*RETRO REVIEW* MESSIAH PROPHET "Master Of The Metal"

(c) 1986 Pure Metal Records

1. Hit And Run
2. Master Of The Metal
3. For Whom Does The Bell Toll (Ps. 23)
4. Fear No Evil
5. Heavy Metal Thunder
6. The Friend
7. Battle Cry
8. Voice That's Calling

Charlie Clark--Lead and Backing Vocals

Andy Strauss--Lead Guitars, Acoustic Guitars, Backing Vocals

Brian Nicarry--Guitars, Lead Vocals (3, 7), Backing Vocals

Joe Shirk--Bass, Backing Vocals

David Thunder--Drums

Additional Musicians

Bill Grabowski--Guitars

Alexander Paul--Guitars

While it had existed as a genre for over a decade, Christian hard rock and metal was going to explode in 1986, due in large part to the massive exposure the genre received from Stryper's massive To Hell With The Devil record.  Suddenly, new bands were popping up, old bands were finally getting recognition and exposure, and new labels were forming to get these bands out to the masses.  Pure Metal Records was one such label, and Messiah Prophet was the first band signed to the label.  Perhaps no band better fit the imagery of a label than Messiah Prophet and their second record (first for Pure Metal), Master Of The Metal.

Previously called Messiah Prophet Band, the five piece act changed three members from their previous album, the solid, but decidedly more hard rock Rock The Flock, dropped the "Band" from their name, turned up the guitars, and created a true Christian (or White) metal masterpiece.  Often wrongly called "Heavy Metal Thunder", most likely due to the popularity of that particular track, Master Of The Metal was a beast of an 80's metal album, complete with dual guitars, a thunderous rhythm section, and a vocalist in Clark who could raise and lower his register seemingly at will.  Interestingly, newcomer Nicarry provides lead vocals on the two ballads of the album, but Clark's wail can be easily recognized in the chorus sections, especially on the massive power ballad, "Battle Cry".

The record starts off in fine fashion with "Hit And Run", a mid-tempo hard rocker that kicks off with rapid fire snare drums and chugging rhythm guitar riffs before an overlay of police sirens enters the mix, adding a sense of urgency...and perhaps a bit of 80's metal cheese...to the track, which finds Clark warning listeners "Don't be a hit and run", referring to finding oneself a victim of Satan without having the protection of Christ's love.  The guitar work here is top notch, and the bass of Shirk is definitely stand-out, as are Thunder's drums.  A great way to kick off an album.

The title track is up next, and again, the mid-tempo track is a near perfect track, with aggressive rhythm guitars, a heavy drum presence, big, gang-shouted chorus sections, and a bass presence that was often overlooked in heavy music of the time.  There is a cool time change following the second verse and chorus section that finds Thunder kicking his way through some interesting drum patterns, before giving way to a flashy lead from Strauss, who also wrote the song.  

Nicarry takes his first lead vocal spot on the next track, "For Whom Does The Bell Toll (Ps. 23)".  Introduced by a haunting church bell, "For Whom..." should not be confused with the Metallica track of the same title, as this song is a ballad interpretation of the 23rd Psalm, featuring strong acoustic guitar work and a big, layered chorus vocal, led by Clark, that pronounces "Yea, though I walk/Through the Valley of Death/I will fear no evil".  There are some scriptural modifications to the verses to make them better fit the song structure, but it is clear the intent of the song is to put the well-known inspirational verse to a musical soundtrack the rock/metal kids of the time could relate to.  The chorus, interestingly (intentionally??) leads perfectly into the next track, "Fear No Evil", which finds Clark's high-end power vocals returning to the lead position as the tempo picks back up and the wailing guitars return.  While "For Whom Does The Bell Toll" is an excellent piece of music, it is on "Fear No Evil", with it's shout-along chorus and screaming guitars, that Messiah Prophet really excels.  And nowhere is that more evident than on the featured track of the record, the "hit" of the record, "Heavy Metal Thunder".

Featured prominently at the center of the CD (or at the beginning of the B side of the vinyl), "Heavy Metal Thunder" is five and a half minutes of 80s classic metal bliss.  A big power chord intros the track before Nicarry's rhythm guitars and Thunder's drums join the fray just ahead of Clark's vocals, which take on a nearly-spoken work approach for the first half of each voice, before he cranks up the power, adds a bit of edge, and then elevates the range as he enters the big, layered chorus of "Heavy metal thunder/Heavy metal noise!"  A bridge of "Who are you going to choose?" repeats itself a couple of times before Strauss goes crazy on a screaming guitar solo that put much of the Christian metal scene on notice that this band was for real.  There is also a repeat of the vocal bridge, this time atop just a big...ahem...thundering drum section from Mr. Thunder, himself...before Clark takes a couple of spins through the chorus, and big, twin guitars lead the charge home.  At this point, the greatness of the record and the band is pretty much firmly established and the rest of the record is pure sonic bliss.  

"The Friend" follows up, again featuring a catchy, chant along chorus and gritty rhythm guitars that keep the mid-tempo metallic train chugging steadily forward as Thunder's drums and Shirk's bass keep hammering away in lock step.  Nicarry returns to the lead vocal slot on "Battle Cry" which is an excellent quasi-power ballad that is again supported by Clark's powerhouse vocals on the chorus section, before the record closes with one of my two favorite tracks on the album, the epic metallic rocker, "Voice That's Calling" that is every bit as musically perfect as "Heavy Metal Thunder", even if its likely not as accessible to casual metal fans.  Strauss is absolutely spot-on with his solo work throughout this seven minute monster.  For me, the brilliance of the track is the closing vocal stretch that finds Clark emphatically wailing, "Jesus, Jesus, I will have no gods before you" repeatedly as Nicarry riffs away and Strauss tears into another closing solo run as Thunder complements the song with some great tom fills.  Just a powerhouse of an ending to an equally powerful track.

The cover artwork is nearly as noteworthy as the music, and it is a great part of the overall package here.  The CD insert (and the cassette insert, as well) features full lyrics, writing and performance credits, acknowledgements, and booking information.  There are no band photos or member thank yous included.

This is a masterpiece of an album in the Christian metal genre, and a great piece of straight forward 80s metal overall.  Edging a bit towards more commercial, more melodic metal at times, the album struggles only with the limitations of he production at the time.  This is an album that SCREAMS for a true remastering, because if the muddiness could be even semi-cleaned up in a couple of areas, fans of the Christian metal sub-genre, and of 80s metal in general, would clamor for the project.  As it stands, this album has been reissued one time in the early 2000s, but it was not remastered.  In a perfect world, I would love to see an anthology collection of this album, the 1984 independent album, Rock The Flock, and the last song Clark recorded as Messiah Prophet (albeit with a totally different band), "Blinded".  

This would be the final true Messiah Prophet album (again, Clark recorded one more song, but with a different band), and the next album to feature the Messiah Prophet name, 1996's Colors, is a completely different animal than this iteration.  Decidedly more commercial hard rock in it's approach, Colors, while not horrible, pales in comparison to Master Of The Metal, and not one member of the band from either Rock The Flock or Master Of The Metal performs on it.  I believe this is an example of the label owning rights to the name and the publishing, so when Clark and Strauss' version of the band ceased to exist, the label (then Refuge Records, who bought out Pure Metal) simply put together a new version of the band in an effort to sell records (that plan failed, by the way.  Colors is pretty much considered garbage by most Christian metal collectors, although I think this is a bit harsh.)

Sadly, Clark lost his battle with Lou Gerhig's Disease (ALS) in very early 2018 at the too young age of 55.

Long out of print, in either the Pure Metal or the limited edition reissue, this CD is still highly sought after and regularly fetches $25-50 prices on eBay.  I have seen copies on Amazon listed for $29.99, but I have a hard time believing these are not bootlegs, as they are listed as "new", which I find hard to believe.  

If you can find one for a decent price, you should snag it, because Messiah Prophet's Master Of The Metal is one of the truly great pieces of Christian metal in the important 80s metal scene.  

Rating:  Historically crankable!  Still cranking at 8.5 more than 30 years later!

Back To Reviews Index

  

RAZORBATS/SICK THINGS "Split EP"

(c) 2019 Rob Mules Records

1. The City
2. Summer Of Head

Paul Erik Vercouteren--Lead Vocals

Kjetil F. Wevling--Guitars

Asle Tangen--Guitars

Martin Hervig--Bass

Torris Ilievski--Drums

The best rock band going in Norway today...at least in my opinion...Razorbats return in 2019 with their half of a soon-to-be-released split EP (Canada's Sick Things will be on the other half) from Rob Mules Records.  This split EP will be the first new material from the band since last year's excellent II record, and the first recorded material with new drummer, Torris Ilievski.  

