ZAKK WYLDE "Bringing Metal To The Children" (BOOK REVIEW)

(c) 2012 Morrow Books

 

I'm sure that when Zakk Wylde set out on his Viking-esque quest to conquer the metal world as a teenager, he had no designs on eventually becoming the author of one of the most brutally honest, and, at times, brutally vulgar, books about how to make your metal dreams come true.  Yet that is exactly what this modern day Norse Warrior delivers to his fans who he belovedly refers to as his Berserkers.  The book is equal parts informative, entertaining, and cringe-inducing language, as Wylde pulls no punches in discussing (often in the most colorful language possible) his alcohol-fueled rise from Ozzy Osbourne's  (whom Wylde refers to as The Boss) sideman to being the frontman for his own band, Black Label Society. 

 

 

For anyone who has read Forrest Griffin's book (you know, the UFC fighter...who is mentioned in the book), this book is going to have a very similar feel...the two co-authors interjecting their thoughts and opinions at seemingly random times.  In fact, sometimes I forget who is telling certain parts of the story and I have to go back and re-read a section here and there.  Sometimes various parts of the book don't seem to fit with the chapter they appear in until you have read all the way through, which can be a bit confusing, which is another characteristic this tome shares with Griffin's. 

At times, it almost feels like I am reading a script from Spinal Tap because so many of the things that Zakk (and his co-author, Eric Hendrikx) describe are so bizarre, so humorous, they almost don't seem possible (his first recording session, for example!) .  There are some pretty humours odds-and-ends here, such as Wylde's list of hair band songs he wishes he could hear Chris Cornell sing (Poison is on the list...twice...).  Additionally, the reader is treated to some information about the BLS band that many are totally unaware of, such as the meanings of the various patches worn on the band members' clothing.  There is a good deal of elbow-rubbing with famous individuals, including a late night, drunken phone call with Eddie Van Halen (which produced the Cornell list), Rob Zombie, the Alice In Chains guys, Snake from Skid Row, Lars from Metallica, numerous professional wrestlers (Stone Cold Steve Austin and Chris Jericho being the biggest names), the previously mentioned Forrest Griffin, and, of course, the Ozzman.

While I have never been a musician of any note...or notoriety...it seems to me that a lot of the advice Wylde delivers here to those who may be pursuing the metal god lifestyle is pretty solid, if delivered with a heavy dose of profanity.  With advise ranging from "Play What You Love and Moves You" to what to do when a metal groupie, or in this case, Japanese groupies, give you crabs (covered in the aptly titled section, "World Tour Survival Technique:  STDs, and I'm Not Talking About Stronger Than Death"), I think Wylde is legitimately attempting to provide up-and-coming rockstars with some honest, if humourous, insight into the roads he has travelled in his career.

One other thing of note is it should be OBVIOUS his wife must have a very special place in her heart for her Viking man, because some of the things he says about her, and the way he talks about her (and their sex life, in particular)...let's just say my wife would KILL ME!!  Again, not for the faint of heart, there is some pretty graphic language, ableit not pornographic language, that is used in these sections. 

There are some pretty cool photographs, both black and white and full color, along with various setlists, photocopies of hand-written lyrics, and magazine covers scattered throughout the book, which adds a nice touch.  The appendix of the book has a bunch of hilarious items thrown in, including several pages of Tweets between himself and "JDesus", Wylde's bass player, John DeServio.

I think it's safe to say that rabid BLS fans, and a lot of Ozzy fans, are going to find a lot to like about this book, but I think casual fans may find quite a bit about the man to like, also.  Many people may be shocked to learn that the man professes to have a deep faith in God and Jesus Christ, that he enjoys working out (and has been accused of being on steroids), and has actually quit drinking.  While Wylde may be just a bit too over-the-top for some...and FAR too vulgar for others...I think this is a book that deserves to be read.  Overall, I found this to be an entertaining and insightful book, but it wasn't a book that I could say I sat down and just ripped through from cover to cover; it took me some time to absorb it and take it all in.

Rating:  A solid read with plenty of metal anecdotes.  Make sure to brush up on your Viking and Norse mythology before tackling this book.

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DONNIE VIE "Wrapped Around My Middle Finger"

(c) 2012 Cargo Records

1. Wrapped Around My Middle Finger
2. Wunderland
3. Lisa
4. Daddy's Girl
5. Now Ya Know
6. No Escape
7. Lil Wonder
8. Flames Of Love
9. Rattle On
10. I Won't Let You Down
11. Smokin' Hot Lollipop

Donnie Vie--Lead Vocals, Guitars, Bass, Piano, Keys

Victor Alfaro--Drums, Percussion

Additional Musicians:

Kip Winger--Vocals, Bass on "Now You Know"

CJ Szuter--Additional Guitar and Vocals

Tim Tame--Additional Guitar

James Breker--Additional Bass

Bubblegum rock, jangle-pop metal, Beatle-metal...I don't care what kind of silly label you put on their music, Enuff Z'Nuff are undeniably one of the most musically recognizable, most melodic of the hair bands to come out of the late 80's and early 90's.  With unmatched harmonies, delicious guitar hooks, and catchy melodies, it is difficult to understand why this band really got no further than "Fly High, Michelle" and "New Thing", as far as hit songs goes.  And, for my money, the main reason that this band sounded as good as it did (and as good as it still does) is the vocal talent and songwriting abilities of this man, Donnie Vie.  On this, his third solo effort, Vie really finds his stride, mixing in the Beatle-esque sound Enuff Z'Nuff fans have come to expect with not-so-subtle hints of Cheap Trick and some slightly off-kilter rhythms that will have fans of the man's main gig salivating from note one. 

The first three songs here are kind of a mish-mash of sounds and style, possibly leading the impatient to dismiss this as an incomplete effort with no true direction.  Ahhh...but patience is a virtue, young grasshopper.  Just hang on.  It's true that things start off with the hardest rocking song on the disc with the toungue-in-cheek title track, "Wrapped Around My Middle Finger", a song about the trappings of being a superstar rocker, even if Vie has never really found himself fitting that category 100%.  This is probably the song that is the farthest from the tried-and-true Enuff Z'Nuff sound, yet it is still a very good song that I would love to hear Vie tackle for a complete album at some point.  Featuring a fairly heavy riff and a tight groove, "Wrapped..." is definitely not the glam-Beatles-pop most people likely came looking for.  But that changes quickly...

"Wunderland" gets things immediately headed in that Beatles-like direction with those catchy harmonies and poppy guitar work that Enuff fans will latch onto instantly.  But then track three, "Lisa", changes things up again.  While still retaining a retro sound to it, it isn't the Beatles I hear as much on this track as something more akin to a Partridge Family song, or maybe Monkees song.  It's hard to describe, really, but it is a solid track that fits the overall feel of this album well...if one can find a consistent style or theme running through the disc.

"Daddy's Girl" is a powerful acoustic ballad that I think just about any father can find something to relate to.  This is a song that could easily be found on the strongest Enuff Z'Nuff albums.  The same can be said of the other big ballad here, "Lil Wonder", which I would almost swear was a leftover track from the Strength recording sessions.

As good as those songs are, there is no doubt in my mind that the run-away top moment of this disc is the excellent rocker, "Now Ya Know", which features a killer guest vocal turn by one Mr. Kip Winger.  Winger tackles the verse lyrics here, with Vie handling the bridge vocals, and then the duo handles the chorus together.  The song structure here is somewhat odd, with the majority of the song being a really solid hard rocker, but then the poppier, janglier chorus interrupts things, but in a way that adds to the power of Kip's verse work.  If you can find somewhere to stream this track, do yourself a favor and check it out, because I am sure my words are not doing it proper service. 

Over the last half of the disc, there are a few songs that are not quite as catchy or memorable as the first five songs, but nothing stands out as being a wasted listen.  "No Escape" is another retro-feeling song, and "Rattle On" is a definite toe-tapper, even in its stripped-down, acoustic delivery. "Flames Of Love" has Enuff Z'Nuff dripping off of it, and "I Won't Let You Down" is a solid, if not overly memorable, slower tempo number that I don't think I would categorize as a ballad, but I would also never call a rocker.  The album's closer, "Smokin' Hot Lollipop" is a fun, catchy number complete with piano and an upbeat, almost Fine Young Cannibals sound to it (if you can imagine that!).

If you can get past the basically HORRIBLE cover art, there is a lot to like about this album.  It is definitely not a pure Enuff Z'Nuff album, but it also never strays so far from that style and sound that this feels like a completely different animal.  I would recommend anyone who likes Donnie and Chip's regular band should pick up Wrapped Around My Middle Finger, as this is solid jangle-pop-rock fun for 90% of the effort.

