RAZORBATS "Mainline Rock N Roll"

 

(c) 2021 Rob Mules Records

1. Rock N Roll Kills
2. Working For The Weekend
3. Rebel Soul
4. Little Miss Crazy
5. Big Time
6. The City
7. Cocaine Karma
8. White Trash Radio
9. Venice
10. Nightcrawlers

Paul Vercouteren--Vocals

Kjetil F. Wevling--Guitars, Backing Vocals

Asle Tangen--Guitars, Backing Vocals

Martin Korsgaard Hervig--Bass, Backing Vocals

Torris Ilievski--Drums, Keys, Backing Vocals

Additional Musicians

Chris Damien Doll--Backing Vocals

Monica Rennan Hjelle--Backing Vocals

It's been three years since Razorbats released a full-length album, but 2021 sees the Norwegian rockers return with Mainline Rock N Roll.  And, as has always been the case with Razorbats, the band has done so on their own terms, making the album (at least for now) available ONLY on vinyl and digital download.  That's right...no CDs were pressed for Mainline Rock N Roll, at least as of this review.  Of course, in 2016 Razorbats released an EP, This High, digitally and on cassette only, so this shouldn't come as any kind of shock to fans of the band.

The record...yes, RECORD...kicks off with "Rock N Roll Kills", building from some guitar distortion to hard-hitting drums, to some seriously crunchy rhythm guitars to lead the song in.  Everything backs off during the verse sections but comes blasting back in during the pre-chorus portions, complete with some gang shouted "Hey! Hey! Heys!".  There is a definite pop sensibility to the song's structure here, but with a defiant, middle-finger-in-your-face-and-grinning-about-it attitude that sets the stage for everything to come on the rest of Mainline Rock N Roll.

The band has recently released a second single from the album in "Working For The Weekend", but fear not that this is a cover of the classic Loverboy tune.  Gritty rhythm guitars and catchy "oh oh ohs" intro the track before everything again backs off to just Vercouteren's voice, Hervig's bass, and Ilievski's drums to carry the majority of the first verse section, with the guitars jumping back in to rev things up during the hyper-catchy chorus and then on the following verses.  A song about grinding it out in a dead-end job during the week and then cutting loose on the weekend, "Working..." is a fun track with some total 70s keyboard effects thrown into the mix to keep things interesting.  For my money, this is the kind of track that Razorbats has always done exceptionally well, combining a love for retro rock with some 90s pop-punk attitude in places, to keep things fresh and interesting, even while resembling something from four or five decades ago!

"Rebel Soul" plays up the band's love for that pop punk sound I just mentioned, but still manages to incorporate a much cleaner, more 80s oriented, melodic rock lead guitar solo and bridge section.  I am impressed on this track (and throughout the record) with the backing vocal work, and every guy in the band contributes to this part of the album in some capacity, getting some help from their buddy, the Sleaze Fuhrer himself, Chris Damien Doll, from the Suicide Bombers.  To me, this song just sounds like the guys having fun and grinding away at a party rock tune, which is what Razorbats has long symbolized for me, even though they do so with less retro-attitude than in other places.

"Little Miss Crazy" was chosen as the lead single for the record, and with good reason, as it is probably the strongest...and my favorite...on an album filled with catchy songs.  Musically darker than anything else here, "Little Miss Crazy" is a moody rocker with a cool opening guitar riff and an undeniably catchy chorus that hooks the listener with the first spin.  Cheeky lyrics abound in this track as well, with Vercouteren opining, "Why are the cutest ones always insane?" when singing about his "Swan in a pond of doves".  The straightforward and somewhat sparse nature of the track, as well as the way the song is produced, really allows it to take on a haunting feel, and nothing here sounds over-produced or forced.  Hervig's bass is given a strong voice throughout the track, and Wevling's solo is smooth, soulful ear candy that is set off by the simple acoustic riff that runs the entirety of the track.  Vercouteren is absolutely spot-on with his delivery here, and some excellent backing vocals from Monica Rennan Hjelle lend a bit of support to an outstanding track that I find myself drawn to multiple times whenever I spin Mainline Rock N Roll.

