly captures the style and sound of the 80s scene as well as just about anything I have heard from any band this year.  The noodling guitars at the beginning of the track, the sharp, snappy drums, the snarling lead vocals, and the fast and furious solo from D.B., all contribute to make this an absolute blast of a song.  A few f*bombs are dropped throughout the song, but this is modern sleaze, folks, so what do we really expect?  All in all, possibly my favorite track on the record.  Check out the video below.

As mentioned before, "No Love" is a killer ballad that I found myself really drawn to from the very first time I heard it.  The piano is a great addition here, and the vocal approach from Jack is perfect for the emotion of the song.  At times reminiscent of GnR's "November Rain", this is a beast of a track and one that really showcases the musical growth of the band. The flamenco-styled guitar at the 3:30 mark is a nice touch, as is the stylistic change that accompanies it, both of which set the stage for D.B. to really dive into a soul-exposing guitar solo here.  The gang chorus coming out of that solo is great, and the whole band just nails the track, giving this six minute track an epic feel without getting overly sappy with the production or dropping in programmed string sections that are unnecessary, etc.  This is a great, great ballad and among the best I have heard from the sleaze genre this year, hands down.  Just like "Soul Punx", this track gets a lot of repeated listens.

"Red Eyes" picks up the pace with an edgy, three-chord rocker that again features more of the excellent backing vocals from the band that I think do an amazing job of setting Speed Stroke apart from many of their peers.  D.B. contributes a fun little solo, and while "Red Eyes" isn't a track that stands up and screams "LOOK AT ME", it is a solid transition from an epic ballad to a sleaze-fueled rocker, "Who Fkd Who?", and is definitely not a skip-track by any means.

If something dirtier and sleazier is what you are looking for, you need look no further than "Who Fkd Who?".  Sounding a whole lot like a Kix track, musically, this is a sleaze-infused rocker with plenty of tongue-in-cheek attitude and a really solid backbeat from Fungo and Andrew that keep the track driving along.  I've stated several times in several reviews that bands, especially European bands, like to throw the f*bomb around to excess, especially when there is no apparent reason for it, but I will say that on this particular track, it doesn't come off as excessive, "look at us and our attitude" lyrical candy, so much as it comes across as the general attitude of the song and band, in general...and I can live with that.  The guitar work is excellent here, and D.B. blisters his way through another aggressive, dirty solo.  Definitely a top 5 track here on an album filled with great tracks.

"One Last Day" slows things down...a bit...one final time, but it's not really a song, per se, as much as it is a musical interlude.  Andrew and his drums get a break here (he gets to smack a tambourine a few times), as do Fungo and the bass, as this is just Jack and D.B., along with some backing vocals, on a great, soul-baring piece of music that may seem somewhat pointless to a few but that I really, really like.  There is just something about the performances here that draw me in. 

Album closer, "Hero No. 1" is another straight ahead rocker, packed with attitude and dripping with sleaze.  Jack comes off every bit as aggressive and edgy as he does anywhere else on the record, and the gang-shouted backing vocals are spot-on perfect for this big fist-pumper!  D.B. blasts into one final guitar solo, unleashing any flash and speed he had left in the tank from the previous nine songs, and while it is a bit shorter than I would have liked, there is little doubt that he is a serious talent on guitar that more people need to hear. This finale is one that really leaves me hoping for big things from the band in 2021 and beyond!

My only gripe here is the production.  There are several tracks where the mix sounds rather muddy, especially around the vocals and lead guitars.  Now, this is a digital promo copy that I am working from, and on more than one occasion the files sound considerably worse than the actual CD does, so I am hopeful that this is the case.  Even if not, this is still a great record, but if so these production issus do take a bit of polish off the greatness of Scene Of The Crime.

To say that there are a lot of great modern hair/sleaze bands in Europe these days would be an understatement, but I truly feel that Speed Stroke deserves to be mentioned with some of the best.  Scene Of The Crime is one of the true surprises of 2020 for me and is an album that hasn't left my player since I first popped it into the disc changer.  While numerous folks have likely head-banged along with Burn 'Em All by Confess this year, there are several other bands that deserve your attention, and Speed Stroke, with Scene Of The Crime, is one such band.  Seek this record out!

Rating:  Lovin' what I'm hearin' from these guys, and musically I would say crank this fun record to 9!  Unfortunately, the production issues drop this to a 7.5!

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