Rating:  Crank this to a fun 8.

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MICHAEL OLIVIERI BAND "M.O.B."

(c) 2012 M.I.A. Records

1. More Than I Do
2. Letting Go
3. Dead Man Crawl
4. Talk Me DOwn
5. Halo
6. For Worse Or Better
7. The One
8. Broken Glass
9. Tuesday Down
10. Such Is Life
11. Old Souls

Michael Olivieri--Lead Vocals, Guitar, Piano,Wurlitzer, Percussion
Buzzy James--Guitar, Slide Dobro
Eric Von Herzen--Harmonica
K.K. Martin--Guitar, Pedal Steel, Mandolin
Paul Wilson--Drums, Percussion, Vocals
Dan Lucett--Acoustic Guitar, Vocals, Keys
Tom Croucier--Bass, Vocals

Additional Musicians:
Larry Briner--Cello
Chris Wynaught--Alto Sax, Tenor Sax, Clarinet
Rich Renzel--Hammond B3

It's a difficult task to categorize the Michael Olivieri Band, but I would sum it up like this:  take a chunk of Leatherwolf, mix in some country, bluegrass, blues, jazz, southern rock, and a touch of rhythm and blues, stir it up liberally...then TAKE OUT the Leatherwolf!  In fact, you would be better served in listening to this disc if you didn't see the name of the band, because people who come to this effort expecting to hear Leatherwolf-styled metal are going to be sorely disappointed.  Actually, anyone who is not open to anything other than hard rock or metal is not going to walk away from this disc satisfied at all, because it is not hard rock, it is NEVER metal, and it has more in common with blues, bluegrass, and jazz than it does anything.  Vocally, Olivieri never lets a scream rip or snarls his way through a track, either.  Instead he approaches these tracks with vocals that range from a soulful growl to a smokey, barroom rasp, showing that there is far more range and depth of emotion in his vocals than a lot of people may have anticipated.

There are some moments that have a rock feel to them, but it isn't hard rock.  For example, "Talk Me Down" has a definite Queen vibe to me, and "Broken Glass" has a somewhat Pink Floyd/Roger Daltry feel, especially in the atmospheric feel of the music.  But these songs are not the norm, as for most of the disc, Olivieri and company are more in bluesier territory, such as the dark "Dead Man Crawl", which features a Wurlitzer, harmonica, and some interesting vocal approaches that utilize moans, groans, sighs, and such.  "Halo" is another very blues-based track that fans of that genre are likely to really sink their teeth into. The lead single, and album opener, by contrast, has something of a bluegrass-meets-acoustic country feel to it, as you can check out in the video below, and "Letting Go" mines similar musical territory, although it goes a bit more into old school country mixed with blues.

It is VERY hard to pigeonhole the Michael Olivieri Band, which I think may be intentional.  The man, himself, even says in interviews that the album meanders across several different styles and directions, covering pretty much everything he is into EXCEPT metal.  Overall, if you came to the party looking to melt your face with some great 80's metal, or even some pulsing hard rock, you are gonna leave the party disappointed.  However, if you came with an open mind (and ear), and are willing to get a bit experimental with your music, you are quite possibly going to find something to like about this disc.  As someone who grew up with country in the house as a kid before discovering hard rock and metal, I can get a feel for where a lot of this album comes from, but I know not everyone will.  For that reason, I have to approach my ratings for this album in two ways--from the standpoint of the typical reader of Glitter2Gutter, and then from the standpoint of a music lover.  So....

Rating:  For most Glitter2Gutter readers, I'm going to tell you to turn this down to around a 4, because I don't want to do you a disservice and make you think you're going to find what you are after here.  For people who are just music fans, regardless of genre, I would turn this up (can't say rock it or crank it...those don't apply) to a 6.5 or 7.

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LIBERTY N JUSTICE "Hell Is Coming To Breakfast"

(c) 2012 Roxx Records

1. Hell Is Coming To Breakfast--Seann Nichols (Adler's Appetite/Tarsha), JK Northrup (King Kobra/XYZ)
2. Madhatter--Donnie Vie (Enuff Z'Nuff), JK Northrup (King Kobra/XYZ), Chris Dickens (Mission Of One), Tommy Denander
3. Whack A Mole--Johnny Lima, JK Northrup (King Kobra/XYZ), Jerry Johnson (Saint), Richard Lynch (Saint)
4. Thanksful Heart--Phillip Bardowell (Magdallan/Unruly Child), Lynn Louise Lowrey (Vixen/Testify), Anthony Gravely
5. Nakatomi Plaza--JK Northrup (King Kobra/XYZ), Greg Bishop (X-Sinner), Scott Weisenborn (Testify)
6. Stretch Armstrong--Louis St. August (Mass), JK Northrup (King Kobra/XYZ), Keri Kelli (Alice Cooper/Ratt/LA Guns)
7. Get Down--Tony Mills (TNT/Shy), Mark Allen Lanoue (Chasing Karma/Biloxi), Anthony Gravley
8. Your Memory Just Won't Do (previously unreleased on CD)--CJ Snare (Firehouse), Alex Grossi (Quiet Riot), David Cagle
9. Thy Will Be Done (demo version)--Jamie Rowe (Guardian/Crunch)
10. What Do You Believe?--Mike Ledesma (Far Cry), Vic Rivera (Crunch)
11. Monkey Dance (Alternate Mix)--Jack Russell (Great White)
12. Sin (Acoustic Version)--Jani Lane (Warrant)

Justin Murr--Bass
A LOT of famous people doing a lot of other things!

Justin Murr and a bunch of his friends, namely Vic Rivera and JK Northrup, have been hard at work for the past couple of years on the next Liberty N Justice project The Cigar Chronicles, an ambitious, two-disc project of both new songs and cover tunes.  However, that process has taken much longer than initially planned, and Murr wasn't happy with leaving his fans without new LnJ music for that long.  Additionally, some of the songs that he had recorded for Chronicles didn't seem to fit the flow of that project, and the project's label asked that six songs be replaced.  So, rather than just discard the tracks, Justin took the songs to Roxx Productions, added in a couple of demos and alternate mixes, and...BAM...a new Liberty N Justice record was born!

Now, don't misunderstand; just because the "major label" didn't want these songs, this does not mean that the songs on Hell Is Coming To Breakfast are secondary tracks or lesser in sound quality or style, because they are not.  In fact, several of these tracks are among the best I have ever heard come out of the LnJ camp, which says a lot, as I have probably heard more songs in more forms than anyone except Justin!  No, these songs are not leftovers or wannabe's at all.  Rather, these are songs that had to be heard, regardless of who put them out.  It would have been a horrible shame if this album had not been made and these songs had never had the chance to be heard.

One thing that people will likely notice is that the songs are a bit more aggressive in nature than a lot of LnJ's previous material, and the production has a bit of a modern feel in several spots.  The songs still hold a melodic quality that fits well with the sound and style of the vocalists that have been chosen for this release, but there is no denying there is an edge not present on the Chasing A Cure album, for example.  Now, that edge does NOT carry over into the lyrics, at least in most cases, or the song titles, as these really show off a fun, goofy side of Liberty N Justice that many people may not have heard before.  With such great track titles as "Nakatomi Plaze" (Die Hard fans rejoice!), "Whack A Mole", and "Stretch Armstrong", it should be apparent that LnJ is mining some new territory here, or at least taking a new approach to delivering the Christian-based message that always shines through on Liberty N Justice songs.

The album's title track starts things off in the right direction, with a powerful vocal performance by Seann Nichols, formerly known as Sheldon Tarsha of Adler's Appetite.  JK Northrup of King Kobra/XYZ handles the guitars here, as he does on several tracks on this album, and there is a nice solo in this track that should keep fans of the melodic LnJ style very happy.  The follow-up, "Mad Hatter", continues the album in this melodic direction with Donnie Vie's unmistakeable vocals shining on top of Northrup's smooth, melodic guitars.

Track three is where things take a bit of a modern swerve off the typical LnJ musical path, but it works very well.  The most aggressive song on the album to this point, "Whack A Mole" really fits its title well, as this is a song that just keeps popping up in my head (and on my mp3 player), as it is extrodinarily catchy and features some great guitarwork from Northrup along with Jerry Johnson and Richard Lynch, both of Saint.  Lyrically, this song has a great message and the chorus is EXTREMELY infectious!  To be honest, I think I would enjoy hearing an album of nothing but this type of aggressive sounding music from Liberty N Justice, even if for just one album.  This is a well-executed, well-written song that people should give a chance before saying, "it's not my style".