A couple of tracks here have seen previous release...sort of.  "The City" was originally supposed to appear on a split-EP with another band called the Sick Things, but my understanding is the EP was never released, although the song was released as both a single and video.  A thick bass line drives the track from the get-go and a catchy, sing-along chorus feeds into the fun of this bouncy rocker.  I'm very glad to see the song get a second chance at life on this album.

Likewise, "White Trash Radio" is given another breath of life on Mainline Rock N Roll after being released as a stand-alone single in 2019.  Kjetil told me that this track has been re-recorded for this release, but the song sounds almost identical to me.  Regardless, this is a fun rock track with a big, catchy hook, nicely fuzzed-up guitars, and a classic 70s guitar rock style that channels a bit of "Saturday Nights Alright For Fighting" as it bounces along with plenty of energy and tongue-in-cheek attitude from Vercouteren.  Check out the awesome video below...

Sandwiched in between these fun rewinds is "Cocaine Karma", a plucky, sassy track that makes me think of a combination of the sing-along melodies of Cheap Trick and the melodic chug-chugga-chug of Marvelous 3.  A largely sparse track, "Cocaine Karma" starts off with Vercouteren using a bit of a sneer to his vocals before being supported by some strong backing vocals and a punchy rhythm section that is just a lot of fun to bop along to.  Once the sing-along chorus hits...forget about it...the song is firmly wedged into your brain.  Wevling drops a cool little solo into the mix, and some handclaps are interjected in time for a final run through that earworm chorus.  Just a really well constructed song from start to finish! 

"Venice" throws a bit of a curve ball into the mix, as this is a haunting, acoustic-based ballad that is completely unlike anything else on the record...or in the band's catalog, for that matter.  Vercouteren's vocal skills are fully on display here, especially during the first verse where virtually all electricity is stripped away from the instruments, save a lone, mournful guitar tone that interjects itself in various places.  Once again, some excellent backing vocals really lend themselves to the fullness of this track's sound, and Wevling's wailing solo is spot-on perfect for this song that continually builds upon itself, adding little musical bits here and there until the fullness of the track is finally achieved in time for Wevling to drop in another wickedly melodic outro solo.  A really, really powerful song unlike anything the band has tried before.  Highly recommended!

The album concludes with the high voltage, early Motley Crue-styled rocker, "Nightcrawlers".  A little bit punky, a little bit sleazy, "Nightcrawlers" is pure fun from the moment the thunderclaps intro the song, and the early 80s guitar tones are a true joy to hear!  A complete downshift in tempo accompanies the bridge section which features some werewolf howls in the background, only to find the guitars charging hard out of this little break and chewing their way through to the end, with some flash and flair to the presentation here.   I can pretty much guarantee "Nightcrawlers" is my second favorite track here, trailing only "Little Miss Crazy", and it really makes me wish the album wasn't ending every time I get to the song as I truly love this track and this record.  

Every time the band releases new music, be it a single, and EP, or a full release, I find myself a bit giddy with anticipation, and I am always worried I am hyping things up too much for myself.  Sooner or later I have to be let down, right?  Well, so far, so good with Razorbats as they manage yet again to keep me engaged from start to finish.  Growing more skilled as songwriters with each release, and getting tighter and tighter as performers, Razorbats are a band that has seemingly come a long way since their killer debut, Camp Rock, which is truly saying something as that album was Glitter2Gutter's album of the year for 2015!  Will Mainline Rock N Roll put another Glitzy award on Razorbats' mantle at year's end?  Only time will tell, but the band has certainly delivered a contender!

Rating:  Razorbats remain one of my favorite bands that most folks have likely never heard of, and remain oh, so crankable!  Find a turntable...or download it...and crank this to 9!

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GREAT WHITE "Live"

 

(c) 2020 Independent

1. I'm Alright
2. Lady Red Light
3. Desert Moon
4. House Of Broken Love (Intro)
5. House Of Broken Love
6. Big Time
7. Blues
8. Mista Bone
9. Save Your Love
10. Rock Me (Intro)
11. Rock Me
12. Once Bitten, Twice Shy

Mitch Malloy--Vocals

Mark Kendall--Guitars

Michael Lardie--Guitars, Keyboards

Scott Snyder--Bass

Audie Desbrow--Drums, Percussion

Great White has released yet another live album, the Kendall/Lardie/Desbrow version of the band's second such CD in the past 8 years (the other being 30 Years - Live From The Sunset Strip).  Why?  One has to believe it is the simplest and safest way for the band to introduce yet another new lead singer, with Mitch Malloy now attempting to fill the role of Jack Russell following the ousting of Terry Ilous, who fronted the band on their last two releases, 2012's disappointing, Elation, and their last studio effort, 2017's Full Circle.

