IN THE VERSE "Hostage"

(c) 2015 In The Verse

1. Disaster
2. Hostage

Noah Hulbert--Vocals, Guitar

Dave Hanson--Guitars, Vocals

Chris Certius--Keys, Programming, Vocals

As readers of G2G know, I don't normally review singles, but I do make exceptions from time to time, especially if the single is exceptionally good...or exceptionally bad.

This one is the former.

In The Verse is a three man Christian hard rock project out of Wisconsin that has already managed to garner a good deal of attention, getting airplay on Sirius/XM's now defunct Christian hard rock/metal show, The Message Amped, as well as on numerous streaming and terrestrial radio stations across the country...all despite being together for just over a year, not having a drummer or bass player, and only having two songs available to the general public.  Not bad...not bad, at all!

"Disaster" kicks off this 2-song release with a nice piano intro from Certius, before some programmed elements and fuzzed-up guitars come buzzing into the track, along with the stop-start-stop-start styled production used to such great effect by bands like Skillet, Red, and Disciple (all of whom are listed as influences of the band).  Hanson's chug-chug-chug guitar style fits this driving modern rock number especially well, and Hulbert's vocals are easily understood over the bed of atmospheric electronic elements in the background.  Harsher, screamed backing vocals during the chorus also serve to really enhance Hulbert's more melodic approach throughout the rest of the track.

"Hostage" is a slightly more straight-up hard rock number, relying less on the electronic ambient backing element and more on straight forward hard guitars, albeit with modern production altering the tones somewhat.  Big drums kick the song into gear before the snarling guitar lines take over.  Once again, the song is uptempo and aggressive, with hard-charging rhythm guitars and pounding...and programmed...drums, with Hulbert's vocals easily understood and ringing with clarity above the fray.  A straight-out-of-the-70s-styled KEYBOARD solo pours forth at about the 2:20 mark, which adds a completely different element to this track.  Its an interesting curve ball and shows the band is willing to be experimental with their sound while retaining the modern hard rock approach that the guys obviously gravitate toward.

The packaging, while simple, is complete, with full lyrical listings for both songs, pictures of the three members of the band, and a thank-you list.  My copy is autographed, as well, since I ordered straight from the band.

I have a STRONG suspicion we are going to be hearing a lot more from this band in the very near future, and I am excited to hear what they come up with next.  In The Verse is currently running a GoFundMe campaign to help them put together and release a full-length album in the near future, and last I checked they had managed to secure enough funding for a long 7-track EP, but were continuing to push forward to try to fund another 3 or 4 songs.  If you are interested in the project, the GoFundMe page is here.      

Oh!  And it appears the new effort will have a full-time drummer as a member of In The Verse, as photos on the GoFundMe page, as well as listings on Facebook, show Devin Shumski as the band's drummer now.  Things are definitely looking up...

Rating:  Again, I don't rate singles, but I will say that I am very impressed with what I hear, and I have actually purchased the project on CD, as well as digitally...AND funded the new project.  I guess you could say I am a fan and a believer in In The Verse!

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MADYSIN HATTER "Lose Your Mind"

(c) 2015 Independent Release

1. Its All Good
2. Black Velvet Snakebite
3. Rocky Road
4. Lose My Mind
5. Pretty Little Fool
6. Jukebox Jive
7. Never Knew
8. Gypsy Rock
9. Lightning Strikes Twice
10. This Last Time

Madysin Hatter--Vocals
Brad Allen Williams--Guitars
Bob Lanzetti--Guitars
Michael League--Bass (3, 5, 8, 9)
Grant Zubritsky--Bass (1, 2, 4, 6, 7, 10)
Cooper Heffley--Drums
Justin Stanton--Keys (3, 5, 8, 9)

For astute readers of Glitter2Gutter, you probably remember Madysin Hatter as the creator one of our favorite EPs to come out a couple of years ago.  That EP, Pretty Little Fool, combined heavily-70's-influenced hard rock with some pop songwriting elements to create a sound that we absolutely fell in love with here.  As such, I was anxious to hear what Ms. Hatter would come up with next, as she had informed me that a full-length record was in the offing, and that she would send it to me as soon as it was ready.

Lose Your Mind is that record, and it is a really nice continuation from Pretty Little Fool.  In fact, all four songs from that EP are contained in this new record, albeit in a different order and interspersed throughout the album.  In addition, six new tracks are included here, all continuing in a similar hard rock vein but generally coming across as a bit more 80s in the approach to the songwriting, which gives the flow of the album a very nice back and forth, yet never coming across as sounding dated in any way.

The album opens with the uptempo rocker, "Its All Good", a good-time party anthem with a simple, yet catchy guitar hook, some big, pounding drums, and an easy, sing-along chorus.  While catchy and effective, "Its All Good" is almost immediately dropped from memory when the sassy, attitude-laden "Black Velvet Snakebite" comes slinking out of the speakers,  Hatter allows her vocals to ooze their way back into a Stevie Nicks-esque posture, which is where her voice works is best, in my opinion.  Again, solid work from the backing band here really serves the song well, particularly in the bluesy edge supplied to the guitars.  An excellent track here, it is only my third favorite on the record yet it still sets up the rest of the album with rather high expectations from this independent artist.

"Rocky Road" is a plaintive, stark ballad that appeared on the Pretty Little Fool EP previousely, but is one that I am very glad made it here, as I find myself liking it more and more with each listen.  The track kicks off with just Hatter and an acoustic guitar before a really nice electric blues riff come smoldering through atop a simple drum line and rumbling bass work.  One of my top two or three songs on this effort, "Rocky Road" is a very well-crafted song that highlights Madysin's unique high-end-yet-bluesy vocals and superb songwriting skills.  I truly wish more current artists would remember there is more to putting together a good song than massive walls of guitars and thundering drums, because the relatively stripped-down approach of this song speaks volumes about how, while those things are nice, they are not the be-all, end-all of songwriting.

The sort-of title track, "Lose My Mind" continues in the more laid back style of "Rocky Road", although it ups the tempo ever so slightly.  A Zeppelin-inspired guitar riff sets the tone here, with Hatter again reaching into the upper range of her gritty-yet-vulnerable vocals to deliver another neo-70s rocker that also sports a solid, if too short, guitar solo and some very good bass and bottom end drum work.

"Pretty Little Fool" is an INSANELY catchy 70s styled track which was pulled over from the previous EP, setting up another of my favorites here, the new new number, "Jukebox Jive".  A distorted blues guitar riff come shuffling straight out of the roadhouse to open this boot-stomper, which has 70s Aerosmith written all over it in so many ways.  Again, Hatter's vocals manage to slink their way into and out of the guitar riffs that just scorch their way throughout this track.  Love, love, love this song and would honestly like to hear an entire album of this style of hard 70s blues rock, as I think this is where Hatter and her band really excel.