"Thankful Heart" steers things sharply back into the more melodic, more typical Liberty N Justice sound...and then takes things in an almost praise and worship direction.  I really like Bardowell's vocals on this cover of a Petra tune that, quite frankly, I had forgotten about.  The guitars, which are handled by Anthony Gravley, compliment the smooth vocal delivery nicely, with a cool little solo that fits the song perfectly, not trying to steal the spotlight from the rest of the track.  The blatantly Christian lyrics and keyboards are what push this song into that praise and worship sound that I mentioned, but LnJ keep just enough guitar and drum in the song to keep it from crossing over into pure P&W pop territory.  Again, this is a style I would like to see Liberty N Justice explore for a full album...a more contemporary praise and worship style.  An excellent song with a great message.

Two of my three favorite tracks come up back-to-back next.  "Nakatomi Plaza" may win Best Song Title of the Year awards across the board, and "Stretch Armstrong" isn't far behind!  Titles aside, these are two smoking songs, again featuring a slightly more modern sound, that really show the power of this record.  "Nakatomi" has a definitely more aggressive attitude than most of the rest of the disc, especially in the buzzy guitars and the gritty vocal delivery.  I absolutely LOVE the way things from the Die Hard movies are worked into the lyrics, with Holly, the limo driver, yippee-ki-yay, and several other references popping up in lyrically relevant ways.  AWESOME song writing that, while exceptionally fun, also puts forth a great message.  This song, for me, would be the highlight of the disc were it nor for one other song, which I will get to in a bit.  "Stretch Armstrong" continues the more modern, yet still melodic, approach and features some killer axe-work from Keri Kelli.

"Get Down" returns to more familiar LnJ territory as far as style goes, and Tony Mills (TNT/Shy) pulls off one of the best vocal performances of the disc, and Mark Allen Lanoue of Chasing Karma lays down some really nice lead guitar tracks for this song, with Anthony Gravley handling the rhythm and bass guitars.  (By the way, I had never heard of Lanoue or his band previously, so I sought them out after hearing this track and I have to say I am a fan and will be looking to review their material here very shortly!)  This is a cover of an Audio Adrenaline song, but I have to say I prefer this version to the original. 

"Your Memory Just Won't Do" is a song that had never been released on CD before, and it is the last of the "new" songs on this collection.  Despite the fact that CJ Snare is credited on the track, the Firehouse singer does not handle vocal duty here; that distinction falls on David Cagle.  Never heard of him?  Me, either.  However, I can say this:  this self-proclaimed "demo singer" can hold his own vocally, delivering a smooth tenor to this acoustic track that also features Alex Grossi of Quiet Riot fame.  I am not really a fan of completely acoustic songs, especially on an album full of rockers, such as this disc, but this is a good song; it's just a bit out of place.  I think this would have worked really well on the Independence Day EP, which was comprised solely of acoustic/semi-acoustic numbers.  Not a skipper, but not overly memorable here, mostly because of the material that surrounds it.

A couple of familiar tunes find their way onto this album...at least familiar if you are already a fan of the band.  Jack Russell of Great White is featured on a reworked "alternate mix" of "Monkey Dance", which originally appeared a few years ago on the Independence Day album.  The vocal mix is the same, for the most part, but the music is tweaked a bit, especially on the bass line, giving the track a slightly more alternative, somewhat funky, feel.  I like this version, and have had a copy of it for quite some time, but I think I still prefer the original.  Another re-worked song is "What Do You Believe", which people who own the Light It Up album will recognize as "Do What You Believe".  Justin told me that this is the way the song was originally written, and there are some obvious lyrical changes here, especially with the different chorus, but musically it is not much different than the original.  Despite the fact that this is a demo version, vocally, Mike Ledesma from Far Cry does a very good job on this version, but it's almost unfair to have him follow CJ Snare of Firehouse who did the original album version of the track on Light It Up.  In all reality, it is almost like two different songs with the lyrical and vocalist changes, and the track stands up well here.  Also in demo form here is the song "Thy Will Be Done" which appeared originally on the Soundtrack Of A Soul album.  The big difference here is the change of vocalists; the original studio version featured Mark Slaughter and Pete Loran (Trixter), whereas this demo version, which was actually the scratch demo used to record the song, is performed by Jamie Rowe (Guardian/Crunch).  It's a tough call for me as to which version I prefer, as I am a BIG fan of Jamie's, but perhaps the fact that Mark and Pete's version is the one I heard first contributes to my preference for that version. 

This brings me to the album's closing track, "Sin".  I am not sure I can do justice to the power of this track.  Anyone who has heard the electric version of this song knows how well it is written.  However, when the electricity and distortion is stripped away, and Jani Lane's vocals are given the full, haunting range of emotion that he poured into this song, it truly becomes something both breathtakingly beautiful and achingly painful to listen to at the same time.  Despite the fact that this song was not written with Jani Lane in mind (it was turned down by Stryper's Michael Sweet due to time constraints), Lane truly owns this song.  It sounds so confessional when he begs God to "let me be the man I could have been, the one You first breathed Your life into".  It is also a song that I think anyone who is truly honest with themselves can relate to, as we all have sins and shame and temptations and desires that are not in harmony with God's plan for us and, therefore,create a type of war within ourselves.  This lends itself even more to the enormously powerful line "on a hill called Calvary, I repent and end this war".  All of this emotion is magnified even further when you add in the fact that this is the last song Lane would ever record and you allow yourself to ask "was Jani right with God when he died?  Was this how he truly felt as a person?", because this is as close to a prayer set to music as I have encountered in a long, long time.  I still get chills when I listen to this track...and I have literally listened to it dozens and dozens of times. 

Overall, this album may be a tad bit disjointed due to the various styles that are employed here, but that is part of the charm, I think.  This album is not meant to be a cohesive, completely smooth project, but more of a gift to the fans who have been patiently waiting for new Liberty N Justice material to tide them over until the Cigar Chronicles.  To this I need to add...The Cigar Chronicles has a lot to live up to in attempting to equal the best, strongest parts of Hell Is Coming To Breakfast!

To pre-order the album, head over to Roxx Productions by clicking here.

By the way, be sure to keep an eye our here or on the Christian Metal Realm for an exclusive interview with Justin Murr of Liberty N Justice!!!


Rating:  A great effort and well worth picking up!  Crank this to 8...and set "Sin" and "Nakatomi Plaza" to multiple repeats!!!

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TUFF "What Comes Around Goes Around...Again"

(c) 2012 iTunes

1. Good Guys Wear Black (featuring George Lynch and Jamie St. James)
2. The All New Generation (featuring Steve Brown)
3. I Hate Kissing You Goodbye (featuring Keri Kelli)
4. So Many Seasons (featuring Michael Raphael)
5. What Comes Around Goes Around (featuring Jeff Loomis and Stephen Pearcy)
6. Put Out Or Get Out (featuring Howie Simon and Lizzie DeVine)
7. Round 'Em Up
8. Summertime Goodbye
9. Want Trouble--You Got It
10. Down On Sinner Street
11. Forever Yours
12. Ain't Worth A Dime
13. Move Along
14. So Many Seasons (piano version)

Stevie "$tEVIL" Rachelle--Lead Vocals
Todd CH@SE Chaisson--Bass
Tod "T-DRUMS" Burr--Drums
Staffan "S'OLIN" Osterlind--Guitars

TUFF is one of those bands that just refuses to die...which is a good thing.  Long considered, at least by myself, as one of the most underrated of the 80's hairbands, Stevie Rachelle and his revolving cast of band members (which usually included Todd Chaisson) just continued to release new albums, live albums, best of packages, and the occasional "hit" track, such as the surprise breakout track "American Hairband" from 2001.  Despite all of this, Tuff has never exactly been an upper-tier member of the hair genre; heck, they aren't even second tier in terms of album sales, videos, airplay, or even name recognition.  So why in the world would the band put together and release a re-recording of PART of their best known (and only major label) album, What Comes Around Goes Around?  For me, the why isn't all that important, as I am simply very glad they did it...and did it right.

Now, this isn't a complete re-recording of that 1991 album; less than half of those tracks are included on this new version, but most of the high points are all here.  "What Comes Around...", "Good Guys Wear Black", "I Hate Kissing You Good-Bye", and the anthemic "The All New Generation" are given a second chance at life, along with "So Many Seasons".  The production is decidedly more modern on these new takes, with a grittier sound for the most part.  Rachelle no longer sounds like the blatant Bret Michael's rip-off he was always (wrongly) accused of being, as his voice is also grittier than it has been in the past.  This works especially well on "Good Guys..." and the reworked "The All New Generation", which could be called "The New All New Generation", as an additional line has been added to the song, throwing in more modern band names such as Black Veil Brides alongside Skid Row, Poison, Motley Crue, etc.  It's a nice touch that bridges the old and new schools without coming off like a band pandering to the new fans it hopes to attract because, in all reality, it is old school Tuff fans that are going to be picking up this new album for the most part.  I do wish that a couple more tracks from the original album had been added here, specifically "Ruck-a-pit Bridge" and "Spit Like This".