Live starts off with "I'm Alright", a track from the Full Circle album that featured Ilous (XYZ) as the lead vocalist.  I'm not really sure why the press materials for this album pitch this as a "new song", since it was actually released 3 years ago, unless it is because the rumored next Great White record, with Malloy, will repackage this song as a single.  Regardless, "I'm Alright" is actually a pretty good, straight-up hard rock song, and the band sounds like it is having fun with the track.  Malloy is energetic and interacts with the Kentucky crowd in a few places, and this live package is off to a great start, except for one thing...this song doesn't sound like Great White, and is a track virtually nobody knows...

The band moves on from this newish song with three classic tracks, and the crowd is probably going, "Oh...okay...I know THESE songs...", with "Lady Red Light", "Desert Moon", and "House Of Broken Love" rolling out back-to-back-to-back.  "Lady Red Light", in particular, sounds really strong musically, and again, Malloy does a really solid job of handling this Great White signature song.  I have to be honest here in saying that I think this is the best I have heard Kendall's version of the band in a live setting...ever.  "Desert Moon" also really sounds strong here, and there is more energy and oomph to the band than I have heard on any post-Jack record, so perhaps Malloy has brought something to the band that the more laid back Ilous simply couldn't add to albums Elation, Full Circle, or his live Great White album, the previously mentioned 30 Years Live from the Sunset Strip.  Following a completely pointless intro (thankfully you can skip it), even "House Of Broken Love" sounds strong from a musical standpoint, and Kendall's solo is very nicely performed, but here is where Malloy falters a bit.  The man gives it his all, to be sure, but he does not have the type of vocal style that Jack Russell has which takes this song from really good to absolutely great.  Malloy sings the song pretty well; Jack Russell owns the song.

Malloy introduces "Big Time" as another new song, which of course it isn't, because again, this song was released three years prior as the lead single from Full Circle.  Once again, the fact that this isn't a classic Great White track actually saves the song in this live setting because Malloy can feel free to attack the song as best suits his vocal style with no expectation of sounding like Russell.  My complaint about this song is the same one I had when I reviewed that album a couple of years ago:  it sounds like a blatant rip-off of THEIR OWN SONG, as even the most casual fan will be able to pick out the same guitar riff and drum pattern in "Big Time" as was used in the classic "Face The Day" from the Shot In The Dark album.  The sin of laziness excused, the song actually comes off pretty well live.

"Blues" is simply an instrumental blues jam that focuses largely on Kendall's guitar playing, and it is done very well, to be honest, and doesn't suffer from being bloated or overblown, clocking in at just under 2:30 total.

The album wraps with four straight songs from the band's heyday, and once again Malloy does an admirable job on the rockers, and struggles by comparison on the ballad, and especially on the band's best-known song.  "Mista Bone" is done very nicely, and "Rock Me" is handled better than I imagined it would be, although there is an obvious difference in not only vocal approach and delivery style, but also pitch in the vocals here.  It's not a deal breaker, but for longtime fans, it is definitely noticeable.  "Save Your Love" is another big, signature ballad for the band, and once again, try as he might, Malloy simply can't muster the emotional power that Russell still cranks up in the live setting on this song.  Again, Malloy isn't terrible, he's just not Jack Russell. Unfortunately, Malloy really sounds out of his element on "Once Bitten, Twice Shy", coming across as tired-sounding (maybe he was tired by this point) and he seemed to be reaching for notes in a couple of places while sounding flat in others.  The band itself even sounds a bit flat on this radio classic, especially at the outset, where the tempo seems a little bit slow, although the energy picks up when the second verse kicks in.  The crowd participation section is handled well enough, and Desbrow gets after it pretty hard on the last runs through the chorus and closing out the track.              