The lead single as far as the Norwegians go is "The City".  Kicking off with a fat bass line and gritty rhythm guitars, the song is a musical adventure for the protagonist who, after a hard night of drinking, finds himself struggling with a case of "room spinning 'round" hangover-induced paranoia, thinking that "spies everywhere" are out to get him.  As is typical with Razorbats songs, a healthy appreciation for classic rock is spread liberally across the single, while elements of sleaze and punk are drizzled into the mix.  Big, gang vocals back up Vercouteren on the chorus sections, and a cool little solo from Wevling is the perfect fit for this fun, uptempo rocker that picks up right where the band's II album left off last year.  Incidentally, Ilievski is a great fit for the band with his approach to the drums, not merely keeping a steady tempo, but adding some interesting rhythms and fills throughout the track.  Welcome aboard, Torris!

If you want to take a listen, check out "The City" right here!

The B-side, "Summer Of Head" is another catchy rocker, a bit more in the 70s punk vein, and considerably raunchier in its lyrical approach.  Kicking off with a guitar riff that snags your attention, the song is nostalgic in its "looking back at a summer of fun" style, "Summer..." drives hard from start to finish, with Vercouteren sounding exceedingly confident on vocals, and the twin guitars of Wevling and Tangen constantly on the attack.  I appreciate the mix on this record, also, as Hervig's bass is given plenty of attention, enhancing the bottom end of the track, keeping it bouncing along.  The guitar solo is a bit more melodic than one might expect to find in a punky/sleazy track such as this, but Wevling makes it work perfectly.  Definitely "B-side" material...not because of  lack of quality, but because of the subject matter...this song will likely find its way into many rockers' summer backyard party mixes, and deservedly so.  

Irreverent, infectious, and staring right at you with a knowing smile, Razorbats make the most of their half of this split EP, and I hope that this is merely a precursor to more great music coming from the band later this year.  Be sure to stop by the band's site to grab your swag, music, and to keep up with all that is going on in Razorbats' world!     

1. Stranglehold
2. You Know It Ain't Right

Cam Turin--Lead Vocals, Guitars

Keith Lewtas--Guitars, Vocals

Patrick Bennett--Bass, Vocals

Matt Gonzalez--Drums, Vocals

Canada's Sick Things are a band that I knew nothing about prior to receiving this EP, although this will not be their first release.  The band had previously released a full digital album through the Bandcamp platform in 2018, which you can find here.  

The lead single from this split EP will be "Stranglehold" (not Nugent's classic track), which will drop in May, along with a video release.  Much like their EP partners, Sick Things plays a 70s inspired hard rock style, but rather than going for the revved-up, punkish approach Razorbats utilizes, Sick Things goes more for a smoother, guitar rock sound, a la Boston, Blue Oyster Cult, or The Who.  Turin has something of an early Joe Elliott quality to his voice, minus a bit of the snarly edge the Leppard singer would employ on their first three albums.  The sound here is thick, with a rich guitar tone, with a lot of bass in the mix, giving the music a bottom-heavy sound.  The backing vocals get a tad bit lost in the mix, as does the early part of the guitar solo on this track, but the overall vibe of the song is a cool one, with handclaps joining the fray following the lead guitar solo, and the final couple of runs through the chorus are really strong.  I'm liking what I hear.

"You Know It Ain't Right!" stays the mid-tempo rock classic rock course, even dropping some cowbell into the mix.  The chorus vocals remind me a lot of early...EARLY...Def Leppard (think On Through The Night, not Hysteria), while the guitars retain that early Boston, B.O.C. sound.  The drums are straight forward and steady, and once again, the bass is a big presence in the mix for Sick Things. I find myself really liking the vocal approach of Turin, as he stays comfortably in mid-tenor range, adding a bit of edge when necessary, but never ranging into a scream or into falsetto territory.  I also really like the guitar work here, with the rhythm guitars hitting particularly hard in their three-chord rock style, and the solo grabs your attention without becoming overly flashy or over-the-top.  Gonzalez is a competent stickman, again not overly flashy or disruptive, and he capably handles the drum approach of the era and style of music this band seems to enjoy.   

If I had any complaint about the music from Sick Things on this EP it would be that it sounds a bit muddy, a tad bit over-modulated, especially on the vocals, which I think is likely due to how much bass is utilized here.  The lead vocals seem like they have the volume pushed up a bit too much, which gives them a fuzzy quality, and the backing vocals get buried a bit from time to time.  I have no production credits in my notes, but I'm wondering if this is a self-produced effort.  Now, take all of this with a grain of salt as I am listening to digital versions of these tracks at present, and it is entirely possible this is not an issue on the actual, physical EP.   

Both bands put their best foot forward here, with Razorbats doing Razorbats things...combining a sassy, sneering attitude with high energy, punk-tinged retro party rock, and Sick Things taking a more straight ahead, NWoBHM meets 70s American classic rock approach.  Production styles differ, as well, with Razorbats sticking to the grittier, more live sound that they have employed so well since their breakout with  Camp Rock, while Sick Things use a smoother and somewhat heavier-handed production approach, giving their songs a thicker sound.  It's an interesting pairing of bands on this split 7-inch EP that will be available on vinyl, and one that I find myself enjoying despite their obvious differences. 

Rating:  With only two songs per band, it's tough to give a comprehensive rating.  As a whole, I'd crank the project to a 7, with the Razorbats material being a bit stronger and more to my liking, but Sick Things have made a fan out of me and I plan to track down that previous album soon.    

Back To Reviews Index

LOVEWAR "Lovewar"

(c) 2019 Roxx Records

1. Who I Am
2. Stand Under It
3. Upside Your Face
4. Candle
5. Grain Of Salt
6. Tuxedo Alligator
7. One-Trick Pony
8. House Of Cards
9. Mercy
10. Up For A Fight
11. You

Tim Bushong--Lead Vocals, Guitars

Greg Purlee--Drums, Percussion, Backing Vocals

Rick Armstrong--Bass, Backing Vocals

No need to check your calendar, as, yes, it is still 2019.  And, yes, you did read the title to this review correctly.  Lovewar has reformed to release a new album more than 25 years after their one true album, 1993's Soak Your Brain.  To some this has become an annoying trend, but for me, the resurgence of old bands who are releasing new material years...sometimes decades...after their last record is an amazing thing!  It not only gives me new music to feast my ears upon, but it also drives me to revisit some of those bands and albums of my youth that have been collecting dust on a shelf.

Things kick off with Purlee's drums before a chunky, down-tuned guitar riff roars from Bushong's guitar on this mid-tempo rocker, only to back off into a quieter, funkier riff during the verse sections.  Here, we get our first listen to Bushong's vocals in more than 25 years...and it was worth the wait!  As a 23 year old, "faster and louder is better" metalhead, I couldn't fully appreciate Bushong's approach, but now, I get what he is doing and definitely like his style and approach.  The edgy guitar crunch returns on the chorus sections which feature some excellent layered harmony vocals from Purlee and Armstrong, whose bass is not only heard but felt throughout this track, mixed perfectly so as to be given a voice without becoming overbearing.  We also get to hear the first solo run from Bushong on guitar, and it is apparent the amount of talent this band has when it is all put together into one musical pot.  Good stuff to open with. 

The tempo picks up...and the music lightens up a bit...on the next track, "Stand Under It".  I'd definitely say this is one of the two or three best songs on an album with no real filler material.  Again, those vocal harmonies are a joy to hear, and the tight rhythm section of Armstrong and Purlee really gives Bushong a solid footing on which he can not only run vocally, but also with a guitar solo that has that 60s Hendrix tone to it.

"Upside Your Face" is another hard rocker with a funky attitude, and it is here that the first comparison to 80s/early 90s King's X is likely to be drawn, although there are nods to Extreme here, as well, though there is nothing even remotely close to a rip-off on this record.  Armstrong is given a chance to really let his bass work here and he does not pass up on the opportunity, nor does Bushong on his solo section.  Purlee, likewise, makes his presence known, with plenty of tasty fill work, especially during the guitar solo, where the cymbals spring forth almost like they are part of that solo.  Another song that falls into that top three or four songs category for me.  

The album's lead single is the funky rocker, "Candle", which features a quirky, jangly guitar riff running the course of the track, along with interspersed harder-edged guitar riffs, giving the song a unique sound that is definitely not something that is part of the current musical landscape.  (And we are all being robbed of so much great music because of this...)  Bushong's vocals are a bit deeper than they were a couple of decades ago, a bit more weathered, but he still sounds strong, like a cross between Gary Cherone and Dug Pinnick.  Armstrong's bass is given plenty of room to rumble on this track, and Purlee's drum patterns are every bit the match for the varying guitar approaches utilized here.  Check the video below to get a feel for what you are going to experience here.