For me, the real treat on this disc is the re-mastered demos from 1988 and 1989.  These songs have been circulating out there on the demo market for some time, but the quality has ranged from pretty okay to downright awful for the most part.  It was great to get to hear songs like "Round 'Em Up", "Down On Sinner Street", and one of my favorite Tuff tracks ever, "Ain't Worth A Dime", all given the digital touch up.  However, that is all that has been done to these tracks...a cleaning up of the sound.  The original vocals and instrumental tracks are still intact, so you get a definite throwback sound with tracks 7-12.

Now, before I go further, I need to address one question I have.  I "think" there may be an error in the chronological listing here, as I have the original Atlantic Records version of What Comes Around Goes Around, and there is NOT a song called "Put Out Or Get Out", yet it is listed as a re-recording.  Additionally, "Ain't Worth A Dime" IS on the Atlantic Records album, yet it is listed as a 1989 demo version.  Granted, there could have been demo version previously, but I have to think that something is amiss with the track listing or chronological information.  It is a small point, but it did confuse me a bit...

Moving on, the last two songs, "Move Along" and "So Many Seasons (Piano Version)" I could honestly do without.  Neither is terrible, but "Seasons" sounds tired in this format and doesn't fit the fun and energy of the rest of this disc.   Honestly, I skip "Seasons" and don't pay much attention to "Move Along", although I may be doing that song a disservice.  It is just that being placed after the old school sounds of the 80's demo re-masters, "Move Along" kind of sticks out a bit.  Perhaps it will grow on me.

Granted, special guests riddle the re-recorded tracks, with such big names as Stephen Pearcey (Ratt), George Lynch (Dokken, Lynch Mob), Keri Kelli(Ratt, LA Guns, and a dozen other bands), Jamie St. James (Black N Blue, Warrant, St. James), and Steven Brown (Trixter), among others, taking their turns behind the mic or on the guitar, but this is like sprinkles on top of an already well baked and frosted cake.  These songs are strong enough, and the performances by the actual members of Tuff are solid, so the re-recorded songs don't need a lot of additional flash and flair, although I'm not going to complain about the chance to hear another George Lynch solo.  Surprisingly, Jeff Loomis of Nevermore, pulls off one of the coolest solos on the disc despite the fact that Tuff's music is definitely not the style Loomis is mostly associated with.

Is What Comes Around Goes Around...Again worth picking up?  Absolutely, especially if you want to hear a nice mix of where the band is now (re-recordings) and where they came from (re-mastered demos).  The classics from that underrated 1991 effort are given new life an dfans are given a chance to hear songs many may not have realized existed.  Obviously, Tuff isn't breaking any new ground here, but perhaps WCAGA...A can be a launching pad for someall new Tuff recordings in the near future.

Rating:  Crank this to a fun 7.5, with only a couple of missing favorites and a weak piano ballad keeping this disc from scoring higher for me.

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JETBOY "Now And Then"

(c)2010 Demon Doll Records

1. Dogs Gotta Roam
2. Goin' Down (Above The Clods)
3. Perfectly Wring
4. Stomp It (Down To The Bricks)
5. Heavy Chevy
6. Evil
7. Bullfrog Pond
8. Feel The Shake
9. Make Some Noise
10. Snakebite
11. One Night Stand
12. I Wanna Be a Millionaire
13. No Limit
14. Dying Inside

Mickey Finn--Vocals, Harmonica
Fernie Dog--Lead & Rhythm Guitar, Vocals
Billy Rowe--Rhyth, & Slide Guitar, Vocals
Jesse Mendez--Drums
Jes Reckless--Bass, Vocals

Additional Musicians
Ron Totenson---Drums (Tracks 4-13)
Sam Yaffa--Bass (Tracks 4-10)
Michael Butler--Bass (Tracks 1-3, 14)
Doug Hovan--Drums (Tracks 1-3)
Tim Huthert--Drums (Track 14)

Jetboy is one of those bands that seemed to always be on the cusp of breaking out.  These guys had a HUGE following in their native San Francisco as well as a strong support base on the Sunset Strip back in the mid-80's, managed to get several songs on movie releases (five different tracks from the Feel The Shake album were spread out between Tom Hanks' movie The Burbs, and the lesser-known Tony Danza flick, She's Out Of Control), and scored a couple of decent video hits on MTV's Headbanger's Ball.  But between the death of original bass player Todd Crew (found dead in Slash's hotel room...), and the grunge phenomenon of the early-to-mid-90's, Jetboy never managed to get the traction that was necessary for them to fully hit the big time.  Too bad, as Jetboy was one of the more original sounding bands of the era, not coming off like a cookie-cutter clone of the Poisons, Warrants, or Wingers of the time.

Probably as well known for Mickey Finn's sky-high mohawk as they were for most of their musical catalog, Jetboy combined the glammy edge of bands like Hanoi Rocks and the New York Dolls with the punk and sleaze look of a lot of the underground Hollywood bands.  As such, their sound was a hybrid that always came off as fresh and original to these ears, even when I didn't like every song the band put on tape.  On this collection, Demon Doll manages to capture the best of the band, for the most part, with seven tracks coming from the band's two major label releases, 1988's Feel The Shake and 1990's Damned Nation.  "Feel The Shake", "Heavy Chevy", and "Evil" are the band's bigger songs, at least as far as airplay goes, and "Stomp It (Down To The Bricks)" and "Make Some Noise" are a couple of the band's more popular songs with their fans.  Personally, I was really happy to see "Snakebite" included here, as I think it's one of the best songs in the band's catalog.  "Bullfrog Pond" was an interesting inclusion as well.  What really makes the album, at least for me, is the inclusion of the hard-to-find EP Off Your Rocker studio tracks and the previously unreleased "Dying Inside".  All four of these songs are very much in the vein of the harder-edged material that made Jetboy popular with their fans...and maybe kept them off of radio...with Finn's gritty vocals and the guitar tandem of Rowe and Rod still ripping things up.  With no ballads to bog this collection down, Now And Then is a full-tilt rock collection that I think casual fans will find a lot to like about and one that will give new listeners a solid cross-section of material to choose from. 

The project is not perfect, however, as there was still room left on the disc to include a couple more tracks, which I think would have been smart.  "Bloodstone", from the Feel The Shake album, would be a logical inclusion, since it was included on a movie soundtrack and is one of the more well-known Jetboy songs.  I also think a couple of other tracks from the band's Lost And Found collection would have been nice, especially since so many of those songs are not available anywhere else and are now out of print ("Little Teaser", "Cuts Me Down", and "In The Alley" are some of my faves from that effort).  Still, this is a pretty good sampling of what Jetboy had to offer, and I don't have a lot of problems with the musical choices.

While I normally am not a fan of Demon Doll Records' projects, this is one that I think the label generally got right, at least on the musical side.  The production is crisp with no volume level problems between tracks of varying ages (in some cases, 20 years has passed between recordings).  I also think the song selection was pretty much spot on, as the "hits" (if you can call them that) are here, and the inclusion of the 2010 Off Your Rocker EP made the collection that much more solid, as did the unreleased track.  However, as far as packaging goes, I was expecting a lot more as far as photos, band history, and lyrics, NONE of which is included.  This is a MAJOR problem I have with pretty much every release I have ever gotten from Demon Doll...and these are official releases, not promos.  Considering the label charges full price ($11.99-14.99 for most releases), you would think they would put some more effort into the packaging, especially on re-issues and compilations like this one, to make them more desireable to those people who already have the original albums.  To be honest, if I was a digital person and not a CD person, there is really no reason to buy the CD rather than just download the music.

Rating:  Since the music is what really matters to most people, I will still crank this to 8 based on the new song, the strong selection, and the inclusion of the EP.  As far as Demon Doll Records' efforts in the packaging department...I wouldn't rate them more than a 5 or so...