There are some glaring omissions from the set-list if you are a true Great White fan, but for casual fans, the tracking here is passable.  No "Rollin' Stoned", no "Angel Song", no "Face The Day" or "Stick It" or "Big Goodbye" or "Call It Rock N Roll"...all are songs that certainly could have/should have found their way into the live set, in my opinion, especially "Rollin' Stoned" and "Call It Rock N Roll".  I can understand not wanting to expose Malloy with another big power ballad like "The Angel Song" or "Old Rose Motel", but I have to admit to being surprised by the omission of at least a couple of the songs I listed here.

The production/mixing/recording of this live album is generally solid, although there are a couple of fairly harsh edits between a couple of songs, but sometimes not much can be done about those kinds of issues.  I would have cut out both intros, personally, as neither one adds anything to the song that follows, and both just take up time that could have been given to another song.  The mix is surprisingly strong, with Snyder's bass being very easy to pick out on multiple tracks, which is not always the case on live records.  The backing vocals are also pretty good, which can again be a glaring issue on live albums from just about any band you can think of, so that was a nice little bonus here.

So, do you need to own this record?  Nope, not unless you, like me, are a Great White completist who has to have everything the band has done.  It's pretty pricey to own, for one thing ($30 for the CD/DVD set, $35 if you want it autographed...plus an additional $5.00 S&H if you live outside the US), and there are better versions available of all of the classics...with Jack singing, no less.  So unless you really want a live version of "I'm Alright" and "Big Time" with Malloy singing them, you can pass on Live and not feel like you are short-changing yourself in any real way regarding Great White.

In the end, this isn't a terrible live album by any stretch.  This version of  the band sounds more energetic than I have heard them in some time, and Malloy does a good job of interacting with the crowd and keeping the show moving along.  He also does himself a service by NOT trying to sound like Jack, because he...and anyone else....is destined to fail in that capacity.  The problem for me is always going to be the fact that this version of Great White, while featuring three members of the "classic" line-up, will always sound like a cover band, regardless of how talented the lead vocalist is.  It happened with Ilous, it happened with Jani Lane (seek out a YouTube video of Jani fronting the band if you never have), and it happens again here with Malloy.  He is a GREAT singer, no doubt....

...but he ain't Jack Russell...

If you want to order the CD...or if you want to track down a copy of Full Circle, both can be purchased here.

Rating:  Overall, not the hot mess I was expecting, but still not what I want from Great White.  Rock this to a 6, with the lack of several classics...and no Jack...holding this effort back a good deal.

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PLASTIC TEARS "Anthems For Misfits"

 

(c) 2021 WormHoleDeath Records

1. Doomsday Girls
2. Riot Zone
3. Clash In The Night
4. Look Of Lies
5. Hallucinations
6. Divine 
7. Radar Eyes
8. Restless Outsider
9. Nobody Likes A Crybaby
10. Candlelight Hate Affair
11. Communication
12. Imaginary Virgin Mary

Miqu December--Lead Vocals

Andy Whitewine--Guitars

Juha Pietilainen--Guitars

Edu Kettunen--Bass

Eco Xtasy--Drums

It's been three years since Finnish street rockers, Plastic Tears, released their (to me) surprisingly good Angels With Attitude album.  Combining bits of sleaze and punk with an obvious love of/respect for Finnish legends, Hanoi Rocks, Plastic Tears created a musical environment on that record that I was in no way prepared for.  Could the band capture the magic again on Anthems For Misfits?  With the same lineup intact from the previous record, a new record label, and an entire pandemic's worth of time to craft songs, I had to admit I was hopeful for a record that was at least close to their last effort.  I was not surprised for a record that was even better, however.

As soon as the distorted guitars cut loose on the punkish glam rocker, "Doomsday Girls", it is evident the band is picking up right where they left off.  A rollicking piano is thrown into the mix here, adding even more fun to this barroom boogie track that is intentionally messy, exceptionally raw, and unquestionably fun, as Miqu and the boys tear through the album's opening cut and wrap things up in under two-and-a-half minutes!  Things are off and running for Anthems...right from the jump!

The album's lead single is up next with "Riot Zone", which abandons the piano in favor of even grittier guitars, an extra helping of sneer from Miqu's voice, rapid fire drum cadences from Xtasy, and fun, carnival-effects breakdown before the last run through the high-octane chorus!  Sound like a disaster waiting to happen?  I imagine it could have been if handled by a lesser-caliber band, but for Plastic Tears, a track like this is just another day at the musical office, and "Riot Zone" is a perfect example of what this band does best!  Check out the official video below.