There is a definite musical continuity running between this album and Soak Your Brain, which is largely the result of the fact that these songs were reportedly written as the follow-up album way back when.  That being said, I think the lyrics have been updated to fit a more current time.  As an example, the song "Grain Of Salt"features these great lyrics...

                 "So much tolerance/Can't seem to tolerate...

                   So much violence/Makes me wanna hate.

                   Too many genders/Clutter up the view...

                   Too many lawsuits/Make me wanna sue!"

While nothing here likely jumps out at the casual listener as being out of time, when you consider these songs were written 20+ years ago, the "more than two genders" thing wasn't an issue in the 1990s or even early 2000s.  Regardless, when you hear the band's layered harmony vocals on this, and several other tracks, as well as their musicianship, it becomes very easy to understand why the trio is frequently compared to King's X.  And while that is understandable, it is also unfortunate, for King's X clones, Lovewar is not.  Personally, I far prefer Bushong's vocals, and I think Armstrong's bass, which is featured prominently throughout this record, is a bigger overall instrument than it is on several King's X records.  But again, this isn't about comparing bands and saying "this band is better than that band".  No, this is about a group of guys that came together, seemingly out of nowhere, to reform a band and say, "yeah, let's do this one more time".

"Tuxedo Alligator" is a picture of a wry smile painted with musical brushes, with liberal doses of blues, funk, and rock all smattered across the canvas.  The riffs are chunky and gritty in places, daring Bushong to unleash his guitar, but the funky bass line and generally laid back, lounge-esque drum patterns reign things in, creating a musical tension that is pure ear candy.

"One-Trick Pony" starts off with an acoustic guitar section that eventually morphs into a Zeppelin-styled riff that is soon swept over by the band's layered, Extreme-styled chorus, which actually precedes the first verse.  This song is dang-near hypnotic, and I found myself returning to it over and over, drawn in not only by the instrumentation, but also Bushong's angrier approach to his vocals, particularly on the bridge section where he screams...

                "The world is dying/And we are crying, and shaking and bawling and roaring and 

                 barking to the dogs!" 

...or something close to that; there are no lyrics included with my preview copy, and his angry snarl is a bit hard to make out in this section.  The longest song on the album, there's a lot to take in here, and all of it is good.  Probably my favorite track on this album.

"House Of Cards" takes on a groove-heavy Enuff  Z'Nuff quality musically, with tight harmony vocals and an infectious melody that sets it apart from some of the other tracks here.  The guitar solo is exceptional, with Bushong using two different styled effects on specific parts of the solo break, alternating between a smoother, 60s-rock sound and a slightly edgier, grittier sound. 

"Up For a Fight" starts off with heavy, dark tones, before moving into more friendly-sounding territory.  Again, highly catchy, especially on the main guitar riff that carves its way through the track, and the layering of the vocals add a depth that is just absolute perfection to these ears.  This anti-politics song...at least the current state of politics...is really, really well done, and would have been the perfect close to a really solid return.  But Lovewar isn't quite done yet.

"You" is another Zeppelin-meets-King's X track, especially in the guitar riffs that open the track, while the Extreme qualities of the song jump out at you in the pitch-perfect harmony vocals, the added percussion instrumentation, and the thick vibe that runs throughout.  All three men are equal parts of the whole here, and if "One Trick Pony" isn't the best of the batch, "You" probably is.  "You" has an extended instrumental section to exit the song, but does so without feeling like it breaks down into a jam band session, and when the final guitar note rings out, you find yourself waiting for the next track to kick in because you simple don't want the record to be done!

The production is very good here, which is essential when you are dealing with a band that has as much musical talent, quality, and depth as a band like Lovewar.  Top notch songwriting, excellent musical performances, and gorgeous vocal work...from lead vocals to those exquisite harmony vocals...all lead to an amazing return for Lovewar. 

Now...if we can only convince them to not wait 25 or so years before the next album comes out...

Rating:  A strong return for the band, crank this to 8.

Back To Reviews Index

PAVLOV'S DOG "Prodigal Dreamer"

(c) 2018 Rockville Music

1. Paris
2. Hard Times
3. Winterblue
4. Thrill Of It All
5. Easter Day
6. Hurting Kind
7. Aria
8. Waterlow
9. Suzanne
10. Crying Forever
11. Being In Love
12. Shaking Me Down
13. The Winds Wild Early

David Surkamp--Vocals, Acoustic and Electric Guitars

Sara Surkamp--Vocals (5, 7, 10), Acoustic Guitars

Abbie Steiling--Violin

Rick Steiling--Bass

Mark Maher--Piano, Hammond B-3, Synthesizer

David Malachowski--Electric Guitar

Manfred Ploetz--Drums

Additional Musicians

Saylor Surkamp--Backing Vocals

Hollie Woods--Backing Vocals

Robert Marstiller--Percussion, Backing Vocals

Paul Hennerich--Trumpet

Every now and again, an album comes to me that makes me stop and go...."ummmm....huh.  Okay then...".  Pavlov's Dog is a band that does exactly that with the release of Prodigal Dreamer, their first album in 8 years, and only the eighth record in the band's 47 year history.  You read that right...47 year history!  Other than the background information I had in the press sheet and the little I pulled from some research, I honestly know exactly ZERO about this band, so I was starting in that same place...ground zero...when I put the album on to play.

First off, Prodigal Dreamer is the type of album that really should be played on vinyl; there is no question about that.  In fact, this is the type of music that used to be on the turntable when I would walk by this old hippie's house on my way home from campus when I was in college.  (Oddly, this was in the late 80s/early 90s, and he wasn't old enough to be a true hippie, but I think he had partaken of a bit too much of the 60's generation's "mood alterers", if you catch my drift, man...)  His was a steady...and LOUD...diet of Grateful Dead, Phish, and a bunch of 60's and 70's folk/progressive rock, and on the harder end of the spectrum, Pink Floyd, Kansas, and Rush.  And it was always on vinyl, long before vinyl became cool again.  Everything about the sound and style here says that this would go even better with the hiss and pop of vinyl, but my digital files will have to do.

The second thing about Prodigal Dreamer that you should know is the album was recorded in a rather unique fashion, using what is known as "room-miking", with the entire band all performing together live and at the same time, rather than in parts or in separate sound booths.  That fact blew my mind, as the complexity of some of these songs would seem to require multiple takes and retakes to get down correctly.  But for all seven members, plus the guest musicians, to get together and jam together and pull it off is absolutely mind-blowing to me.  That takes some talent, regardless of the style of music being played.

As to that style, well, it is definitely not the style of music I would normally listen to.  Progressive folk rock is probably how I would describe it, but I am not sure if that is altogether accurate.  Band founder/lead singer/composer/arranger/guitar player David Surkamp sounds to me like what I would imagine a child of Bob Dylan and Geddy Lee might sound like.  While not quite as rangy as Lee, and not quite as nasal or whiny as Dylan can be, Surkamp finds a slot somewhere in between and pretty much stays the course there.  There is an emotional quality to his vocals that is definitely unique, and the slight warbling vibrato he employs in places adds a uniqueness to his sound. 

The music here is pretty much all acoustic, although there are interspersed electric guitar sections, some of which are pretty good, honestly.  The extended solo on "Thrill Of It All" is quite tasty in a psychedelic 60s rock kind of way, and it really sets itself apart from the rest of the reggae-ish, bass-driven approach that drives the majority of the track.  Some plaintive Hammond B-3 organ also drops in from time to time, but for the most part, this is pretty much an unplugged record for most of the performers here.  

Lyrically, Surkamp seems to stick to songs about lost love, unrequited love, pain, and painful memories, which suits the musical style well.  "Easter Day", for example, starts off with "It was rainin' out in Georgia, when I found where the rainbows end.  So I poured myself some bourbon, and I drunk myself to sleep."  Surkamp's wife, Sara, takes a turn on lead vocals for this song, which uses liberal doses of violin, piano, and sparse drums, and her voice is stark, dry, and wracked with pain...and about an octave lower than that her husband uses.  

In speaking of the violin, Abbie Steiling's work is all over this record, and she is truly talented, there is no question.  The same can be said for the Hammond B-3 work of Mark Maher, which is strongly featured in a couple of tracks, with "Shaking Me Down" being a song in which the instrument is the predominant feature for the most part.  There is also another interesting guitar solo in this track, but if I'm honest, I'm not all that sure the guitar solo fits the rest of the song, at least not all of it.