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CINDERELLA "Night Songs"

(c) 1986 Mercury Records

1. Night Songs
2. Shake Me
3. Nobody's Fool
4. Nothin' For Nothin'
5. Once Around The Ride
6. Hell On Wheels
7. Somebody Save Me
8. In From The Outside
9. Push Push
10. Back Home Again

Tom Keifer--Lead Vocals, Rhythm Guitar, Piano
Jeff LaBar--Lead Guitar
Eric Brittingham--Bass
Fred Coury--Drums (credited, touring)
Jim Drnec--Drums (recorded)

Additional Musicians:
Tony Mills--Backing Vocals
Jon Bon Jovi--Backing Vocals on "Nothin' For Nothin'" and "In From The Outside"
Jeff Paris--Keyboards

Ah, Night Songs.  This CD is one of the cornerstone memories of my 1980's youth!  In fact, this is the very first album I can remember actually anxiously waiting for its arrival.  I remember seeing a promo poster for this album hanging up in my favorite mom & pop record shop (remember those?!) and thinking how cool these guys looked, all decked out in leather, spandex, and sky-high hair!  If these guys sounded even half as cool as they looked, Night Songs was gonna ROCK!  I was not disappointed then...and I still get a flashback grin every time I spin this record.  From the haunting wind and chugging guitar intro of the title track to the scorching closing riffs of the massively underrated "Back Home Again", Night Songs became the measuring stick by which I would judge all other "hair metal" albums of the time period.

One of the things I find hard to believe about this album is only three songs were released as singles, ("Somebody Save Me", "Nobody's Fool", and "Shake Me"), and only "Nobody's Fool" made any significant mark on the charts (reaching #13 on Billboard's Hot 100).  Perhaps it is a testament to the power of marketing, word of mouth, intense touring, and yes, MTV, as despite this lack of radio success, the album sold over 3 million copies in America alone and managed to hit #3 on the album sales charts.  Considering it is such a rarity for bands to even go gold now (500,000 album sales), hitting triple platinum on a debut effort is quite an accomplishment, especially with the limited assitance of radio at the time.

As to the music itself, Cinderella, at least on this disc, did not have the bluesy style that they would later be noted for.  Instead, the guys stick to the hair metal sound that was really starting to come into full bloom by 1986, although there is no denying that they had a bit of a sleazy edge to their sound, especially with the plodding, somewhat sludgy sound of the guitars on the title track, for example.  Keifer's vocals, which he always kept in the raspy, snarled style here (as opposed to more of an actual singing approach he would take later when vocal problems began to appear), also set Cinderella apart from many of their peers.  I know of several people who claim that Keifer's vocals actually turned them OFF of the band during the Night Songs era, but for me, this was Tom at his finest vocally, although I certainly love the style he adopted later as well.

Despite the passage of 25 years, this is one album of this genre that I think still sounds as great as it did back in the day.  Granted, modern production techniques could definitely clean up some minor issues on a couple of tracks, but to me, that 80's production is part of the charm of the era's sound.  I am surprised, however, that there was not an anniversary edition of this classic released, at least that I am aware of, although the band/label legal issues that have been ongoing for years (and which have prevented Cinderella from releasing a new album) may be part of the reason for us not seeing a repackaging of Night Songs. 

As to the songs themselves, there are only a couple of tracks that I would consider filler material, and even these are not skippers for me.  I have never been a particular fan of "Once Around The Ride" or "Nothin' For Nothin'", as I just don't find either one of them particularly catchy, especially when played alongside hook-laden tracks like "Somebody Save Me" or "Shake Me".  "Nobody's Fool" is a definite lighter-in-the-air ballad for these guys (who had several more on subsequent albums), and, as I alluded to earlier, I think "Night Songs" and "Back Home Again" are just monstrous bookends to this great album, with "Back Home Again" being one of the most underrated tracks in this band's catalog.

If fans of the New Wave of European Glam and Sleaze are looking for classic material from some of the best the scene had to offer back in the day, Cinderella's Night Songs is a disc that MUST be near the top of the search list.  Still readily available and generally very easy to find for under $10 on eBay or elsewhere, there is no reason not to have this gem in your collection...or in your stereo!

Rating:  Just about perfect for me, even with a couple of less-than-classic tracks.  Crank this sucker...repeatedly...to 8.5!

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ROYAL BLISS "Waiting Out The Storm"

(c) 2012 Air Castle Records

1. I Got This
2. Monster
3. Bleed My Soul
4. Wake Up
5. Singing For Our Lives
6. Crazy
7. With A Smile
8. I Will Catch You
9. Sunburn
10. For No One
11. High On Fire
12. Crazy (Rock Remix)

Neal Middleton--Vocals
Taylor Richards--Acoustic & Electric Guitars
Jake Smith--Drums & Percussion
Dwayne Crawford--Bass on "I Got This"
Tommy Mortensen--All other Bass Guitars
Chris Harding--Rhythm Guitar on all songs except "Sunburn"

Waiting Out The Storm is the latest album from Salt Lake City's Royal Bliss.  Royal Bliss is another one of those modern hard rock bands that seems to trip something within me and actually get me to sit up and pay attention, much like Hinder, Shinedown, Underride, and a small handful of others.  I'm not saying they sound anything like those bands, because they really don't; in fact if I was to compare Royal Bliss to anyone it would be my favorite modern rock band of all time, Fuel.  Much like Fuel, Royal Bliss has that special combination of powerful vocals, big guitars, strong, catchy hooks, and generally excellent songwriting, which creates the perfect mix for me and keeps me interested throughout the majority of the disc.  While not everything is a 100% hit here, there is nothing that is unlistenable or that makes me want to turn the disc off.

 Royal Bliss faced a bit of a challenge with this effort as former bass player Tommy Mortensen and guitar player Chris Harding are no longer with the group, although both appear on the majority of the new album.  I have no special insights, but perhaps these departures are part of the "storm" that the band was waiting out in the two years since their last album.  If so, then perhaps this album is that much better because of the adversity the band had to endure and overcome, as I think Waiting Out The Storm is a more concentrated, more cohesive sounding effort than Life In Between, which I thought was a generally solid album.  Additionally, I think the band has found a heavier edge to their sound on this disc, as is especially evident on tracks like album opener "I Got This" which features one of the best guitar solos on the disc as well as some tasty bass work from new member, Crawford.  "Monster" is another crunching moment on this new disc, and "Wake Up" is another great fist-pounding moment.  In the end, I think the attitude-laden tracks "With A Smile" and "For No One" may be the best of the rockers here and are two of the tracks I find myself coming back to repeatedly.

On the flip side, Royal Bliss makes sure to tone things down from time to time.  "I Will Catch You" is a very strong track here, but the single "Crazy", which is all over rock radio right now, is a bit of musical magic that shows the band in an even more toned-down, contemplative mood.  Written by Middleton about the hardships he suffers while on the road away from his wife and family, this is definitely one of the moments that I was talking about catching my attention and making me take notice.  It's a rare thing when a ballad is one of the first tracks I notice on a disc, especially one with some seriously rocking moments, but "Crazy" is just one of those special tracks.  That being said, I also really enjoy the rock remix of "Crazy", although no one should expect the song to stray too far from it's original sound.  There is a good deal more bite to the guitars on the rock remix, a bit more punch to the bottom end, but in the end, it's the vocals and lyrics that drive either version of "Crazy", so you can't go wrong with either version. 

Somewhere in the middle is the other song that grabbed me instantly.  The kind of off-the-beaten-path track "Bleed My Soul" is a semi-acoustic,  70's throwback number that has a hook and groove you will swear you have heard before, yet it doesn't scream rip-off like a lot of retro efforts drifting on the airwaves today.  This is a truly great summer-feeling song that I can imagine being played around bonfires on the beach at sundown.  Great stuff.

A couple of tracks don't work quite as well for me, although they are not terrible by any means.  The grungy "Sunburn" leaves me wanting a bit, probably because it doesn't really ever find a groove or hook that I can really grab a hold of.  "High On Fire" is a decent rocker, but it sounds too much to me like everything else on XM/Sirius Octane right now, and doesn't really establish its own musical identity, especially alongside some of the others here.  I don't hit the skip button or anything, but I also don't find this song getting stuck in my head like "Bleed My Soul" or "With A Smile".

For people who loved this band's sound on earlier tracks like ""We Did Nothing Wrong" or "Save Me", there is plenty to love about this newest effort.  For those who were looking for a bit more from an obviously talented band, Waiting Out The Storm will not disappoint you, either.  If you are looking for nothing but glam or sleaze, you are likely not going to be a fan of Royal Bliss, but if you are willing to expand your hard rock vocabulary to include some of the best modern rock available, check these guys out before the vast majority of the bands you hear on the radio today.

Rating:  Crank this to a 9.5 and prepare to be instantly hooked by "Bleed My Soul", "Crazy", and "With A Smile", among others.

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JACK RUSSELL "For You"

(c)2002 Knight Records, Inc.