"Never Knew" has the 80s acoustic lead-in ballad down pat, a la Warrant's "Sometimes She Cries", and is a track that really showcases Hatter's more melodic vocal approach, as opposed to the bluesy rasp she drops into a track like "Jukebox Jive".  Madysin REALLY soars vocally (you have to hear her wail at about the 3:20 mark!!!) on a track that I truly believe would've pulled radio airplay in 1988 or 89, as it is really well-written and performed.

"Gypsy Rock", another holdover from the EP, is so heavily Stevie Nicks influenced that it sounds to me like it incorporates a couple of different Fleetwood Mac songs all into one track.  A really, really good guitar solo is also found in this retro rocker, which is still my favorite from the EP.  "Lightning Strikes Twice" is another EP holdover featuring a heavy Zeppelin vibe, with the slow build and burn of "This Last Time" being the album closer and the final new song on the record.

The mix is solid, and the production is above average for an independent project.  Do I think some high dollar knob turner could beef up the sound a bit?  Sure, but the overall feel of the album is a deliberate throw back, as Hatter states in the liner notes that "Lose Your Mind is a hand-crafted record; an analog recording and mix of a band playing and recording songs in one studio together, captured on the finest magnetic tape.  We felt strongly that the music benefited from this approach.  To achieve the type of fearless performances and big, bold sound Madysin Hatter was after, we didn't want or need a lot of post-production flexibility.  The optimal technology was a great band, a great analog studio, and a few reels of tape."  Retro, indeed!

The packaging is well done, with no fewer than 9 pictures of the striking singer, along with performance credits, writing credits, a brief thank-you list, and a few other notes.  Lyrics are not included.  The album is available in digital format if you prefer, or CD's and other merchandise can be ordered from www.madysinhatter.com.

A solid leap forward for a talented group of performers and musicians, Lose Your Mind is well worth seeking out if you are a fan of solid 70s inspired hard rock with 80s influences, while not looking for a band that sells its soul and sacrifices its sound in an attempt to gain popularity.  Madysin Hatter is who they are.  Uncompromisingly so, in fact.

Rating:  Definitely a crankable record.  7.5 on the knob for this one!

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LIBERTY N JUSTICE "Life Songs"

(c) 2016 

1. You Got Love
2. Gangster Of Love
3. My World
4. Only Choice
5. And Again

Larry Worley--Lead Vocals

JK Northrup--Everything Else!

Liberty N Justice have released their latest project, Life Songs EP, with a couple of interesting changes.  First, Larry Worley of Fear Not/Love Life fame(?) is now the band's full-time lead singer...at least for this album...again moving the band further away from the project that it used to be with a rotating roster of 80s hair metal greats taking turns in front of the microphone.  Worley also contributed to the music and lyrics of the lead track, "You Got Love".  

Secondly, Guitar Master Extrodinaire (yes, capital letters are required), JK Northrup plays every single note of all of the instruments on this record.  All of them.  Guitars, bass, drums...everything.  Additionally, Northrup wrote all the music, mixed, mastered, recorded, and produced the entire project.  

And thirdly, and perhaps most importantly to long-time fans of the band, the man behind LnJ for all of these years, Justin Murr, had no hand in the actual performance on this record for the first time ever.  According to Murr, "I was done.  Liberty N Justice was finished as far as I was concerned, due to some things going on in my life.  The Vow was the last thing I was going to do with the band.  But JK came to me and said he really wanted to do another LnJ record, and he's the reason its even coming out.  I was done, but after he came to me, I started writing again, and here we are..."  Murr also told me that it wasn't until he committed to writing the project that Worley came on board, so to say that Murr is not involved is not 100% correct...just not in the capacity that fans may be used to seeing him in.

So what, then, separates Life Songs from any other solo album that Mr. Northrup has done?  On the surface...musicaly...probably not a lot, actually, although people looking for a shred record of sorts, or even a Vai-like or Satriani-esque instrumental album will not find that here.  What we have here is an EP of melodic hard rock songs, very much in the 80s/early 90s vein, but with more crunch than some of those era's songs had, particularly in the rhythm guitars and the production.

But if you dig deeper, Murr's presence is still here, whether in the humorous lyrical turns he makes with some songs, or the deeper, introspective aspect he brings to the words of others.  Always seeking to get his faith-based ideals across without becoming preachy or Bible-bashing, Murr has routinely brought chuckles to many of his hardest rocking tracks, like in "Cut Me Mick",  and tugged a heartstrings with his more poignant, sometimes painful tracks, such as Sin", featuring Jani Lane, both of which can be found on The Cigar Chronicles from a few years ago.  Those trends continue in this small tease of an EP, giving the listener hope that there may be more left in Murr's pen for future LnJ releases.

Album opener, "You Got Love" breaks out with a hard-charging guitar before Worley's gritty, snarly vocals kick their way in on a track that is very much reminiscent of the material on Fear Not's record or the LnJ remake of 'We Have A God" from a couple of years ago.  Not to missed here is the BLISTERING solo from Northrup at about the 2:40 mark.  I'm going to go on record and state that my fingers won't even move as fast as JK's here, and I'm not trying to find notes at the same time!  Truly smoking fretwork here on an enjoyable opening salvo from this new arrangement of LnJ.

"Gangster Of Love" is a song title that Murr has kicked around for several years, finally bringing it to life on this funky track that I honestly expected to hear a full horn section utilized on.  With such unforgettable lyrical turns as, "You're a hottie like Gotti" (referring to notorious mob boss, John Gotti), Murr keeps his lyrical tongue fully in-cheek here, reminiscent of some of the truly fun songs of the LnJ catalog, such as "Nakatomi Plaza" or "Cut Me Mick".  In fact, scattered throughout the track are multiple gangster name drops, from Lansky to Capone.  Well worth checking out!  By the way, another smoking guitar solo rips through this track, which is my favorite song on the EP, although I do wish the solo had been a bit longer.

"My World" throttles back a bit, delivering a more mid-tempo melodic rocker with big backing vocals on this track about seeing the bright side of a painful relationship coming to an end.   Worley sounds perfectly at home here, taking a bit of the edge out of his vocals on the verses, then dropping it back in to snarl through the chorus of ,"My world's a better place without you in it/My world's a better place, I finally get it/My world's a better place...".  As expected, Northrup delivers another really solid solo here and top notch rhythm guitar and bass work throughout.  Its always good to hear a song such as this, which could easily come across as bitter, actually taking the high road and looking to the positive side of things, even when human pain is involved.

"Only Choice" is the most blatantly Christian song on this effort, and even then you have to really dig into the lyrics to get some of where this track is coming from.  Once again, this is a more mid-tempo, melodic rocker, with some solid vocal work from Worley who really showcases that the power scream and snarl approach isn't the only way his vocals work.  Sure, there is still some grit and gravel to his approach, but he can throttle back the angst with obvious ease here, which adds to the overall feel of this nice little song.  

"And Again" wraps things up by turning the energy back up just a bit, still maintaining that mid-to-uptempo groove that the majority of these five songs dwell in.  Another song about a strained relationship, this song takes the listener through the history of that relationship from start to finish, almost as a prequel to "My World".  Murr has told me that both of these songs are, unfortunately, autobiographical, and in a way, a form of musical therapy for himself.  Once again, not spewing venom, but clearly stating regret, "My World" is a really solid song that Northrup and Worley only enhance with top-notch performance.