I was really shocked at the lack of rock here, to be quite honest, and to declare this to be anything more than mood music would be disingenuous on my part.  The problem is, I'm not entirely sure what mood I'd have to be in to listen to this with any kind of regularity.  There's just nothing here that is overly interesting or memorable to me.  Again, I don't question the talent, and I don't doubt the earnestness with which it is performed, but there is really nothing to grab onto here...at least for me.  After spinning through the album half a dozen times, I can't tell you with any confidence the names of any of the songs, the choruses, or even the idea behind a single track.  If I'm being completely candid here, I had to actually listen to the album the entire time I was writing this review just so I had some recollection of where the guitars drop in or where the Hammond has a voice.  In fact, the only thing I can say with 100% confidence is that Abbie Steiling is a fantastic violin player, that David Surkamp has a unique voice that I would assume some find absolutely perfect...and others find terrifically annoying...and that Pavlov's Dog is simply not for me, at least on this record.  I have read that older records had a lot more rock to them than this one does, so perhaps those would be a better place to look for fans of this art rock/folk rock/progressive genre.

Rating:  Turn this down to a 4.5 folks.  It just doesn't rock at all.

Back To Reviews Index

PAISTY JENNY "18 Days In Weed"

(c) 2019 Direct Hit Records

1. 18 Days In Weed
2. Criminal
3. High
4. Let It Go
5. Hollywood
6. Run To Me
7. Ashes
8. Run To Me (Acoustic)

Gregg Lee--Lead Vocals, Guitars

Stan Liberty--Lead Guitars, Vocals

Gabe Matthews--Bass, Vocals

Tye Lovette--Drums, Vocals

Lincoln, NE rockers, Paisty Jenny, have finally released a new album, their first since 2011's Head In A Haze.  The new record, 18 Days In Weed, was recorded with multi-platinum producer, Sylvia Massy (Sevendust, Tool, System of a Down) and Michael Beck (Jake E. Lee's Red Dragon Cartel), and features a bigger, richer, heavier sound than these hard rockers have ever managed to capture on an album, coming across much closer to their live sound than they have in the past.  I say this with great confidence, as I have seen the band perform multiple times, including at SkullFest a few years back.  Combining a love for 80s arena rock with modern crunch and edge, the band finds its way into that category occupied by bands such as Hinder, Theory Of A Deadman, and even Velvet Revolver to a degree.  

The new effort kicks off with the "title track", if you want to call it that.  Basically, "18 Days In Weed" is a drum cadence from Lovette (along with some big drum kicks) with some guitar riffing running below with what sounds like some sampled emergency phone call audio laid over the top.  All of this essentially serves as the lead-in for the first real song on the album, "Criminal".  For fans of the band, yes, this is the same song that was released as a single back in 2013.  However, prior to this album, the song was never available on CD that I am aware of, so it is nice to have it included here.  For those who are not aware of the band, "Criminal" was up for Grammy consideration in multiple categories in 2014, which is pretty amazing for a regional band like Paisty Jenny.  However, if you have heard the track before, you will still need to hear the new version, as it is far heavier and punchier than the original.  Crunchy guitars blast the song to life, joined by big arena-styled drums and a strong bass presence from Matthews.  Lead vocalist, Gregg Lee brings his sassy snarl to the vocals on this song that pretty successfully straddles the 80s arena rock and modern rock styles.  Liberty lays into a nice, melodic solo, and the entire band contributes to the track with layered backing vocals on the catchy-as-heck, sing-along chorus.  Yep, you've heard it before...but never like this, and "Criminal" officially gets things rolling in a big way for this band and this record.

"High" comes out swinging, as well, with more hard-hitting guitars and punchy drums.  Lee's vocals on the verses are performed through a megaphone (check the video below), but the chorus is much cleaner and has a far more melodic feel to it than the verse sections do, feeling akin to the trippy melodic rock of a band like Enuff Z'Nuff.  Again, there's a really good guitar solo embedded in this track, along with a nice vocal bridge that showcases Lee's melodic singing ability, as opposed to the snarlier, edgier vocals he utilizes on much of the band's material.  I would have to say that this is my second favorite of the new tracks here, and I really like the way the band experiments with a variety of styles and sounds here, showing a willingness to expand upon the tried and true PJ sound.

"Let It Go" is another excellent track here that longtime fans of the band may have heard in the live setting.  Introduced by a short, hip-hop sounding lead-in from Matthews on vocals, the song quickly kicks into full-on rocking mode, once again featuring a nice juxtaposition of melodic chorus sections set apart from edgier verse portions.  Again, Lee sounds strong and comfortable with both styles of vocals here, and contributes some crunchy rhythm guitar lines, as well.  I have to continually give props to Liberty for his work on the lead guitars here, as each song on 18 Days... features a strong solo, whether its a melodic string bender such as on the one found here, or a more metallic-sounding solo such as the one found on the next track, "Hollywood".  Truly strong work from a guy that honestly bolsters each of these songs with an extra shot of musical adrenaline.

"Run To Me" sounds very much like a track that Warrant would have delivered in the 80s, with Lee delivering a particularly impassioned vocal performance here.  As much as I think "High" is a great new song, "Run To Me" is just that much better to my ears.  This is possibly the best written song I have heard from the band, and the "Don't be afraid to try your wings..." bridge is an excellent lead in to another big guitar solo from Liberty.  The beauty of a track like this is that while 30 years ago, this song would have hit the radio, it also proves the relevancy of great songwriting.  A great song is a great song, and even today, "Run To Me" stands as the strongest entry on an overall strong album from an eastern Nebraska band that you really need to seek out.

"Ashes" is another older song finding its way onto a CD for the first time, and it brings the album proper to a close.  Much like "Criminal", the band neatly and deftly manages to live in both the 80s arena rock and current modern rock world, thanks in large part to a big, arena-styled drum sound, strong rhythm and lead guitars, and Lee's vocals, coupled with a bigger than the 80s bass presence and better production than was often the norm in the 80s.  Lee adds a screech to his vocals for good effect in a couple of places here, and I would imagine that this song is one that brings the fans to life in a live setting.

"Run To Me" is given an acoustic rendering to end the album, and while it is definitely a song that lends itself to this style, I feel like it was an unnecessary addition, as the original is particularly strong.  I will say that hearing the acoustic guitar work here is a treat, as it is very clean, with both a rhythm line and a melodic line running simultaneously in places.  I'm assuming both Liberty and Lee played their respective guitar parts here, but I am not 100% certain.  Far shorter than the original version, the vocal bridge is dropped, as is the final set of runs through the chorus, this version doesn't quite reach the three minute mark, while the original tops out at slightly more than four minutes.  

The packaging here is pretty good, especially for a completely self-produced effort (Direct Hit Records is the band's own label).  The digipack is a double fold with multiple color photos, a thank you section, and basic recording info.  There are no lyrics here, but nothing the band sings is hard to make out, regardless.

The album dropped on March 30, and I believe it will be available shortly on the band's website.  For now, the digital versions of singles "Let It Go" and "High" can be found on the band's CDBaby page, as can older versions of "Criminal" and "Ashes", and their previous album efforts.  

Overall, I have to say that 18 Days In Weed is a very fun listen and a solid representation of the band's energy and sound from the live setting.  When I mentioned this to Lee the other day, he told me, "Amazing what happens when you hook-up with a couple of world class producers!"  I am inclined to agree with him, for as solid as Head In A Haze was, 18 Days In Weed is leaps and bounds better.  Hopefully the band will be in your neck of the woods at some point so you can snag a CD and catch their live performance so you can leave the show "PAISTED!"  

Rating:  A definite cranker here!  I have no issues giving this a 7.5!  I just wish it had been a song or two longer, with at least one more new track.

Back To Reviews Index

LA GUNS "The Devil You Know"

(c) 2019 Frontiers Records

1. Rage
2. Stay Away
3. Loaded Bomb
4. The Devil You Know
5. Needle To The Bone
6. Going High
7. Gone Honey
8. Don't Need To Win
9. Down That Hole
10. Another Season In Hell
11. Boom!
12. Killing Machine (Live) (Japanese Bonus Track)

Phil Lewis--Lead Vocals

Tracii Guns--Lead Guitars

Ace Von Johnson--Rhythm Guitars

Johnny Martin--Bass

Shane Fitzgibbon--Drums

It's always funny to me how a band can go years...sometimes even decades...between album releases, and then turn around and start churning out album after album.  LA Guns is one of these bands, having sustained gaps of 7 years between Tales From The Strip and Hollywood Forever, and then 5 more years between Hollywood Forever and The Missing Peace, but now we are on the second studio record (third total counting Made In Milan) from the reunited Phil Lewis/Tracii Guns duo in less than a year and a half!  But hey, I'm not here to complain, especially when the results are as amazing as The Devil You Know, because this album takes all the furious energy of The Missing Peace and simply adds to it, coming across loud, aggressive, sleazy, angry, snarky, and wagging a middle finger at anyone who though the band was dead and gone. 