1. Any Kinda Love
2. Whatever It Takes
3. Always
4. Don't Know Why
5. For You
6. The Best Is Yet To Come
7. Where The Wind Don't Blow
8. Paradise
9. No Time Left
10. If Not For Love
11. My Everything

Jack Russell--Lead & Backing Vocals

Bob Kulick--Guitars

Tony Levin--Bass

Billy Sherwood--Bass (Tracks 4 & 10), Backing Vocals

Vinnie Colaiuta--Drums

Michael Sherwood--Keyboards & String Arrangement

Jack Russell's second solo record away from Great White is a pretty stark departure in style from what fans have come to expect from the powerhouse vocalist.  The music on this disc is considerably more pop-oriented than just about anything Great White has done, and also far more pop-laden that Jack's first solo effort.  The possible exception would be some of the more mellow, smoother stuff on Sail Away or maybe the band's latest effort, Rising, although both of those albums at least retain some of the bluesy grit that became the band's post "Once Bitten, Twice Shy" sound.

If I had to categorize the music on this album, or throw out a name to compare with, I would have to say the recent, poppier Santana style would be close.  The guitars, played on this effort by Bob Kulick, are very smooth and distortion-free.  The solos, while present, are unspectacular and incredibly laid back, so that doesn't really fit the Santana comparison, I guess.

Jack's vocals are still very powerful and smooth, but the songs themselves are generally unspectacular.  "Any Kind Of Love" is a decent up-tempo number, and "The Best Is Yet To Come" holds its own fairly well, also.  The ballads, as might be expected, are pretty good, but again, don't hold the power or appeal of anything Great White has done, although "For You", the only single released from the album, does lend itself to repeated listens.  Other than this handful of songs, however, you get the feeling Jack was trying to be a bit more pop-oriented, maybe even adult-contemporary in places, and leaves most of his rocking side behind.  This is a shame as much of the material comes across as filler fluff as a result.

As with his previous solo effort, For You is long out of print from the tiny Knight Records label and is very hard to come by.  Again, this disc can easily fetch $30-$50, but I can honestly say that the collector in me sought this record out and not the music fan, because this is not what I would normally invest that kind of money in.  In fact, I DIDN'T invest that kind of money in it; I got it in a trade.  If you can find it cheap, go ahead and snag it for it's collector's value and to maybe spin once in a while.  There is also a CD-single out there for the title track for those collectors who, like me, are inclined to pick up such items.  Again, the single is incredibly rare, as I think it was only released as a radio promo item.

I realize there is not a lot said in this review, with less detail than I tend to give sometimes, but in all honesty, there is just not a lot more to say about this effort.  It has the feel of a singer who tried to change his style a bit but didn't really succeed in improving his sound or reflecting the successes he already had.  Not terrible, but not great, either...more bland than anything, really, which is a lot coming from a Great White fan of my caliber.

Rating:  Despite being a huge fan of Jack and Great White, I can't recommend doing anything more than rocking this at 5.5.

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JACK RUSSELL "Shelter Me"

(c)1996 Victor Entertaimnment Japan

1. Shelter Me
2. Take My Pain
3. Leave Me Lonely
4. Long Way To Go
5. Hey Bulldog
6. You'll Lose A Good Thing
7. 24/7
8. The Fault's All Mine
9. Roll With The Tide
10. Faith In You
11. Save Your Love
12. Shine On
13. When I Look Into Your Eyes

Jack Russell--Lead & Backing Vocals
Matthew Johnson--Lead Guitar & Backing Vocals
Michael Lardie--Rhythm Guitar, Keyboards, Percussion, Harmonica, Banjo
Tim Bogert--Bass
Myron Grombacher--Drums

With the recent drama surrounding Great White, I thought now might be a good time to pull out Jack's solo material for a review in case folks want to hear some different music that at least sounds like Great White.  I'm sorry, but as possibly the biggest Great White fan you will ever meet, I can tell you that, no disrespect to Terry Illous, formerly of XYZ, Great White without Jack Russell is NOT Great White.  It is Jack's voice (and his songwriting) that makes this band for most people.  Granted, Mark Kendall's guitar is a huge part as well, but without Jack, I don't know how much interest I have in seeing Great White.  If I get the chance to see them live with Terry I will check them out and let you know...

Anyway...

Shelter Me is Jack's first solo album from 1996 when it seemed the band was pretty much at an end.  My copy is an import from Japan, which may be the only way to get it, since it is long out of print and rather difficult to find.  However, if you are a fan of Great White, I can honestly say it is well worth the effort to track it down.  This album is chock full of Great White-sounding songs including one remake "Save Your Love", and one that managed to be released as a Japanese bonus track on Can't Get There From Here ("Hey, Bulldog").  Add in Michael Lardie on rhythm guitar and keyboards, and it is actually pretty hard to separate this disc from any of the other solid, yet underappreciated, Great White discs of the 90's.  There really isn't much "hair" to the sound, just good, solid blues-based hard rock,

There are a couple of weaker tracks here, "The Fault's All Mine" comes to mind, but for the majority of the disc you get what you would expect from Jack...smokey ballads and foot-stomping rockers.  Among the best of the uptempo material is the previously mentioned, "Hey, Bulldog", "Shine On", "24/7", and the title track, "Shelter Me".  Of course, it is the blues-soaked ballads that Jack is best known for, and he doesn't disappoint here.  The semi-acoustic remake of "Save Your Love" is a nice surprise, as it is just Jack and a guitar (not even a drum on the track), which showcases Jack's powerful vocals all the more.  "When I Look In Your Eyes" is a bit more of a pop-styled ballad than most, but it is still solid and worth a listen.  "You'll Lose A Good Thing" is another smokey barroom ballad the likes of which Great White fans clamor for, especially at live shows.  In fact, that is one thing about Great White that I can say I have not really witnessed with other bands...the ballads garner as much, or more, attention as the rocking numbers do in concert.     

The packaging is full-fledged here, with complete lyrics included, both in English and Japanese, as is the norm with Japanese imports.  Of course, being the compulsive collector that I am, I had to make sure the Obi strip was included with this disc when I got it.

If you can find this disc, be prepared to pay in the range of $35-$50 most likely, which I know is pretty steep for the average listener.  However, if you are a fan of the band, the singer, or the style, there are not a lot of albums from this time frame that will satisfy your hunger for this type of music.  And if you are like me and just want some more solid Great White-esque material to enjoy, especially since it looks like the two touring versions of the band are not going to be settling their differences anytime soon, you could do a lot worse than finding this import effort.

Rating:  I may be biased, but I still say crank this to 8, especially if you are a fan of Great White discs like Let It Rock or Psycho City.

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SANTA CRUZ "Anthem For The Young And Restless"

(c) 2011 Independent Release

1. Over The Limit
2. Let's Get The Party Started
3. Anthems For The Young N The Restless
4. Don't Run Away
5. Hostile Shakedown
6. We're Aiming High

Archie--Vocals, Guitars

Johnny--Lead Guitars, Backing Vocals

Middy--Bass, Backing Vocals

Taz--Drums, Backing Vocals

About two years ago, or so, I received a demo/EP called Another Rush Of Adrenaline from this band from Finland that really piqued my interest.  They had a great look, a really good sound, and a small handful of decent, if not spectacular, songs.  I thought if they could manage to score a label deal somewhere and maybe get a hold of a big name producer they could put out a really solid album.  Well, Santa Cruz has returned with a new EP that kicks the teeth in on their demo...and they still have no record label, no big name producer, and virtually no distribution, which really sucks because this is an album that needs to be heard by fans of the big hair 80's.  This album actually made me rethink my Top 11 of 2011 as it wormed its way onto that list.  This is just a great, great album that is worth seeking out.

Lead vocalist, Archie, is going to remind a lot of people of a younger Sebastian Bach with his vocal approach, as he rips off some killer screams, evidenced on nearly all of the fist pounding, head banging numbers, but is also capable of employing an above average singing voice, as he shows on the more-mid-tempo-than-lighter-in-the-air ballad, "Don't Run Away".  He and Johnny, who started the band together in 2007, are a far above average guitar tandem and rip their way through these tracks with the skill and chops of people twice their age and experience.  As such, it is on the smoking uptempo numbers that Santa Cruz really shines, although even when they choose to slow things down they aren't too shabby, either.

From the very first riff of "Over The Limit", it should be obvious to most listeners that Santa Cruz is the real deal.  This is a band that is steeped in the glam and sleaze of Hollywood tradition from the late 80's, but they also mix in the flash and style of what I call the NWoEGaS (New Wave of European Glam and Sleaze).  I don't care if you are a fan of Faster Pussycat and Babylon AD or Pussy Sisster and Babylon Bombs, you are most likely going to be slamming your head and pounding your fists to "Anthems For The Young And Restless" or "Let's Get The Party Started".  After the slowest track, the previously mentioned "Don't Run Away", this album returns to the high octane stuff, although just a bit slower, though just as heavy and energetic.  The closing tracks are every bit as good as the first three, with "Hostile Shakedown"being a really strong hard rocker, and "We're Aiming High", also a top notch rocker, hopefull being an anthem of sorts for this band that really deserves some kind of label notice for their next effort.  