The production throughout the album is pretty good overall, although there are a couple of spots where the mix on the drums seems a bit off, probably largely due to the electronic drums being used.  Perhaps it's just my ears, however, as Mr. Northrup is obviously far more musically inclined than I have ever been (although I may be able to outplay him on the saxaphone...).  In fact, if I was to make any complaint about this record at all, other than the brevity of it (which always costs EPs in the end, as far as ratings go...), it would definitely be the drums, as the fact that they are machine-produced really takes away from the opportunity for a big powerful fill or any kind of out-of-the-ordinary rhythm patterns.  They are programmed well, but there is no doubt that these are not "live" drums, which, if I'm being honest, does serve to detract from things just a bit for me.

The guitar work here is simply phenomenal, and I again ask how Northrup was not so much bigger than he was back in the hard rock/hair metal heyday of the 80s, because his chops are easily on par with what passed for great in so many marginal bands.  The guy can flat out smoke and I never tire of listening to his work, whether it be solo, with Paul Shortino, LnJ, or any other project he has been affiliated with.  To learn more about JK and his music, make sure to visit his Alien Productions site...I'm sure you will be blown away.

As of this review, Life Songs is a digital only release, currently available on iTunes, but it will be released on CD in the near future from HighVolumeMusic, so check there if you, like me, are more inclined to go for physical copies.

Justin Murr has assured me there is a new EP on the way from LnJ very shortly, so be sure to keep an eye and ear out for that, as well.

Rating:  Glad to have them back, LnJ kick off a crankable 2016 with a solid 8 effort here!

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Glitter2Gutter's Best of 2015!

Well, we made it to the end of another year at Glitter2Gutter, and it has been an interesting year.  Several "classic" bands returned with new efforts (Def Leppard, Europe, Queensryche, Collective Soul, W.A.S.P., P.O.D.), a lot of new bands (Quor, Danger, Dirtbag Republic, Damn Dice) came to the forefront, and a few bands really left me wondering if there was any reason to keep going forward, to be honest (ahem, Iron Maiden, Bon Jovi, Operation: Mindcrime, Lifehouse, and others...).  Small, unheard of bands (Razorbats, Slantpiece, Arson City) did their best to grab people's attention, while established bands (Hinder) moved on with new faces out front.

This is, of course, a completely subjective list, as it is formulated entirely by my opinions.  I realize that not everyone likes what I like, not everyone dislikes what I dislike, and not everyone has even heard all the things I have.  Some of you likely loved albums I had no use for (Iron Maiden's Book Of Souls), while many may question my sanity for including albums you may have detested (Hinder's When The Smoke Clears).  

Also, I realize there are a couple of albums listed here without reviews...YET.  The missing reviews have all been started and are in varying states of completion, and will be up soon.  Remember...this is a one-man project, so I am not always able to get to as many reviews as I would like to, but I hear TONS of new music on a monthly basis.  And, yes, there are albums out there that may be absolutely amazing that I simply haven't had the chance to hear yet, but hopefully I will be able to get to them at some point.

So, where does this list come from?  Obviously, the ratings given to the albums throughout the year play a huge role in the final ratings, but other factors contribute as well.  Do I still listen to it?  How many plays has it received on my computer, in my truck, on my iPod or phone, etc.?  How well does the album stack up to a particular band's catalog for me?  Has it aged well (mostly effecting early year releases, obviously), or do glaring weaknesses start to really annoy me?

I know, I know...not particularly scientific, but come on...it's MY list and MY way of doing things.  So, if my list doesn't match yours, is it really that much of a surprise?

So, here we go...in reverse order...

The BEST OF 2015...

Before we get to the big boys, let me give you an idea of some other albums I REALLY like, but that just missed the Top 20.  In no particular order...

Boba Flex--Anything That Moves
House Of Lords--Indestructible
Distubed--Immortalized
Five Finger Death Punch--Got Your Six
Whitesnake--The Purple Album
Halestorm--Apocalyptica

...and many, many others.  2015 had a lot of good records, but for me, THESE are the Top 20 of the year.






20.  When The Smoke Clears:  I didn't know what to expect here with a new lead singer, but Hinder did themselves fairly proud with this comeback record of mostly up-tempo rockers with a nod to the past while also keeping modern rockers satisfied.  7.5
Hinder

19  Slantpiece Second Wind:  Nope, you probably haven't heard of these Nebraska boys...and that should change.  Mixing elements of doom, thrash, sludge, and straight up heavy metal, these Bearded Boys from 'Braska enlisted some big time help in producing this 6-song EP, as Michael Beck was brought in to pull the best possible performances from these guys.  Raw, edgy, and fun, Slantpiece should be on your list of bands to check out in 2016.  8.0

18.  Pillar One Love Revolution: (album review to come)  Another album that came out late enough in the year that I wasn't able to fully complete my review in time for this list, One Love Revolution is a solid return for these Christian rapcore/metalcore headbangers.  An odd track or two keeps this return from possibly slotting in higher, but it is a fine return for a band that I had seriously considered to be basically gone from the scene.  8.0

17.  Disciple Vultures EP (album review to come)  Following on the heels of their stellar return, Attack, and a greatest hits effort, Disciple released this digital-only EP of Attack B-sides to tide fans over until their next full effort.  While it is clear why some of these songs didn't make the final cut, all are still solid rockers that will keep fans on the edge of their seat, waiting for more.  8.0









16.  Immortal Guardian Revolution Part I:  Had no idea what to expect when I first popped this EP in, and came away a fan of the Texas bands interpretation of European power/speed metal.  Powerful vocals and fret-melting speed shredding abound on this 5 track effort which also features a guest appearance from Roy Z.  Good stuff!  8.0

15.  Tad Morose St. Demonius:  Power metal very much in the vein of Iced Earth , with big time vocals, punishing rhythms, and a glorious blend of speed and precision on guitar.  My first exposure to the band was a solid one!  8.0









14.  Black Tide Chasing Shadows:  The band has shown signs of maturing as songwriters, but maintain the speedy, edgy approach to what I sometimes refer to as speedmetalcore, while intermixing slower, more melodic elements.  Some people have really bagged on this album, while I view it as their best to date.  8.0









13.  Armored Saint Win Hands Down  I have no idea why this album is so overlooked by people, but I think it was a great return to form for the Saint!  John Bush sounds like a man on a mission since his return from Anthrax, and Duncan and Sandoval are a seriously underrated guitar tandem.  Excellent hard rock/metal songs throughout the album, and my favorite from them outside of the must-own Symbol of Salvaion.  8.0










12.  Europe War Of Kings:  Not a first-spin love affair for me, but this album grew on me more and more with each listen, to the point I consider it one of the top two or three records in their catalog.  Bluesy, melodic hard rock with massive 70's Deep Purple and Thin Lizzy influences.  Joey Tempest's voice is as strong as ever, and Norum's guitar work is criminally underrated in the hard rock world.  8.0