The first two tracks here have both been released on YouTube as singles.  "Rage" is a high-speed, punk-infused blast of adrenaline into'd by Fitzsimmons' sticks and a "1, 2, 3, 4!" that bursts right into a nasty guitar riff and a yowling vocal style that can only come from Phil Lewis!  Martin's bass throbs all the way through the track, and that beefed up bass presence is just improvements to the overall sound of this record from the more raw, almost garage-sounding style of The Missing Peace.  Tracii cuts loose on a rambunctious solo before the last couple of spins through the chorus, with Von Johnson's aggressive rhythm work charging hard from start to finish.  "Rage" sets a pace that would seem almost impossible to keep up for an entire album!

As if on cue, "Stay Away" backs off the speed just a tad, but don't mistake that for saying it backs off the aggression, as that is simply not the case.  I love the riff on this track, and Fitzsimmons has some serious issues with his cymbals, as he beats the living crap out of them, adding to the aggressive tone of the track's overall sound.  Phil Lewis strings together some of his best lyrics in years, with the line "I got a taste of success/The taste of blood in your mouth/Like getting punched in the face/And your teeth knocked out!" just grabbing my attention from the very first time I heard it.  Bitter much, Phil?!  Whatever has him angry, it has his full lyrical attention, which is a great thing for fans of the snark and sneer that was always present, along with an ever-present chip on his shoulder, when Phil was at his best!  

"Loaded Bomb" starts off with a snare drum intro and some Zeppish guitar work before it morphs into another high-energy rocker with some sick slide guitar from Guns and absolutely spot-on vocals from Lewis.  An absolutely filthy sleazefest, "Loaded Bomb" also features some excellent rhythm work from Von Johnson and frantic footwork from Fitzgibbon, and continues to find Lewis in a rather pissed off mood, lyrically.  "Loaded Bomb" sounds like it crawled straight out of an 80s-era Sunset Strip sewer then dragged itself to the modern version of the band and just slathered itself all over the band members.  At times fast and furious, at times a bit funky, and at all times sleazy, its on tracks like this, where the band stretches themselves a bit to incorporate different influences, that I think LA Guns has always sounded their best, regardless of the incarnation. I love this track.

The title track took me a few spins to really get behind it, but that is likely because there is a lot to take in on this track.  For starters, this is a pretty doomy sounding song, which is not something that one will often hear about LA Guns (in fact, I don't think I've ever said something like that...).  It seems Phil is trying his best to craft some sort of dark, horror rock track lyrically, with a chorus of "My mama done told me you're the devil/And the devil been suckin' on my soul..." or "Gotta stench that stinks like sulfur/And blood flows through your pores/Not band when you're numb to the horror/Gonna meet me...when I'm dead and cold!"  There are guitars all over this track, coming at you in waves, whether in the chug-chugga-chug tempo of the bridge, or the wailing Guns solo that screams to life right after, there is, as I stated before, just so much going on in this song.  The drum presence is big here, especially in that bridge section I mentioned, and the bass can be felt throughout.  Different, and not my favorite track, but one that continues to grow on me more and more.    

Back to back killer tracks here are "Gone Honey" and "Don't Need To Win".  "Gone Honey" captures that laid back groove that the band had down to such a science on Cocked & Loaded, a sleazy self-confidence with a smooth and sly, cocksure quality spreading across Lewis' vocals as he dismisses a scorned lover.  "Don't Need To Win" picks the pace up just a bit and Lewis' vocals regain their edge and bite with the whole band sounding like they've spent a good deal of time with the debut album, reliving that gritty, sleazy style of rock n roll that the band produced seemingly effortlessly back in the day.  "I don't need to win the game/But I'm gonna be in it" is such a great line that fits the feel and attitude of a band that has absolutely zero to prove but is still out there taking big league swings at the fence nonetheless!

"Down That Hole" is a song that will divide the fans a bit, I have a feeling.  The Zeppelin vibe on this track is absolutely inescapable, from the retro feel of the drum sound used by Fitzsimmons to the liberal use of slide guitars.  The solo from Guns is one of the best on the record and a big, catchy hook just grabs hold of the listener as Lewis glides (as much as Phil's vocals will glide) across the track.  This, and the title track, are likely to be the most challenging songs for long-time fans of the band who think every song should be "Sex Action" or "Rip And Tear".  But for fans of some of the bands' more adventurous musical endeavors, these two songs are going to be big time winners.

"Another Season In Hell" is as close to a ballad as the album comes, but this ain't no "Ballad Of Jayne".  Lyrically dark and musically intense, "epic" is probably the best single-word description for this track which stretches to nearly six and a half minutes.  Tracii's guitars carry a tone that matches the angst and pain in Lewis' vocals perfectly, especially on the melancholy solo section that is drenched in soul and carries as much emotional weight as anything he has laid into a song in years.  Dang close to musical perfection to these ears.  

The album closes with "Boom" is punkabilly at its best and a fun way to close the album proper.  Big, gang-shouts bolster the chorus, and Tracii rips through one last scorcher of a solo before the band exits the album on a high note that is likely to leave fans wondering how long they will have to wait before the band treats its fans to another slab of rock done right!

If you happen to snag the Japanese pressing of this record, a live version of "Killing Machine" is the final track on the album.  Sounding like a soundboard recording, this isn't the same version that was released on Made In Milan, and it finds the band in fine form.  A couple of minor vocal squawks from Lewis let you know this is, indeed, a live recording that, at least vocally, is likely free of too much touching up,  That being said, Tracii's solo is so note-perfect, I wouldn't be overly surprised to find it had been overdubbed, but it's really not a big deal because this song has nothing to do with The Devil You Know or how great that record is.

One thing of note that I feel needs to be added is that the sound quality of the videos that have been released is NOT of the same quality on the CD, at least to my ears.  I have had issues with some of Frontiers Records' releases as far as production goes, but I don't detect any significant flaws on The Devil You Know.  There are a couple of places where Phil's voice gets a bit raw, but these areas are small and don't run the course of entire songs or anything, and take nothing away from the quality of the songs.  If anything, these minor flaws only show that the production here is not so heavy-handed that everything has been sanded down and polished up to a glossy veneer that would run counter to the style of a band like LA Guns.  Of course, production is an opinion thing, but I like the way this album is mixed and put together, and I think the flow is excellent, with peaks and valleys in tempo keeping the listener on their toes, despite the lack of a pure ballad.  No real complaints from me in the production department.

Overall, I have to say that I think The Devil You Know is a step up from the really, really good The Missing Peace, and I have mentioned to people before that, as of this writing, this may be my favorite LA Guns record...ever.  As amazing as those first two records are, I truly feel The Devil You Know deserves mention with them both as far as the best the band has done.  Maybe it's the newness of The Devil..., and maybe it's because I have played those first two albums TO DEATH, but there is something about this new record that just grabs me and holds on for dear life while simultaneously trying to shake me to death!  Had this album come out in 1990, after Cocked & Loaded would it have been a hit?  Not likely, as I think it would have scared the crap out of most people to hear the band sounding this angry and this hungry.  Perhaps that is why it is so powerful to me now, because somehow, after all these years, and while dragging all that baggage, LA Guns sounds as powerful and as hungry as they ever have.  And that's saying something...

Rating:  One crankable beast, The Devil You Know is a definite 8.5 for me!

Back To Reviews Index

RON KEEL BAND "Fight Like A Band"

(c) 2019 EMP Records

1. Road Ready
2. Fight Like A Band
3. Rock N Roll Guitar
4. Long Way Down
5. Hearts Gone Wild
6. Good Songs Bad Times
7. Girls Like Me
8. Fire In The Rain
9. Just A Cowboy
10. Old School
11. Tears Of Fire
12. Right To Rock
13. Hey Man

Ron Keel--Lead Vocals, Guitar
Dave "DC" Cothern--Guitars, Vocals
Geno Arce--Bass, Vocals
Jeff Koller--Drums, Percussion, Vocals
Scott "Dakota" Schmitt--Keyboards, Vocals

Additional Musicians
Mike Dresch--Backing Vocals, Producer

Ron Keel is a busy guy.  Whether its authoring books, performing with KEEL or one of his other bands, or working on his Streets Of Rock N Roll podcast, the man always seems to have something going on.  So perhaps it shouldn't be a surprise that it has been 5 years since the singer/guitarist released his album, Metal Cowboy.  But now he's back with a new band, new album...and the same attitude!  Whether he is playing his own brand of metallic country rock, or blasting forth with 80s-era KEEL styled tunes, the man...and his band...are out to kick some serious ass!  And, with Fight Like A Band, the Ron Keel Band does exactly that!