One piece of advice, however...I don't think this is the greatest CD to listen to while driving because you will soon find your foot clear through the floor doing about 110 m.p.h., as these songs just get you going that well.  Seriously, this is a ferocious little disc chock full of huge solos and monstrous, heavy riffs.  But to top it all of, you can't escape the power of Archie's wailing, screaming vocals that, in addition to the aforementioned Sebastian Bach, also remind me a lot of Kingpin/Shotgun Messiah when Zinny Zan was the vocalist...only with better overall guitar sound.

I have heard there is a 10 song version of this CD out somewhere, but I have never found it and have to wonder if it isn't a bootleg.  While I am not a fan of bootlegs, I can see why someone might try to bootleg this CD, because it is INCREDIBLY hard to find...and it is that dang good!  If I find out if the 10 song version is legit, I will be sure to pass on ordering info.  For now, however, the only place I know of to get this is from a Finnish site you can access here.  I have used this site myself, and have never had any problems, so I wouldn't hesitate to order this little gem.

Rating:  Crank this baby to 9, folks!  Let 'er rip!!!

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JAGUAR BLAZE "Jaguar Blaze"

(c) 2012 Purple Box Records

1. Wild N' Free
2. My Kind Of Woman
3. Losin' Myself (In Your Kiss)
4. Never Says Forever
5. Standin' Next To You
6. Streets On Fire
7. Days Gone By
8. Heartbreak Style
9. Into The Sun
10. Lonely Road

Ian Keith Hafner--EVERYTHING, including songwriting and production

Jaguar Blaze is yet another musical project from Static Fuse/Angry Little Freak main-man Ian Keith Hafner.  This latest effort finds Hafner exploring music in a similar vein as his Static Fuse project, but without the blatant Christian lyrics, although there are still several deeper spiritual moments on this record, just not on every track.  I have heard/read a few people comparing Jaguar Blaze to bands like Def Leppard, Skid Row, KISS, or Ratt, but I don't hear that at all (with one exception).  This music is far more blues-based than those bands with nowhere near the pomp of KISS or the pop of Def Leppard.  If you are into that grittier, mostly mid-tempo hard rock sound of the 1980's (not hair metal, but more guitar-driven hard rock), there is a lot to like about Jaguar Blaze.

This time around, Ian handles everything himself, from vocals to guitars, bass, and drums.  It is a massive undertaking, to be sure, and I think Hafner acquits himself pretty well for the most part.  His guitar skills have never been in question, at least to my ears, and the solo on album opener, "Wild N' Free" is a testament to that.  One of my personal faves from this album, "Streets On Fire", is another great 80's-inspired blues-based hard rocker with some great licks and a nice, catchy hook.  This is the kind of song that bands like Keel, Leatherwolf, Vyper (if you have heard them), and even early Great White were playing a couple decades ago.  The big budget production is obviously not there, which is most notable in the drum sound, but you can definitely hear bands such as those performing "Streets On Fire" or the equally rocking "Into The Sun" back in the day.  "Into The Sun" is another song that has a great guitar solo in it that I would LOVE to hear with a big production budget behind it.  The same can be said of album closer "Lonely Road", which is the one song that I would say does have a Ratt feel to the music, carrying a similar tone and feel to "Back For More" on the main guitar riff.  "Standing Next To You", on the other hand, has a truly classic rock feel that has a more late-70's feel than the rest of the album, at least to these ears. "Heartbreak Style" is another pretty cool mid-tempo rocker with a nice guitar-and-drum breakdown section right before a quick solo that leads right back into the chorus.

Vocally, I have to say that the way Ian uses his voice is eerily similar to Layne Staley of Alice In Chains at times, especially when he is providing his own backing vocals.  This is especially evident on "Into The Sun".  It is not this apparent throughout the entire album, and the music isn't grunge by any means, but I have to say the vocals, especially on the pre-chorus, FREAKED ME OUT!  I get that Ian's voice is not going to be everyone's cup of tea, and that's cool.  However, I do know that he has put a lot of effort into his vocals and there is a clear growth here, especially for people who are familiar with his earlier work.

The real downfall of this record, or any indy project for the most part, is always going to be in the production, as big, pounding drums and a really bright mix can cover up a lot of weakenesses in any band.  Don't believe me?  Remember some of the concerts you went to in your younger days when you asked, "is this the same band?!"  The guitars are a bit low in the mix in spots, and, as I stated before, there is a definite lack of a real drum presence here.  I am not sure if this is a programmed drum or not (I don't think it is), but just a beefed up bass drum would make a world of difference for a lot of listeners.  On the flip side, there is a certain charm in indy projects where it is just the artist, his instruments, and his talent on display without a bunch of wizardry on a mixing board to change the outcome of the product.   

A cool touch here is in the packaging.  The front insert is plastic, not paper, which I thought was pretty cool.  I don't think I have ever seen that before, and if I have, I don't know where.

Overall, Jaguar Blaze is likely to appeal to those who understand indy hard rock is not about overblown arena sounds but more about feel and attitude.  Is this my favorite album to come out so far in 2012?  Nope, but I wasn't expecting it to be, either.  It was exactly what I figured I would get...solid songwriting, above average guitars, much improved vocals, and a gritty, honest performance from a guy who works very hard at his craft.  Again, if you like the style and sound of his main band, Static Fuse, you are likely to find a LOT to like about Jaguar Blaze.

Rating:  Rock this to 6, which is pretty solid for an indy project such as this.

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VAN HALEN "III"

(c)1998 Warner Bros.

1. Neworld
2. Without You
3. One I Want
4. From Afar
5. Dirty Water Dog
6. Once
7. Fire In The Hole
8. Josephina
9. Year To The Day
10. Primary
11. Ballot Or The Bullet
12. How Many Say I

Eddie Van Halen--Guitars, Keyboards,Bass, Lead and Backing Vocals

Gary Cherone--Lead Vocals

Michael Anthony--Bass, Backing Vocals

Alex Van Halen--Drums, Backing Vocals

After getting a chance to live with the new Van Halen album, A Different Kind Of Truth for a while now, I thought I would dig into the band's back catalog a bit and review some of their older material.  Oddly, I chose to start with the band's least popular, most maligned album ever recorded, 3.  I will be the first to admit I disliked this album so much when I got it that I actually shelved it for probably two solid years.  To give myself the chance to write a true and honest review, I pulled it out again recently and gave it several spins and was extremely surprised to find that I don't hate this album nearly as much as I once thought.  I'm not going to say I love it...I don't even know that I would go so far as to say I like it very much...but I certainly don't hate it.

The more I have listened to it, the more it sounds like a natural progression from the Sammy Hagar years of the band.  Perhaps that's the problem I have always had with it; 3 sounds like Van Hagar album with Gary Cherone on vocals...doing his best Sammy Hagar impersonation.  I took me the better part of three years to accept Sammy as the new voice of Van Halen (I still don't care for much of the first three Van Hagar albums), but    by the time For Unlawful Carnal Knowledge and Balance rolled around, I really liked what the band was doing.  But when Sammy was out and it was teased that David Lee Roth would be back, I thought that would be a really great thing, as I love that version of the band.  When that fell apart and Cherone was chosen as the next vocalist, I have to say I was extremely (no pun intended) excited.  I LOVE the work Cherone did with Extreme and I thought he could bring a fresh sound and perhaps writing perspective to the band.  But it's like Gary was never given a chance to succeed.  It is really odd to hear the way Cherone approaches some of these songs because it doesn't even sound like him in several places.  Perhaps if Eddie had allowed Gary to sing like he does with Extreme this would have been a better album overall and would have been treated better by fans of the band.  My guess is yes, but obviously we will never know.

The sound of the album, musically, is not really all that different than the last two Hagar albums (Unlawful and Balance).  The songs alternate between guitar-driven hard rockers and more keyboard-laden ballads.  There are a couple of things that differentiate this album from anything else the band has done, however.  First, these songs have a definite alternative rock vibe to them at times, especially in the production.  The themes tend to be a bit darker, less, for a lack of a better term, hair band anthems about partying and chicks, and the fun sound of the DLR era is definitely gone by now.  Also, some of these songs run considerably longer than a lot of the older VH material, which again goes along with the more alternative vibe and darker themes.  One other thing that really sets this album apart is the fact that Eddie steps up to the mic as the lead singer on one track, which is also the most unusual track on the disc.  Album closer, "How Many Say I", is a piano-based acoustic ballad that is unlike anything Van Halen has tried in any other incarnation.  For my money, it's not a particularly great song and, well, let's just be glad that Eddie recognized his skill as a guitar player and has always had lead singers to handle the front-man spot.  The other big thing, at least for fans of the band, is the fact that Michael Anthony steps away from the group during this album, playing on only three songs, with Eddie handling the rest of the bass.  The bass playing isn't what is noticeable, but Anthony's vocal harmonies are missed, I think.  I'm not sure if it's coincidence or not, but the three songs Anthony plays on are also the three tracks that were released as singles from this album:  "Without You", "Fire In The Hole", and "One I Want".