11.  Scorpions Return To Forever: A great mix of older, unreleased material, intermixed with brand new compositions, giving fans a gift in the form of a sort of flashback, while also pushing the band forward into their 51st year of existence!  So glad they decided to not call it quits, as Return To Forever shows a band that is still having fun and sounds as young as ever!  8.0









10.  Quor Human Paradigm:  Completely out of left field for me, Quor combines thrashy-yet-progressive elements with bits and pieces of classic metal and modern hard rock.  Stunned...and exhausted...are the two words that come to mind after I first spun my way through Human Paradigm, and it is with great surprise and pleasure that these San Diego natives make our Top 10 for 2015!  8.5









9.  Damn Dice The Great Unknown:  One of the biggest surprises of the year for me, this is a fun record from these Brits, sounding like a heavy-era Skid Row musically, with a gritty, heavy edge.  While the vocals took a bit of getting used to on a few songs, they did little to detract from how good this album is.  8.5









8.  Nelson Peace Out:  It's Nelson, so if the name means anything to you, one way or another, you pretty much know what you are going to get on this, the supposed swan song of the band.  Fans of hook-laden, tight-harmonied, guitar driven melodic riff rock are going to love this record, favorably comparing it to the band's debut record, while also finding themselves surprised in spots when the brothers stretch their musical legs a bit.  8.5








7.  Serpentine Circle Of Knives:  A stunning combination of European hard rock, melodic rock, and even some progressive/power metal thrown into the mix.  Above average song-crafting and excellent musicianship drive this band that is almost impossible to find fans of in the United States.  Seek them out...now...  8.5

6.  Arson City The Horror Show: A second Nebraska-based band that you likely haven't heard of makes our Top 20, and with good reason.  Arson City combines modern hard rock with some amazing songwriting skills, a tremendous live show, and across the board top-notch performances to be not only a Top 6 album, but the number one modern rock record of the year, and the one of the top unsigned band on our list.  9.0

5.  Worldview The Chosen Few:  Long-time Sacred Warrior vocalist, Rey Parra, joins forces with ex-Deliverance and Recon guitar-slinger, George Ochoa, to create this monster of an album!  Combining power and progressive metal, The Chosen Few also features guest appearances from a Who's Who of the Christian hard rock and metal world, with Oz Fox (Stryper/Bloodgood), Les Carlson (Bloodgood), Jimmy P. Brown II (Deliverance), and Larry Farkas (Vengeance Rising/Die Happy/Sircle of Silence) all contributing to the overall greatness of this record!  Truly a stunning record of immense power and beauty.  9.0







4.  Queensryche Condition Human: (album review to come)  No idea why this album was sent to me SO LATE after its release, but to say that it is stunning would be selling it short.  Given more time to absorb the scope and power of this record, I may have even bumped it up another notch or two.  While there is no doubt that Todd La Torre is still doing his best to recreate the sonic legacy of Geoff Tate as the vocalist of this band, there is also no doubt that he can no longer be considered a mere stand-in.  La Torre IS the vocalist of this classic metal band that fully returns to the power and glory of their earliest metal releases, without the softer progressive elements that were mixed in on later efforts with Tate still at the helm.  Truly excellent material from what can now be considered the only REAL Queensryche in existence.  9.0



3.  WASP Golgotha:  Blackie Lawless and Company return with one of the top albums of their long career, and one of the best releases of 2015.  Big hooks, Blackie's inimitable vocals and unsurpassed "metal opera" writing skills, and powerful performances from every member of the band keep W.A.S.P. firmly at the top of the heap as far as bands from the 80s that are...or should be...still relevant in 2015!  9.0








2.  Stryper Fallen:  Much like W.A.S.P., Stryper has rejuvenated themselves in recent years and have pushed forward to release quite possibly the best material of their amazing, decades long career!  Fallen takes the classic Stryper sound farther than it has ever been taken before, adding a heft and metallic edge to their still unquestionably-Stryper sound and unflinching lyrical stance, to make this, without a doubt, one of the top two record of the year for me....and one that could likely be slotted upward to the top very easily on any given day.








1.  Razorbats Camp Rock:  Nope, you have probably NEVER heard of them, have likely NEVER seen them, and almost assuredly DON'T own this record.  Do EVERYTHING in your power to fix at least points 1 and 3 (point 2 may be tough if you don't live in Norway, or at least Europe), because Razorbats and Camp Rock is our number one record of 2015.  Why?  Quite simply, there is NOTHING I can do to pry this record out of my CD player!!!  This is a nearly flawless modern take on the retro 70s/very early 80s sound, offering up glimpses of T. Rex, The Sweet, 70s KISS, Deep Purple, and very early KIX, with tasty doses of punkish energy and snarky attitude.  Containing one of my favorite songs of  the year in "Desolation Highway", Camp Rock is exactly what is missing from hard rock in 2015...fun, energy, attitude, and an edge from a band that wants to do things their own way, even if that way was previously done by others some 40 years ago!  No question my favorite release of 2015...get Camp Rock by Razorbats as soon as you possibly can!

TALKIN' TRASH 2015

Talkin' Trash 2015... the interviews....

2015 was a bit of a slow year for us for interviews...for a number of reasons...but the three we conducted were good ones (in our opinion), and on two occasions we got the guitar player's point of view on things, rather than always just going with the lead singer.  That made for a nice change of pace, I believe.  In case you missed them the first time, here are our TRASH TALKERS from 2015.  Hopefully we will be able to get with a few more people next year...

Ray Parra (ex-Sacred Warrior, Worldview) HERE
Rex Carroll (Whitecross, King James. Rex Carroll Band) HERE
Kjetil Wevling (Razorbats) HERE

Finally, I want to thank all the bands that submitted material (more than one guy can really handle alone, but I do my best), the book companies that sent in material for review, the artists that took their time to chat with me, and, of course, those of you who chose to read, comment, complain, threaten...whatever...my little review site.  We surpassed 120,000 reads this year, which is quite a humbling number for me, and more than 300 reviews are now available.  Hopefully I have been able to review your music (or your favorite band's music), their books, their concerts, or their videos.  I also hope that perhaps I was able to lead you to discover new music and new bands, because that is realistically what Glitter2Gutter is here for.

Happy New Year, and here's to an amazing 2016!

Arttie
Glitter2Gutter

STRYPER "Fallen"

(c) 2015 Frontiers Records

1. Yahweh
2. Fallen
3. Pride
4. Big Screen Lies
5. Heaven
6. Love You Like I Do
7. All Over Again
8. After Forever
9. Till I Get What I Need
10. Let There Be Light
11. The Calling
12. King Of Kings

Michael Sweet--Lead Vocals, Guitars

Robert Sweet--Drums (Visual Timekeeper)

Timothy Gaines--Bass, Backing Vocals

Oz Fox--Guitars, Backing Vocals

Additional Musicians

Paul McNamara--Keyboards, Synths, Moog

Laura Manzi--Chorus vocals on "Yaweh"

After laying off for so many years, Styper has come roaring back recently, releasing two studio albums of new material, a covers album, a re-recording of classic tracks, and a live album...all since 2011.  And while each has returned to the signature Stryper sound, much more than their previous comeback albums Reborn and Murder By Pride, one thing should be noted about both 2013's No More Hell To Pay, and this new album, Fallen...they are both far heavier than anything Stryper released in their "classic" era.  I'm not saying faster, I'm not saying thrashier...I'm saying these past two Stryper albums have been heavy as stink, and the results have been nothing short of amazing to these ears.