The album starts off smoking hot, with "Road Ready", a song that could have easily come from KEEL's self-titled effort from back in 1987 (can you believe that?!).  Starting off with a nice, melodic piano which is partnered with some harmonic guitar work and simple drums, the song's introduction is misleading, because it is a matter of just a few seconds before the hard-edged guitars and Ron's unmistakable bellowing roar spring to life!  This is damn-near classic KEEL right here, and Ron seems determined to drive that point home, as he name-drops close to a dozen classic KEEL song titles within this one tune!  From "Right To Rock" to "Lay Down The Law" to "Back To The City", this track hits on them all...heck, he even pops his book title, Even Keel, into the mix, but it all works on this energetic and entertaining hard rocker!  For anyone who was concerned that the man and his band were simply going to be treading the hard-country-metal territory they plumbed on Metal Cowboy, take heart, for there is a LOT of classic KEEL here.  Ron may have shaved a bit off the top of his range, but the power is definitely still there, as is the lung capacity, and he sounds in fine form throughout the song (and record).  And, while there is no Bryan Jay to flash the guitar solos, DC Cothern more than holds his own, and with Ron, forms a fine twin guitar combo.  An excellent way to kick things off!

The title track, "Fight Like A Band" is up next, and the KEEL-esque material rolls on.  Yes, there is a bit of a hint of Nashville in the song structure, but the approach and the attack are more in-line with what KEEL was doing back on their later stuff, like on Streets Of Rock N Roll.  Again, Ron's big voice and excellent guitar work from Cothern really crank up the power on this track, with strong support from the powerhouse rhythm section of Jeff Koller on drums and Geno Arce, who has been with Ron in projects from KEEL (Streets...) to Iron Horse, and even the Rat'lers days, on bass.  Catchy with a big, anthemic, easy to sing chorus, my guess is "Fight Like A Band" will be one of the new tunes that garners the most attention live, along with "Road Rage" and the next tune, "Rock N Roll Guitar".

Speaking of "Rock N Roll Guitar", this track hits hard right from the start, with chunky guitars and a thumping percussion presence, before settling into a story-song style that tells a tale not entirely dissimilar to Foreigner's "Juke Box Hero", with the song's protagonist buying a pawn shop guitar and building himself into a rock n roll star!  The drums from Koller have a very big presence in this song, with a particularly ear-catching fill right before Cothern breaks into one of the best solos on the record, blazing through a six string tear that is reminiscent of some of the best stuff from KEEL.  Speaking of blazing guitars, be sure to check out the monstrous outro solo on this song, courtesy of 16 year-old phenom, Eli Dykstra!  I would have loved to hear this given some extended time, as he is simply melting strings as the song fades!  This and "Road Ready" are in a constant battle for top new song on this record for me, as both are instant winners that should have the rockers throwing their fists in the air and head banging along!

"Long Way Down" finds the album intentionally drifting into more of a country rock style, but the edge doesn't disappear in any way, and while the guitars have cleaned up some of the distortion, and the keys take on more of a piano feel, there is still a definite classic rock element to this song.  The thing is, a good song is a good song, regardless of style.  I know that not everyone shares this sentiment with me, but as someone who spent many years as the music director on a country radio station, I have an appreciation for the style that many may not have.  But I have long contended that 90s country is where a lot of the musicians that were originally headed for the Sunset Strip ended up once grunge hit, and country radio stole the look...and the hair metal power ballad...and turned out some of the best radio rock that many "rock and metal or nothing" people never got to hear.  That is where "Long Way Down" fits to me; excellent country-tinged classic rock with non-country radio vocals (Ron is just too gritty, too edgy for today's "Bro Country" scene), and enough attitude to keep the rockers happy.  I'll be honest, as much as I love classic KEEL, I could also take an entire album of songs like this and the follow up, "Hearts Gone Wild", and be perfectly happy.

"Hearts Gone Wild" is a more mid-tempo rocker with some southern rock and 80s radio rock sensibilities mixed in.  Easily a top 5 track on an album filled with great songs, "Hearts Gone Wild" is another story song that Ron delivers with a believable passion, especially on the acoustic section right before the final chorus.  Speaking of the chorus, big, gang-shouted backing vocals really beef up the sound here, and Ron cuts looks with one of his classic wails as the song comes to an end.  Again, just good hard rock here that would have found a home on mainstream radio back in the 80s, I'm sure.

"Good Songs, Bad Times" stays the mid-tempo course, as this heartland country rocker about how music is the soundtrack of our life, from the heartbreak of break-ups to the unforgettable great times of walking down the aisle or celebrating any of life's truly great moments.  As he does so frequently throughout the album, Ron interweaves classic song titles and bands, from "Take It To The Limit" to Tom Petty and AC/DC, but he does so without sounding cheesy, which so frequently happens on efforts such as this.

"Girls Like Me" is a barroom shuffle song complete with hard rock attitude, big, gang-shouted backing vocals...including vocals from several ladies, and rollicking piano as Ron sings about liking girls who have things in common with him.  Cothern lays into a pretty cool solo before the final runs through the chorus start, and the drum and bass work here really keep the tempo and swing of the song rolling along.  I could do without the Strip Club Emcee routine in the middle, but this is a fun song, nonetheless, and isn't designed to be taken seriously.

"Fire In The Rain" is reminiscent of the material Jon Bon Jovi recorded for the Young Guns II : Blaze Of Glory soundtrack,  with a hard rock take on the western sound, especially in the way the guitars are styled.  Catchy as heck, this song would have definitely fit on the Metal Cowboy offering from a few years ago, but the guitar solo from Cothern on this track is better than just about anything that was on that album...and I really, really like Metal Cowboy!  Cothern just has a feel for what Ron has written on these songs and his solos, as well as his extended outros, are spot-on perfect for these songs.  Again, a definite top 5 song from the record as far as new material goes.

"Just A Cowboy" is the most straight-forward country song on the record, sounding like something that would have been heard on the radio back when I was working in that industry.  It wouldn't surprise me to find a song just like this as an album cut from Brooks & Dunn, with Kix Brooks doing the singing.  Ron backs off the edge of his vocals a tad bit, and the guitars are completely cleaned up of distortion, adding even more to that 90s country feel.  I would imagine that the Rock-Or-Die crowd is going to skip this track every time, but again, for those open to good songwriting and performance, regardless of style, this is not a bad track at all. 

"Old School" retains a bit of countrified songwriting, but the hard rock attitude and edge starts to climb back into the song, as well.  The guitars are dirtied up just a bit again, with the gang shouts returning to the chorus, and Schmitt throws down on a classic rock Hammond organ section, just for good measure.  Not a KEEL song, but a good classic rocker, without question.

Speaking of KEEL songs, two of that band's better known songs are given the RKB treatment here.  "Tears Of Fire" remains pretty true to the original in all aspects, with Ron's vocals really turning back the clock here.  The music is pretty darn close to the way it sounded on The Final Frontier, but with a slightly cleaner sound, owing largely to different production methods, I would suspect.  Cothern's acoustic work here is excellent, and the solo is really good, as well.  Meanwhile, "Right To Rock" had me a bit worried, to be honest, as I was not sure how this band would handle that band's instrumental work.  I needn't have worried, however, as this is a blistering rendition of that classic KEEL track.  Again, Ron has lost a bit of the upper range of his vocals, most notable on the big scream that opens the song, but outside of that, very little has changed here.  Koller adds some extra double-time snare before the big "THE RIGHT TO ROCK" shout at the end of the song, and the guitar solo from Cothern is not identical to the original, but otherwise, not a lot of the music is all that different.  Even the gang-shouted chorus nails it for me!  Yes, I still prefer the original because that is the version my brain tunes to automatically, but if nothing else, this version proves without a doubt that RKB can pull off pretty much anything from the KEEL catalog that they would choose to work up.

The album closes with "Hey, Man", returns to that Blaze Of Glory style of song, but it wraps the album up in excellent fashion as this is just a well-written and well-performed western rocker.  In fact, the tempo of the song is very much like that utilized in "Blaze Of Glory", with some excellent slide guitar work done here, I'm guessing by Cothern.  As I stated earlier, I could do with an entire album of this style of music from the RKB should Ron choose to do such a thing.