Even after giving it another shot, and being prepared to admit it is not as horrible as I had initally categorized it as, the plain and simple fact is that 3 really isn't that memorable.  There are no classic hooks, no scorching solos, and no real  arena anthems like the band had been noted for throughout its history.  Maybe this was intentional; I don't know.  The three singles did chart fairly well, with all three going Top 30 on the rock charts, and "Without You" actually topped the rock charts for a few weeks in 1998.  Even with this success though, Van Halen chose to completely ignore this album when they released their career retrospective collection Best Of Both Worlds (maybe it's because they didn't have a song called "Best Of All Three Worlds"...).

The thing is, with the reunited Roth era lineup (minus Anthony, who continues to play with Sammy Hagar's band), and the excellent return disc A Different Kind of Truth, this album is going to slip farther and farther from people's mind, and maybe that's a reasonable thing to have happen.  As a co-worker friend of mine told me when we were talking about this album the other day, there is just nothing that connects people to this album.  The debate will likely rage for as long as people listen to hard rock over whether the Roth-era or the Hagar-era was the best span of time for one of the greatest hard rock bands in music history (we all know Roth is the answer, by the way).  But I highly doubt that Cherone's effort will ever even be mentioned in the debate.  Incidentally, there has been a rumor for many years now that Van Halen actually recorded a second album with Cherone but the horrible reviews and poor sales of 3 caused the band to shelve it.  Personally, I would hope that at some time that album might see the light of day, just to see if the band overcame the depths that most people think 3 took them down to.

Bottom line...3 isn't terrible, it just isn't memorable and Eddie sounds tired and like he is no longer having fun. I can say it won't be two or three years before I pull this out again, but I'm not going to be spinning it on a daily, weekly, or even monthly basis, either.

Rating:  Turn this down to a 4.5, but consider pulling a couple of tracks off of it to put on your iPod or mp3 player to mix in with the other, classic material...and the new album, of course.

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VAN HALEN "A Different Kind Of Truth"

(c)2012 Interscope Records

1. Tattoo
2. She's The Woman
3. You And Your Blues
4. China Town
5. Blood And Fire
6. Bullethead
7. As Is
8. Honeybabysweetiedoll
9. The Trouble With Never
10. Outta Space
11. Stay Frosty
12. Big River
13. Beats Workin'

David Lee Roth--Lead Vocals

Eddie Van Halen--Lead Guitars, Keyboard, Backing Vocals

Alex Van Halen--Drums

Wolfgang Van Halen--Bass, Backing Vocals

Well, well, well...some things never cease to amaze me.  Let me start by saying this to all those who doubted...Van Halen is 100% back, folks, and considerably heavier than people probably suspected.  Anyone looking for one of the keyboard-driven ballads that became the standard fare for Van Halen in the Sammy Hagar-era will be sorely dissapointed as there is not even a single ballad on this entire guitar-smoking album.  For anyone who though David Lee Roth was washed up...think again.  For anyone who thought Eddie would never again be able to channel the guitar god that he was (rightfully) built up to be...you are proven wrong.  For anyone who doubted that Wolfgang would be able to live up to Michael Anthony's bass rumblings...you might find yourself surprised.  And for anyone who bought into Sammy's musings that the new VH album was unimpressive...well, I suggest you get it yourself and give it a spin because I am not entirely sure what the Red Rocker was listening to.  This is one smoking return to form for the once mighty Van Halen rock machine!

On this new offering, you get a real mix and match of things.  New album on new label with a new member.  Old songs (several were actually written more than 30 years ago), old (original) lead singer, and the old (classic) Van Halen sound.  A couple of things are missing, also.  Keyboards are a relegated to a supporting role again.  The big arena sound that Van Hagar (sorry, it had to be said) brought to the table has been stripped away and the classic, power-rock of the DLR pre-1984 era albums is back (come on, admit it...songs like "Jump", in particular, were heading in the direction of the Hagar stuff).

If you have been hesitant to give the album a chance after listening to the lead single, "Tattoo", I can kind of understand.  That track is NOT representative of the album as a whole, however.  In fact, "Tattoo" is actually one of the last songs I would have chosen as a single, although it is probably the closest to a Top 40 possibility.  This and "Honeybabysweetiedoll" are the two tracks that I would probably consider to be throwaways on this record, and neither is terrible.  In fact, I would probably encourage album buyers to put in the CD and IMMEDIATELY hit skip to track two and proceed from there and they will then be treated to some of the sonic magic that made Van Halen such a force in the late 1970's and early 80's.  Starting with "She's The Woman" and working throughout the rest of the first half of the album...and two-thirds of the second half...A Different Kind Of Truth reminds people of why this band was so great.  For me, it reminds me of the difference between a hard-rocker's view of the band (the Roth era) and the Top 40, mainstream view of the band (the Hagar era)...and, I guess, the disastrous near-end of the band (the Cherone experiment).  This is what Van Halen was supposed to sound like.  Eddie just tears up the fretboard throughout this album, resurrecting his signature sound and adding just a hint of modernness, mostly on the production end of things.   

As great as it is to hear Eddie shredding again, I have to say the biggest, most pleasant surprise for me was the return of David Lee Roth.  Not his return to the band, necessarily, but his return to being David Lee Roth!  This isn't the same guy that sounded so tired on much of his solo material.  This is the David Lee Roth that hinted at a resurrection with the track "Slam Dunk" on his DLR Band album...only to fall flat for so much of the rest of that disc.  While no one will ever claim that Diamond Dave was the greatest lead singer in the history of hard rock and metal, it is a VERY short list as far as the greatest front men in the history of the genre and many, myself included, put Dave at the top of that list.  This an album filled with songs that are going to slide perfectly into a live show packed with DLR-era hits, and nearly every one of these songs has the potential for Diamond Dave to turn it into a show-stopping spectacle. 

Okay, so now for the million dollar question for a lot of folks...does Wolfgang fill the shoes of Michael Anthony?  Does he belong in more than just his name?  My thoughts?  Definitely.  Wolfie is able to lock into a groove with Uncle Alex throughout the album, more than adequately filling in the backbeat of these tracks, some of which were written years before he was born.  It is obvious he has been versed in the classic Van Halen style and sound, and he more than holds his own.  Is he Michael Anthony?  No, of course not.  But for anyone who was waiting for him to fall flat...keep waiting.

On an album full of great songs, a few definitely stand out.  "Better Than Workin'" is one that instantly pops into my head, especially with it's "I could swear I have heard this hook before" sound, but it is not a rip-off of anything, including old Van Halen material...it just has that feel.  "Bullethead" is a MONSTER of a shredder.  "She's The Woman" and "Big River" are also excellent rockers, "China Town" has an insanely catchy hook, and one of my faves, "As Is" just reeks of the best that Van Halen had to offer back in the day.  Eddie's fretwork on that track, alone, recalls what was so great about those early Van Halen albums.  In fact, as I mentioned, if you abandon "Tattoo", which really isn't terrible, and the almost modern-sounding "Honeybabysweetiedoll", and you can get through "Stay Frosty" (which Van Hagar fans won't likely get, and "Ice Cream Man" fans will likely love), it's hard for me to think that fans of the early years will find anything to dislike. 

Is this the best Van Halen album ever, DLR, Hagar, or Cherone?  No.  It does not top Van Halen I, which I think would be virtually impossible to do.  It doesn't hold the across the board appeal of 1984, either, at least not yet; time may change that as I listen to it more.  I do put it ahead of Diver Down and Women And Children First, WAY ahead of Fair Warning, and probably slightly ahead of II also, largely because I think A Different Kind Of Truth is a more solid album all the way through.  Again, time will tell if any of these new tracks become the next "And The Cradle Will Rock" or "Dance The Night Away" or "Everybody Wants Some", which were key moments from those other early albums.  If this is the end for Van Halen as far as studio albums go, it is going to be a GREAT bookend to a legendary career, and is a far more fitting end than Van Halen III, or even the unfortunate reunion-that-never-reunited following the recording of the new tracks on the greatest hits album.  I truly hope it isn't, but if it is...what a great way to go out.

Rating:  Crank this...and I mean CRANK this...to a blistering 8.5 (a 9 without two very average tracks) and just pray that these rock gods have at least one more album of this quality in them before calling it a day.


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