The latest Yellow & Black effort, Fallen, starts off in a powerful way with the monstrous effort, "Yahweh".  The track opens with what sounds to be a massive church choir chanting the word "Yahweh", before the signature Stryper guitar tone launches the song forward and Michael Sweet puts to rest any question as to whether his screams are still able to scrape the upper reaches of his range.  Fast and furious, this driving track set the bar high for the band from the moment the rhythm guitars hit, and it doesn't let up through a tasty guitar solo section, the sharp, thundering rhythms laid down by Robert Sweet and Timothy Gaines, and an interesting use of what can really only be described as Stryper's take on a breakdown at about the 4 minute mark, which adds even further punch to the track. 

The title track follows "Yahweh" up very nicely, with a song that sounds very much like a beefed up version of something from the Soldiers Under Command or To Hell With The Devil days during the verse portions of the song, but also finds Michael adding and angry, METAL edge to the screams he uses during his chorus vocals that I don't recall ever hearing in the past.  "Pride" kicks off with guitars that, while still retaining that classic Stryper tone, come off as much more angry and dark than on the previous two tracks, which are a stark contrast to the smooth tenor vocals Sweet utilizes throughout much of the verse work here.  Once again, Michael does allow for some edginess in his vocals on the chorus, but not to the screaming extremes he uses on "Fallen".

"Big Screen Lies" has a bouncy feel to the opening guitars, but not in a poppy way, as there is still plenty of heft to be heard and felt here.  The chorus is particularly tight, with nicely layered vocals, and the drums throughout the song are huge and pounding as they are really given life in the mix here.  Not my favorite track on the album by any means, but one that finds the band headed more in an Against The Law vein than anything else on this record as the whole song has a dirty, almost bump-n-grind rhythm to it.

"Heaven" slows things down a bit, but not into ballad territory by any means.  The verses are largely just Michael chanting the words and Robert wailing away underneath, with Gaines' bass pulsating alongside an understated rhythm guitar, giving this a big, sing along feel.  Think "Soldiers Under Command" merged with "Sing Along Song" from To Hell With The Devil, and you will have a solid idea of how this song is structured and compelling in its presentation.  The chorus is simplistic, catchy, and one that will have everyone in the crowd screaming along "I choose Heaven!"  There's also a really cool, bluesy guitar solo embedded in the track, featuring several nice fret runs.     

"Love You Like I Do" is pure classic Stryper, from the big drums, to the tone of the guitars and the solo laid down, to the lead singer verse/backing vocal reply structure the band utilized so well in the 80's.  This track is pure nostalgic bliss despite the fact that it is a brand new song.  "Love You Like I Do" could have very easily slid onto THWTD and fit in lock-step with the tracks from that platinum selling record.  Easily one of my top 3 tracks here.

"All Over Again" finds the band slowing things WAY down, dropping into acoustic ballad mode, complete with big "oooohs" in the backing vocals.  Lighters will pop up if this song is played live, but to be honest, ballads were never what I wanted to hear from Stryper, despite the fact that they are probably the style of song that most 80's fans will remember them for if they weren't into the band as a whole.  After all, "Honestly" received a ton of video and radio airplay and is still the track a lot of people most closely associate with the band's success.  A decent song, I suppose, but far from the best thing here.

"After Forever" picks things up immediately and likely grabs many listeners by the shirt and shakes their faith a bit as Stryper covers...GASP...a Black Sabbath song?!  For those who may not be aware, however, "After Forever" has some extremely blatant Christian lyrics, and the band absolutely nails the heft of this track, especially the crushing drums and the urgency brought forth by Robert, as well as the tandem guitars of Oz and Michael.  Just an excellent version of this song, which, incidentally has been covered by other Christian bands in the past (most notably by thrashers, Deliverance).  Again, one of the best moments on an already excellent album.

"Till I Get What I Want" is the shortest song on the record (and features a blatant grammatical error in the title...but I'll let that slide...).  Fast and furious, to be sure, this song lacks the catchiness that most of the rest of the album contains, and while not necessarily a skipper, it is definitely what I would consider to be the lone "filler" track here and one that could've been left off the record with no negative effect to the overall greatness of Fallen.

"Let There Be Light" sounds like Stryper being played in Dokken style...or maybe the other way around...but it's pretty cool.  Honestly, it feels like someone handed George Lynch a Stryper-tuned guitar, and told him to play along.  Big, layered chorus vocals and a smoking solo complete this track which doesn't necessarily fit the "classic Stryper" mold, but is cool as heck anyway.  

"The Calling" gets back to more of the classic sound, again in a heavier fashion than many thought possible from this "hair metal" band.  One of the more "metallic" songs here, "The Calling" would have been a great way to wrap this album up...had it not been for the equally classic, equally metallic "King Of Kings", which lays bare the bands' Christian beliefs and stance, lest anyone forget why, and for whom, Stryper rocks!  Excellent stuff.

The production is, as you would expect from Stryper, big and bold, with a sharp mix, lots of thundering drums, scorching guitars, and tightly layered vocals.  As is also the norm, the Frontiers Records standard for packaging is top-notch, with a 14 page booklet with complete lyrics (minus "After Forever"), writing and production credits, individual member photos, a band photo (under the CD in the tray), and an actual jewel case!!!, along with some very nice artwork and an extensive thank-you section. 

As good as No More Hell To Pay was in 2013, Fallen tops it in numerous ways and is a nearly perfect album from this band that has seemingly completely rejuvenated themselves in these past few years.  Hopefully this resurgence continues for the band, as I would say that these last two albums rivals any two-album span the band has put out in their rather long history, including the amazing back-to-back efforts of Soldiers and THWTD.  And that is saying a LOT...

Rating:  A so-so ballad and one filler track away from perfection, still exceedingly crankable, Fallen is a definite 9!

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DEF LEPPARD "Def Leppard"

(c) 2015 Mailboat Records

1. Let's Go
2. Dangerous
3. Man Enough
4. We Belong
5. Invincible
6. Sea Of Love
7. Energized
8. All Time High
9. Battle Of My Own
10. Broke N Brokenhearted
11. Forever Young 
12. Last Dance
13. Wings Of An Angel
14. Blind Faith

Joe Elliott--Lead Vocals, Backing Vocals

Phil Collen--Guitar, Backing Vocals

Rick Savage--Bass Guitar, Backing Vocals

Rick Allen--Drums & Percussion

Vivian Campbell--Guitar, Backing Vocals

Here we go...another Def Leppard album, and another wave of people clamoring for the band to repeat either Pyromania or Hysteria...or AT LEAST Adrenalize...and another letdown for that group.  Sure, there are nods to the past scattered throughout the album, and yes, the band puts forth their most complete record since the much-maligned X album, but a full-fledged return to the glory days is simply not in the cards for this band, nor do I think it is necessary.  But does Def Leppard at least leave fans hopeful that the band can continue to be at least viable as something other than a Summer-Retro-Tour headliner (no matter what the band claims about themselves)?  