As is frequently the case with albums that run more than 9 or 10 songs long, there are a couple of lesser tracks here, but nothing that ruins the overall feel of the album.  Sure, I would probably have left "Just A Cowboy" off, especially if I was really targeting my rock audience, but I don't think that is what Ron was doing here.  I think Ron likely wrote a bunch of songs, took the best 11 new tracks, threw in the two remakes, and put out an album that he would listen to if he was a fan.  Like he sings in "Hey, Man", "through the bad times and the good, we wrote the best songs we could".  And to that end, I think he succeeds in spades!  This is a really, really good album, with enough diversity to catch the ear of the whole scope of Ron's fans, and PLENTY of great hard rock to draw the KEEL fans that may have drifted away a bit back into the fold.

Rating:  Definitely crankable!!!   A solid 8.5 here!

Back To Reviews Index

RAINFORCE "Rock N Roll EP"

(c) 2019 Roxx Records

1. Rock N Roll
2. In Good Hands
3. Stay Strong 
4. The Lost Sheep

Jordan Cutajar--Lead Vocals

Andy La Morte--Guitars

Matt Brand--Bass

Benjamin Mann--Drums, Keyboards

Rainforce returns in 2019 with this four track, follow-up EP, Rock N Roll, to try to maintain the momentum they garnered following their popular 2017 debut, Lion's Den.  Continuing in the vein of metal-influenced three chord hard rock, a la AC/DC, Dirty Looks, Krokus, and X-Sinner, Rock N Roll is a solid, if short, entry into the 2019 musical fray...and it is a good one!

The album starts off with the title track, and this is pretty much pure AC/DC worship, start to finish,  with vocals that sound freakishly like Rex D. Scott from X-Sinner (they are not...I asked Rex, just to be sure).  Jordan Cutajar (also of Pylon) handles all the vocals, and this guy deserves some SERIOUS props, because he has a range of vocal styles that is rather uncommon, being able to handle the lower, edgier backing vocals as well as the snarly, higher-pitched leads!  From the rhythm guitar riff to the pulsating bass and big kick drum/simple snare pattern utilized by the Aussie rockers, there is no denying where La Morte's passions lie, musically.  Lyrically, there is no misunderstanding his passions, either, as his faith if on bold display here, but he gets his point across without Bible-thumping the listener.  Take the chorus as an example:  "The world around us is constantly changing/But really good songs stay really good songs/Some good things never come to an end/Our faith in Christ and love for....Rock N Roll!"  Nothing pushy, nothing offensive, but also definitely not backing off from where he stands.  And when he isn't busy writing the songs and lyrics, La Morte is also slinging a pretty mean axe, filling this song with tasty riffs and a powerful solo.  A great start to this EP on a track that I would swear is a long-lost X-Sinner track (if you've never looked into this classic Christian rock band, you need to!)

"In Good Hands" continues the three chord love fest, but with Cutajar taking the vocals into a far lower range than those utilized on "Rock N Roll".  Even in this range, Cutajar holds his own, adding a hint of snarl to his lower tenor vocals, while the backing vocals on the chorus add a bit of depth.  Not as impressive as "Rock N Roll" or the next track, "Stay Strong", but still very solid, straight-forward hard rock with another really nice solo from La Morte, who really backs off the distortion pedal for much of the lead work here, giving the song a smoother, more 70s-influenced guitar presence here.

"Stay Strong" heads back to the AC/DC-inspired vocals, and is the second best track on the record.  A thumping, plodding hard rocker, the interplay between the lower, snarlier vocals, and the higher, more-screamed Brian Johnson-styled vocals is pulled off in excellent fashion, and the rhythm section of Brand and Mann is in full effect here!  Again, La Morte shines on the guitar parts here, tackling both rhythm and leads, and handling both with expertise.  The tightness of the band really shows through on a track such as this one, and it sounds like the band is having a lot of fun with this material, right up to the cold ending.  Love it!

EP closer, "The Lost Sheep", is an acoustic-based number.  I'm not really sold on this song, to be honest, although I do appreciate the message.  I just think going the acoustic route here after pumping out three solid hard rockers is kind of a letdown, especially when we only have four songs to absorb here.  Perhaps the band would have been better served to hold onto this track for a full-length studio record, and instead dropped another blast of rock on this EP, even if it was a cover of an X-Sinner tune (hint, hint) or something.

Bassist Brand did the producing on the EP, and he does a commendable job.  The mix is solid here, and the production is clean, with no muddiness to be found.  Mine is a digital promo copy, so I have no idea about the packaging of this project, but generally, Roxx Records does a solid job in this department, so I have no real concerns there.

Rating:  Do the math...3/4 = 75% = a crankable 7.5!  Hopefully the next effort will be another full studio album!

Back To Reviews Index 

COWBOY X "Can't Stop Rockin'"

(c) 2019 FNA Records

1. Dreamin'
2. Hard Times
3. Jealousy
4. Can't Stop Rockin'
5. Higher You Get
6. Need To No
7. Dreamin' (Demo)
8. Hard Times (Demo)
9. Nice And Nasty (Demo)
10. Runner (Demo)
11. Need 2 No (Demo)
12. Don't Give Up (Demo)

Greg Lee--Vocals

David Marshall Hughes--Guitars

Barry Engle--Guitars

Randy Cotton--Bass

Michael Watson--Drums

Nebraska is not known as a music mecca, by any stretch.  Trust me, I have lived in the state my entire life, and outside of 311, and to a lesser degree Emphatic, Through Fire, and Arson City, there simply aren't a lot of hard rock/metal bands that have made much of an impact at the national level.  Regional?  Sure, there are a few.  Zwarte springs to mind, as does Paisty Jenny (more on them in a second). But generally speaking, most hard rock/metal bands in Nebraska, even the good ones like Slantpiece and Empire's End, tend to have local followings, at best.  But such is the nature of things, especially in the music industry of today.

But in the late 80s and early 90s, there were a handful of Nebraska bands that seemed to be on the cusp of doing something on a national level.  One of those bands...which was actually the product of a couple of other bands...nearly made a dent in the national scene.  That band was Cowboy X.  FnA managed to track down the original recordings of the six tracks, all of which were originally recorded in a basement recording studio...on tape no less...in 1990 for a label called Direct Hit Records, the first six tracks make up an EP that was going to be shopped to the big labels before the change in the musical landscape wiped out pretty much any and all unsigned bands of the genre...and a lot of them that did have deals, as well!  The initial run of the EP sold well enough to sell out, but I have never come across a version of it on vinyl or cassette anywhere, so I'm not sure how many copies were pressed.  In addition to the EP tracks, there are also three additional songs that never made it to the full production stage, so they are included here in demo fashion, along with three repeated tracks with both studio and demo versions.

Musically, Cowboy X was somewhere between hair metal and more traditional metal for much of the material here.  Take for example the two best tracks here, "Hard Times" and "Jealousy".  "Hard Times" is a straight ahead rocker, with a metallic flair to it.  There is a decent amount of flash to the guitar, and the catchy chorus is definite sing along material, but it's not as poppy as a lot of the hair metal that was being pumped out in 1991-92.  "Jealousy"...man, what I would give to hear this with top notch production!  This is a GREAT song that I think would've been the band's big break track had more people been able to hear it.  Really good songwriting, a great guitar solo, strong bass work from Cotton, and a real showcase of Lee's vocals are all packed into one track that teases at being a ballad for a bit before it morphs into more of a mid-tempo power rocker. Musically, the song has some definite Dokken or Hurricane qualities to it, sounding more like a early-to-mid-80s melodic metal track than an early 90s hard rock track. The guitar outro is excellent, as well, and unfortunately it is hard-faded when it sounds like there is a lot more musical work that is being done when the mixer/producer decided to pull the plug on the track.  Seriously, I dig this track A LOT.

The album's opener, "Dreamin'" is a commercial, melodic hard rocker with a screaming guitar that reminds me of the type of rock that David Lee Roth put out on his Skyscraper album.  "Can't Stop Rockin'" feels a lot like a Dangerous Toys song with an early LA Guns chorus section.  Lee does his best Jason McMaster impression vocally on the verses, and the gang shouts in the chorus are excellent.  I could've done without the stock audience sounds being thrown into the mix, but again, this is a really fun song that would have drawn some attention had it come out in, say, 1989, instead of 1992.

The ballad of the record is "Higher You Get", and it is a decent song.  The guitars are a bit tinny sounding, again the result of low budget recording, I would imagine, but the songwriting has a very "Something To Believe In" feel to it.  The bass is a solid presence here once again, and the percussion is nicely done, setting a nice tempo and filling well without coming across as overpowering.  Lee works more in the lower register of his vocal range here, and it fits nicely.  Once again, there is some solid solo work done here (from which guitar player, I am not certain), and I think with bigger, fuller production, this would've been one of those MTV power ballads that were almost constantly in rotation.