Before I answer that, let's just get the bad stuff out of the way...the stuff you are likely to hear or read in just about any review you come across.  

1. Fourteen songs is too many....about 4 or 5 too many, if I am totally honest.  
2. Joe's voice is nowhere near what it was on Hysteria...or even X, for that matter.  The high end is virtually gone (completely gone in the live setting, in my opinion), and there are obvious studio tricks used here and there to bolster the power of his singing.  
3. The band never completely cuts loose, even when the songs seem to beg for it.
4. (And this may seem petty, but it annoys me) The song titles are MAJORLY misleading... I'll get to more of this in a bit.

Now, there are several good things about this record, as well.  For starters, the band remembers what got them this far in their career in the first place:  anthemic arena riff rockers and lighter-in-the-air ballads.  Whether you are talking High N Dry, Pyromania, Hysteria, Adrenalize, X...or even total hit-and-miss records like Euphoria...or TOTAL miss records like Songs From The Sparkle Lounge and Yeah!...Def Leppard has always had one or two true arena rockers to get people out of their seats and thrusting their fists in the air, and a ballad or two that will either have those same fans reaching for either a Zippo or a handkerchief.  It's who they are; it's what they do...and they know it's what you want them to play.  

Nowhere is this more evident than in the lead single, "Let's Go".  Joe's voice comes buzzing in accompanied by computerized effects to kick off this Hysteria-esque track which blatantly lifts its main riff from "Pour Some Sugar On Me", drops in a thumping bass line, and utilizes a catchy, hooky chorus of "let's go-oh-oh-oh-oh" that sits squarely in Elliott's vocal wheelhouse.  Talk about a total nostalgia tease of an opener!  My one complaint is that all throughout the song I do find myself saying, "yeah, come on...let's go!  Get this thing going!", as it seems to plod along in places where I wish it would just totally rock out! (see complaint #4 above)   

Want more nostalgia?  Follow-up track, "Dangerous" feels like it is just a production updated version of a song that could've been written for Pyromania.  The guitar riff just screams 1983, and the layered backing vocals, which have always been one of the strong suits of this band, are nearly perfect here on one of the top 10 songs this band has put out since Adrenalize.  It really is that good.

"Man Enough" also elicits a nostalgia trip like just about no other song on this record...but its a trip to "Another One Bites The Dust"-era Queen, not to anything Leppard has done.  This song so blatantly rips off the bass line and overall feel of "Another One..." that I would guess Freddy Mercury is up and dancing somewhere every time this track rumbles to life!  Really, this is a dang cool track that gives me hope that this album can sustain the band's future by plumbing the past, even if its not THEIR past!

"We Belong" is another straight-from-Hysteria number, very similar in style to that album's title track.  Thick with layered backing vocals, a throbbing bass line, and what can only be described as "lush" guitars, this track is exactly what Def Leppard did so extremely well at their peak of success.  This would've been ALL OVER MTV in the late 80's, and is easily one of the best tracks on this record, as far as I am concerned.  In fact, these first four songs are all top-drawer stuff for those seeking a return to the old Leppard.  

"Invincible" starts off with a simple bass line, before transforming into a pretty good mid-80's New Wave song that would make Duran Duran or Simple Minds proud, musically.  Vocally, the song is pretty bland, really, with no dynamics to Joe's voice during the chorus...I would actually go so far as to call it rather monotone, to be honest.  While not a brutal track (think most of Sparkle Lounge for my idea of brutal Leppard songs), this is, in tracking order, the first of a handful of songs I would've left off of the record, or recorded as bonus material.

"Sea Of Love" recaptures a bit of the Ret-Leppard (see what I did there?!) feel, as the vocals don't feel as processed and the guitars are a bit grittier than in several other places on the record, yet the backing vocals are as tight and harmonious as ever. 

"Energized" is one of the tracks I mentioned in negative point #4...totally mis-named!  This song is downright boring to me, with looped drums, synth effects, and a mid-tempo approach that is anything but "Energized".  I know a lot of people list this as one of the better tracks on this record, but I would say that this is the second track I would leave off.  It just does nothing for me, although Joe's voice does sound particularly comfortable here, with little strain detected as he tries to climb the scales just a bit.

"All Time High" takes the band retro again, but this time they jump on the KISS "Rock N Roll All Nite" bandwagon, pretty much copying that classic tune's main guitar riff, tempo, and basic drum rhythm, before adding in a Leppardized chorus and hook.  The funny thing is, I'm not even turned-off by the sonic theft here, as "All Time High" is a really good song, and the one I actually would've probably closed the record with if I had a hand in the track sequencing.  Good stuff, even if it's not overly original.

"Battle Of My Own" has a swampy, acoustic blues style that I struggled with when I first heard it, but repeated listen's have bumped it up slightly in my opinion.  I don't like the synthesized effects used on some of the vocals here, but this isn't an automatic skipper for me, by any means,

"Broke N Brokenhearted" is one of the catchiest songs musically, but again, it feels more like a 70's KISS song than a Leppard song, right down to the ridiculous lyrics that are little more than forced rhymes in places.  I mean, come on...tell me that lyrics like "You ain't flash, you're talkin' trash/And you hit me like a caffeine crash", aren't straight outta the KISS Lyrical Writing Bible!  Or when they aren't forced rhymes, they are simply ridiculously Gene Simmons lines like, "who's been sleeping in my bed?  I'll huff and I'll puff and I'll blow your playhouse down!".  I'm actually laughing to myself as I type these lines out!  But again, I'll give it a pass because the grin I get from listening to these silly lines, along with the strong guitar riff, are enough to keep the track rocking along.  

"Forever Young" is pure filler, in my estimation.  Totally cliche in it's lyrical content (as you could likely guess by the title), and not really that interesting musically, it is 2:22 that really has no reason for being on the record.  Even with it being so short, I'd have left it off the record.

"Last Dance" finds the band seeking one of those Zippo moments I alluded to earlier, but this is definitely not their best ballad effort by any means.  In fact, it's kind of boring.  Not bad...just not memorable.  It reminds me of Poison's "Every Rose Has It's Thorn" in the way it is structured, but doesn't have the emotional punch, or the nice electric guitar solo, to overcome the acoustic set-up here.  I'd drop it...

"Wings Of An Angel" is straight off of Pyromania with its guitar riff, reminding me a LOT of "Billy's Got A Gun" during the verses, mixed with Leppard's version of "Rock On" in the way Joe handles the verse lines, before building to a really nice, punchy chorus with those killer Leppard harmonies ringing in.  A strong guitar solo and those big, thundering Rick Allen drums round out one of the three or four best songs here.  While normally I wouldn't bury such a great song so late in a record, it does help to even out the second half of this release, which has had few real strong moments.

"Blind Faith" closes out the record and finds the band going quasi-Beatles on us.  I'm not sure what to think of this song, to be honest.  On the one hand there are these odd woodwinds mixed into the simple snare-and-bass drum cadence and feedback-free guitars, which, like I said, is totally reminiscent of something the Beatles did on their classic Sgt. Pepper album.  But then the song kicks in at about the 4:30 mark, and for about a minute we get a glimpse of classic Leppard again...including Joe really reaching for a high note that he comes so close to nailing.  Would I keep it?  Yes, but I wouldn't have closed with it, as it leaves the band going out with a whisper and a fade rather than on a ringing guitar note, which is why I would've closed with "All Time High", as I mentioned earlier.

This is the first time Def Leppard has strayed away from Mercury Records to record an album, and while I'm not sure whose idea that was, I'm betting Mercury wishes Leppard was still with them, as I am sure this album will likely sell quite well.  Even being on a small label, the production is solid, as one would expect from a Leppard record, and the individual performances are overall really easy to hear in the mix.  The packaging is also top notch, with a full booklet with all the lyrics, numerous band photos, production credits, writing credits, and a thank you section.  

Best Def Leppard record ever?  No, not even close to the first 4 records (On Through The Night, High N Dry, Pyromania, and Hysteria).  Better than the last 4 records?  Definitely better than Yeah!, and Songs From The Sparkle Lounge...probably better than Euphoria (although that has a couple of killer songs on it), and just a step or two behind X (which I love, even though a lot of people hate it).  And, if you took at least three, and as many as five, songs off of this record, I think it may be a more solid album than Adrenalize but without the real high points from that record.  

So...back to the question I left you hanging with in my opening paragraph:  does Def Leppard give fans hope for the band?  More of a Def Leppard album than Slang was ever accepted as being, generally less pop than X, and considerably less crappy than Songs From The Sparkle Lounge, I think most people will say that Def Leppard is Def Leppard being Def Leppard, which is exactly what most people want....right?

Rating:  Rock-worthy, for sure...which actually surprised me a bit!  I actually considered giving this a crank-worthy 7, but then settled on 6.5 simply because of the things I would've left off.  Sometimes more is simply more, and this album could've used a bit less.  All in all, a very good return for the Brits, however!

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WASP "Golgotha"

(c) 2015 Napalm Records

1. Scream
2. Last Runaway
3. Shotgun
4. Miss You
5. Fallen Under
6. Slaves of the New World Order
7. Eyes of My Maker
8. Hero of the World
9. Golgotha
10. Shotgun (Japanese alternate version bonus track)

Blackie Lawless--Lead Vocals, Guitars, Keyboards

Douglass Blair--Lead Guitars, Backing Vocals

Mike Duda--Bass

Additional Musicians:

Michael Dupke--Drums

Since 1989, WASP has been, arguably, the most consistent of the 80's metal bands, at least in terms of the overall sound.  Since shedding their shock rock persona with 89's Headless Children album (title notwithstanding), Blackie and whatever version of the band he is using at the time, has become a far more mature, introspective band, with much deeper lyrics...and more depth musically, as well...with only occasional blips on the WASP radar (most notably the oddly angry industrial K.F.D from 1997, and horrendous 1999 effort, Helldorado).  It is not hard at all to draw a fairly consistent line musically and lyrically, between Headless Children, the 1991 masterpiece The Crimson Idol, 95's Still Not Black Enough, Unholy Terror from 2001, Dying For The World from '02, The Neon God (parts 1 & 2), which were released back-to-back in 2004, and 2007's Dominator.  WASP found a core sound and very rarely strayed from it, utilizing heavy lead and rhythm guitars, 70's-inspired, Hammond-styled keys, thundering drums, and competent bass playing, to carry the majority of their albums.  Unlike their 80's counterparts, WASP was never found toying with pop music (Def Leppard), country (Bon Jovi, Bret Michaels, Steven Tyler), or alternative music styles (Metallica...to name just one); WASP was...well, WASP.  You had a pretty good idea of what you were going to get every time you picked up a new WASP release.  

Also gone from this set of above-average-to-amazing records were the overtly sexual lyrics, replaced instead by deeper subject matter ranging from politics and emotional relationships to...of all things...religion.  No one really knew what to think of this deeper-thinking Blackie...and it only got harder to figure out when 2009 saw the release of  the overtly Christian album Babylon.  What was Blackie's angle here?  Blackie...a Christian?  Who was he trying to fool?  

Apparently, no one.   

2015 found Blackie and his newest incarnation of WASP carrying on in a similarly Christian direction with the release of Golgotha, the band's 15th studio album.  Started back in 2011, and delayed by a world tour and Blackie's severely broken leg, this new record picks up right where he left off musically, lyrically, and thematically.  Blackie's trademark roar of a voice is still firmly intact, not sounding like he has lost any of his range, although he was never a high-pitched screamer like so many hair bands of the 80's.  The guitar tone is still unquestionably WASP, as easily identifiable to the dedicated fan as the established tones of other long-term bands, from Van Halen to Stryper to Iron Maiden.  When you hear one of those band's guitars, you KNOW who you are listening to without even seeing the album cover.  Much the same with WASP and their consistent post-1989 approach.  And the style and structure of the songs, and even the album itself, is exactly what listeners have come to expect from Blackie & The Boys through the years.

The album opens with the uptempo rocker, "Scream", which could have easily slipped into the Babylon album with little problem.  In fact, if there is one knock on this record it is that several of these new songs, including "Scream", almost sound like reworked versions of other, older songs.  Not carbon copies, but very similar in certain aspects.  The same can be said of the follow-up rocker, "Last Runaway" which sounds like a cutting-room floor track from Crimson Idol or Still Not Black Enough, which means its a pretty dang fine song!  Blair rips through a particularly hard-charging solo on "Last Runaway", and the overall song structure, including the galloping bass work of Duda, hearkens back to the best stuff WASP has released.  

Two-for-two is a solid start to any record, and WASP is on fire from the get-go with Golgotha.

"Shotgun"  is a politically charged number that continues the greatness of the first half of this new record, as yet another furious rocker is imbued with Blackie's reinvigorated roar, and some exceptional work from the guitar tandem of Blair and Blackie which may be...sorry Chris Holmes fans...the most adept, powerful tandem that has ever been in the band.  These two just feed off of one another and compliment each other so tightly, so seamlessly, it's truly a joy to hear.

"Miss You" slows things down...WAY down...with a haunting power ballad about the loss of a loved one.  Blackie's always emotive voice is in fine form here as he achingly pleads "Oh God, I miss you--tell me can you hear me/Oh God, I miss you--I can't scream and I can't speak".  This track reminds me a lot of "The Idol" from Crimson Idol, both in the depth of emotion poured out and in the soaring guitar solos (one in the middle, and a massive solo that takes the song home at the end) that just pick this already powerful track up and carries it to new heights.  Even at nearly 8 minutes long, never do I find myself losing focus or drifting away from the powerful beauty of this track, which is my second favorite here.