"Need To No" (that's the band's spelling, not mine) finds the band back in that Dangerous Toys vibe, and this is a style they work very well in.  It feels comfortable and the sound is one they definitely are able to really pin down.  Lee's voice is perfect for this type of rocker, and the simple-yet-catchy songwriting is right in the wheelhouse of this band.  I very much wish I had been able to catch Cowboy X when they were out touring this music, because it is obvious these guys were convicted in what they were doing and they had a decent amount of talent that I think would've really come across in the live setting.  Additionally, I think a really good studio could've done SO MUCH with three or four of these songs that I think Cowboy X could've been more than just a regional flash in the pan.

Speaking of the studio, the production here is decent, but not spectacular; it is definitely 80s small label/indie quality, and you can tell the source material is tape, not digital.  The performances are generally very good, however, and the energy of the songs makes up for some of what is lacking in the production area.  Lee's voice suits the music very well, and fans of Paisty Jenny will be able to pick him out immediately.  The guitars are solid with several good intros, outros, and solos thrown in, particuarly on "Dreamin'" and "Can't Stop Rockin'", as well as on the previously mentioned "Jealousy".  And the bass, particularly on "Jealousy", is a very strong voice in the band, which was not always the case in the 80s/early 90s, as G2G readers are likely fully aware of.  I applaud the bass work done here.

The demo material for the full-production songs doesn't need to be included, honestly, as the finalized versions of "Dreamin'", "Hard Times", and "Need To No" are far superior versions. I get the need to try to get to at least 10 songs on a release, so I don't fault FnA for including these, but the only ones necessary are "Nice And Nasty", which is not as sleazy as it sounds, but still a decent song, "Runner", a rocker which is very poorly mixed with the vocals WAY out front,  and "Don't Give Up", which is very rough but had a lot of promise as an uptempo rocker.  None of these tracks has a fully-produced version elsewhere on this effort.

I happen to know Gregg Lee, so I look forward to getting the chance to talk to him about this release and about what was going on with the Nebraska hard rock/metal scene back in the day, as well as what's up with his most recent rock gig, fronting Paisty Jenny.  Keep an eye on the Talkin' Trash section for an interview with Lee in the very near future!

For those of you who, like me, love hearing bands that others haven't stumbled across, this little package from FnA is a solid pick up.  My understanding is there is a pre-order version available that is signed by all of the original members, which would be pretty cool.  Check it out and pre-order the package at the FnA Records site!  By the way, I understand FnA will also be releasing the Airstrike album, which is another Nebraska-based hard rock band from the 80s, which is where Lee got his start.

Rating:  A nice collection from a band that may have had something going had the musical tide not turned on them.  Rock this at 6.5!

Back To Reviews Index

ALICE IN CHAINS "Rainier Fog"

(c) 2018 BMG

1. The One You Know
2. Ranier Fog
3. Red Giant
4. Fly
5. Drone
6. Deaf Ears Blind Eyes
7. Maybe
8. So Far Under
9. Never Fade
10. All I Am

Jerry Cantrell--Lead Vocals, Lead Guitars

William DuVall--Lead Vocals, Guitars

Mike Inez--Bass

Sean Kinney--Drums, Percussion

The record kicks off with the lead single, "The One You Know", which seems appropriate, because instantly the listener is greeted with an unquestionably Alice In Chains riff, hard and chugging, downtuned and sludgy, somewhere between grunge and metal, right in the world that AiC occupied so perfectly in the early-to-mid-90s.  Kinney's thudding work on the kit is the perfect time-keeper on this plodding, chunky rocker that carries a bit of a "Grind" feel to it.  Cantrell has always been one of the most underrated guitar players in the hard rock/metal world, and his talent is on full display here, as are his vocals, which William DuVall complements with near perfection.  No, DuVall is not Layne Staley, but that's kind of the point; this is Alice In Chains v2.0 doing their absolute best to recall what you fell in love with about the band in Version 1.  And with "The One You Know", and the follow-up title track, "Rainier Fog", it is easy to remember the halcyon days of this great band.  A tribute to the area where the band broke, "Rainier Fog" is probably my favorite track on an album full of great songs, and is, to my mind, the best song the band has produced in the DuVall era.   

The album is chock full of crushingly heavy riff, courtesy of Cantrell, and a deep-in-the-pocket bass presence, which Inez has brought to the band since replacing the late Mike Starr on the 1994 EP, Jar Of Flies, and the following year's self-titled album, Alice In Chains.  His bass is particularly noticeable on tracks like "Red Giant", and particularly on the doomy, sludgy "Drone",  which finds Cantrell and Company channeling their inner-Black Sabbath on a nearly 7 minute long mid-tempo riff rocker that would likely leave Ozzy grinning and shaking his head, especially when the chorus hits and Cantrell moans, "Stepping in and out of madness/Such a dedicated drone", with DuVall taking the higher vocal road in the pairing.  Thick chords of sludge drip off the song from every place you care to look, from the mournful solo to the rumble of the bass line to the production of the drums.

"Fly" backs off the distortion just a tad, giving way to a more melodic approach that is not wholly different from the style that AiC utilized on the stunningly good Jar Of Flies.  Again, just an amazing song that finds Cantrell and DuVall harmonizing perfectly, which is something that they also do to an extremely effective level on the country-tinged vocal intro to "Maybe"...the harmonizing returns again to intro the second verse, as well.  Again, a largely acoustic-based rocker similar to the Sap and Jar Of Flies, this song is yet another example of a band that is creatively leaps and bounds ahead of so many other bands today, daring to explore a style that is under-employed and certainly underappreciated, where the vocals are utilized as much as an instrument as a messenger.  Haunting, aching, somber...stunning..."Maybe" creates such a nearly perfect melding of voices that, if I'm being honest, I have to question whether or not Cantrell could have pulled them off with Staley. 

"So Far Under", with its repetitive, whining riff, returns the band to a more self-titled release style and the way the vocals swirl down a hole, accompanied by equally swirling, plunging guitar lines, is a work of art in and of itself.  Again, the cleaner vocals used on the verses here recall "Grind", which is a damn fine tune, but the drain of the chorus here just pulls your attention away from anything said in the verses, sucking you in, pulling you along, and then cutting you off with a sudden stop at the end of the track.  Repeat, repeat, repeat...I can't stop hitting repeat.

"Never Fade" feels a bit like Alice In Chains covering a Soundgarden song, which is likely the point as the track is said to be at least partly inspired by the passing of Chris Cornell.  DuVall handles the lead vocals on the bridge leading into the chorus sections of this pure 90s track, and the Cantrell/DuVall guitar tandem works especially well here.  Kinney, as per usual, is the understated metronome with his crisp patterns and punctuating kicks, and Inez is once again a presence that is both heard and felt with each strike of a bass chord.  Good, good stuff. 

The album's closer, "All I Am", is an haunting, emotional epic of darkness that recalls so much of what was great about this band on Dirt, which found the band constantly introspective, dark, and seeking a way out, even if that way out only lead to more darkness.  That same sense of foreboding is felt on "All I Am", with Cantrell's moaning guitar parts somberly wading through an emotional mire, regardless of if it is plugged in or not.  

While I don't hate The Devil Put Dinosaurs Here, to me it felt disjointed in places, especially when compared to the surprisingly good Black Gives Way To Blue.  But here, on Rainier Fog, the band finds themselves perfectly straddling who they were and who they are, not turning back, but instead pulling their past into their present and introducing the two, marrying them into a brilliant piece of heavy rock that should spawn multiple treks onto the modern rock charts for the now-retro rockers.

Look, I realize grunge wasn't everybody's thing, and I'm cool with that.  But Alice In Chains wasn't...and still isn't...your typical grunge band, as they were...and are...as much doom metal as anything.  Add in a vocal style, in either version of the band, that carries so much more weight than all the Nirvanas and Screaming Trees and Tads and Mudhoneys and Sponges of the grunge scene.  As such, if you were a fan back in the day, Ranier Fog should be right up your alley.  If you were more into what the band was doing on the first two reunion efforts, there are still things to enjoy here, as the band both returns to their roots while also exploring new directions to travel in.  As for me, I'm loving pretty much everything about Ranier Fog, and hope that the band doesn't ever stray too far from what they have discovered here. 

If I'm perfectly honest with myself, I'd have to say Rainier Fog slips past Facelift and the self-titled record and lands in the top three studio album releases from this legendary band...at least for right now...trailing only the near perfection of Dirt and the brilliant Jar Of Flies EP.  But, to be fair, the top five AiC records are all so great that rating them seems like a laughable pursuit.

Rating:  A sludgy, grungy, metallic cranker!  Twist it up to 8.5!

Back To Reviews Index