We are at four-for-four as far as great-to-classic WASP tracks go, and it isn't until "Fallen Under" that we hit even the slightest stumbling block.  The only real problem with this song is the simple, overly repetitive chorus, which seems to drag in spots, making the song feel long at just under 5 minutes, while "Miss You" never drags despite being close to 8 minutes in length, as I mentioned before.

Even this "low point" doesn't hold the album back, as the real powerhouse of the album is up next, with "Slaves Of The New World Order", the best track of a really good set of songs on Golgotha.  "Slaves..." is this album's "Murders In The New Morgue" from Crimson Idol, thunderous drums, powerful chord progressions, and tightly layered backing vocals just feed into the greatness of this monstrous track with such dynamic lyrics as "Hold the tail and feel the thunder/Close enough to smell devil's breath/Between the nails I saved one thief/And ride to hell and lay waste to death" in a clear reference to Christ's crucifixion, decent into hell, and eventual resurrection to destroy sin and death.  Truly powerful imagery matched by an equally powerful performance in the music, again driven by Blackie and Blair's guitar team-up, which draws yet another screaming solo from Blair's axe.    

"Eyes Of My Maker" slows things just a bit, while also presenting one of the heaviest moments on the new record, as Blackie presents a song from Satan's viewpoint, with lyrics screaming "Hear me now, from where I rule for now/My pearls before swine/And in that tree, I lied, deceived/Naked I preyed, a snake in the vine/Golgotha's worst, I railed and cursed/And nailed the cross all time/Oooh, by chapter and verse, by God I'm cursed/Cause I can't look into His face, I'm blind".  Potent stuff there, to be sure.

"Hero Of The World" starts off like its going to drift into ballad territory, but in very Who-like fashion, explodes from its bounds about mid-way through the track with pounding drums and a scorching guitar solo, in a way that is reminiscent of some of the best moments of Dominator or Dying For The World.  

Album closer (standard versions), and title-track, "Golgotha" is the most overtly Christian song on the album to those who don't seek to dig into the lyrics and their meaning (many people have told me they COMPLETELY missed the meaning of "Eyes Of My Maker"), with such blatant lyrics as "Jesus I need you now/Free me, I'm lost somehow/Oh remember me today/I'm a leper left to hang/Oh, yes, I need you now/Jesus I need you now", but never does Blackie sound like he's PREACHING AT YOU as much as he's EXPLAINING TO YOU where he stands now, what he believes, and how he got there.  Again, truly, truly powerful stuff lyrically from Mr. Lawless, with equally powerful and emotive music to back him up.

Despite the fact that WASP has moved to a smaller, European-based independent label in Napalm Records, the production here is still crisp and clear, yet remains edgy and unpolished, as a WASP album should.  The packaging is a digipack (what are you gonna do???), with a full 12-page booklet which includes all the lyrics (a few typos included), as well writing and production credits, and a little note from Blackie.  There are no band pictures to be found, however, which is a small bummer, but nothing major.  Now, if you were like me and you sprung for the extremely limited edition package, you also got a vinyl single of the Japanese alternate version of "Shotgun" (mine's still sealed), a WASP flag (never opened mine), a picture postcard of Blackie (kinda scary looking, to be honest), a cool WASP necklace (also never opened), and the CD itself, all in a metal can that is roughly the size of a full vinyl album.

Limited Edition metal can edition...sorry for the glare!

I know a lot of people have dismissed WASP as a shock-only band for a lot of years, and, as such, they have missed out on what a truly great songwriter Blackie Lawless is.  The guy can structure a song better than the majority of his peers, and writes rock/metal opera-stylized songs better than just about anyone, in my opinion.  And, long-term fans such as myself, have watched as Blackie has been on a soul-searching mission for several years, and several albums, now, culminating in both Babylon and now Golgotha.  Has Blackie found what he's been looking for?  It would certainly seem so, and hopefully I don't have to wait another 6 years to see where he goes next on his journey of self-discovery!

Not the pinnacle of the band's, or Blackie's, career, but definitely top 5. 

Rating:  Easily one of the best of 2015!  Crankable in the extreme, I give this a 9!

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ASHES REMAIN "Christmas EP"

(c) 2012 Fair Trade Media/Columbia Digital

1. Joy To The World
2. Gift Of Love
3. O Holy Night
4. Room For A King
5. Christmas Medley

Josh Smith--Vocals

Ben Kirk--Drums

Rob Tahan--Guitars

John Hively--Bass

Ryan Nalepa--Rhythm Guitar

Another little Christmas gem I only recently discovered, Christmas is a five track, largely acoustic EP from Christian rockers, Ashes Remain.  Featuring two original compositions, two traditional songs, and a medley, this EP retains the harder-edged modern radio rock sound Ashes Remain has become known for, utilizing strong lead vocals, excellent songwriting, and quality musicianship.  

The EP starts with the well-known "Joy To The World", which doesn't stray too far from the traditional arrangement.  Smith's slightly raspy vocal style works well here, giving the classic tune a more modern edge, with simple acoustic guitars and understated drums setting the stage for this beloved carol.  Much the same can be said for "O Holy Night", with Smith's vocals again taking center stage as the band slowly builds behind him.  Of the two classics, "O Holy Night" is my favorite here, as I really like how the song just continually ramps up in volume and power, although it never breaks out into full-on rocker mode, by any means.

The two originals here are excellent.  "Gift of Love" and "Room For A King" are both top-notch songs that I really feel should be included in the Christmas rotation of Christian/positive rock stations on a regular basis.  While "Gift Of Love" starts off with a nice piano line, it still maintains a modern rock (albeit in acoustic form) style, while "Room For A King" is far bluesier in its approach, providing a nice change of pace without disrupting the overall flow of the EP.  Of the original Christmas songs I have heard over the past several years, "Room For A King" definitely ranks in the top five, without question.  The lyrics are moving, the performance is excellent, and the production is clear, yet unpolished, giving the music a chance to stand on its own without studio tricks or embellishments getting in the way.

"Christmas Medley", as the name implies, combines parts of well-known songs into the only truly amped-up track on the record...and in instrumental form, at that.  Basically, this track is a long band-backed guitar solo, similar in style to the shred records of the 80's and 90's, although not as over the top or bombastic as any of those.  With "O Come, O Come Emmanuel" and "Angels We Have Heard On High" being the most obvious of the tunes incorporated here (and at least one other that I am having trouble putting a name to!), this is a nice way to close out this short record. giving the band a chance to shine on a project that was otherwise largely dominated by Smith's strong vocal performances.  

Available only in digital format (that I am aware of), this is an inexpensive pick-up, and easily found on Amazon, Google, and iTunes platforms.  If you're looking for something new to add to your annual Christmas mix, I'd strongly suggest Christmas as an option.

Rating:  A crankable Christmas gift...despite the mostly acoustic layout.  Give it a spin of 8.

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