"Clash In The Night" changes things up just a bit, not by slowing the track down, but by altering the approach of the delivery.  Less chaos, more control is the motto of this track that has crossover radio appeal written all over it...you know, if radio still played rock n roll (maybe it does in Finland and Europe).  The guitar solo here shows a nice melodic approach without wandering into sappy territory, and Miqu backs off the punkish flavor of his usual vocals to adopt a cleaner singing style that works very well,  "Clash..." is a nice surprise and at 4:05, clocks in as the longest song on the entire album, without feeling like it.  

"Look Of Lies" straddles the styles of "Riot Zone" and "Clash In The Night" pretty nicely, with a spy-thriller movie tone added to the main guitar riff and a collection of "la la la's" from Miqu shaking up the overall feel of the track just enough that the listener may feel a bit of musical vertigo just four tracks into Anthems For Misfits, as the band really lets all of their influences creep into the mix by this point in the record.  "Look Of Lies" also features a nice guitar solo and some more great work from Xtasy on drums that are well worth checking out.

Just when you thought you might have a grasp on where Plastic Tears was headed with this record, the coolest track on the disc pops up...and it is unlike anything you have heard from the band before.  Finger snaps, a walking bass line, and a Stray Cat strut approach tease and taunt throughout "Hallucinations", with a bluesy guitar solo thrown into this snazzy, jazzy, Zoot suit number that I constantly find myself hitting repeat on.  Miqu's delivery is spot-on here, and everything just seems to click on a track that, by all accounts, should be totally out of the comfort zone for Plastic Tears.  However, the band pulls off a track most other bands of this style wouldn't even attempt, and they do it with a cool factor that few bands of ANY style today could likely top.  Love this track!

"Divine" and "Radar Eyes" both add the grit and sleaze back to the music, with "Radar Eyes" being another track that really fights for the right to claim the title of best song on Anthems For Misfits.  I love the guitar tone used here, and the more mid-tempo rock approach works exceptionally well here.  The main guitar hook here is catchy, and the lead solo is very strong, with the guitar tandem of Whitewine and Pietilainen showing a great ability to fit their sound to any style the band demands of them.  The addition of a Hammond organ is a nice touch, and I wish I knew who to credit for the piano/organ/keys that pop up in various songs here, as these instruments do add a depth that belies the band's punk/sleaze background.

"Restless Outsider" is another catchy rocker with Miqu going into full Billy Idol-meets-Elvis snarl mode vocally, and "Nobody Likes A Crybaby" brings a definite danceability to an rollicking rockabilly track with some definite sleaze influence, especially on the guitar solo.  Kettunen's bass work is on fine display throughout the record, but aside from "Hallucinations", it is perhaps not felt as strongly anywhere as during the bridge section of "...Crybaby", where handclaps accompany the rumbling bass line and snappy drums.  Good stuff!

"Candlelight Hate Affair" has a healthy dose of 80s New Wave interwoven into the track and Miqu sounds like he would be up for attempting a cover of Simple Minds "Don't You Forget About Me" as an encore in concert sometime.  Some cool keyboard effects intermix with the laid back guitars to once again showcase the fact that Plastic Tears is not a one-trick pony...yet they always manage to sound like Plastic Tears, largely thanks to Miqu's vocals.  This is a fun changeup near the end of the record and is a song I hope the band manages to sneak into their live sets at some point.  Go ahead and feel free to throw a Breakfast Club Bender fist into the air as you exit this cool, nostalgic-feeling track!

"Communication" is a sub-two-minute blast of punk rock energy complete with a churning bass line, guitars that threaten to chew their way out of the speakers, a break-neck pace, and gang-shouted vocals on the chorus section that is pretty much done by the time you have finished reading this!  A short, sweet, and to the point reminder of who Plastic Tears has always been and where they come from stylistically, regardless of the variety they bring to a record such as Anthems For Misfits.  

The album wraps with another insanely catchy rocker that, despite its placement on the record, is another of the tunes vying for best of the best here.  "Imaginary Virgin Mary" brings everything together, from snappy rhythms and buzzsaw guitars, to a HUGE tempo change during a bridge section that features only a softly tinkling piano (which returns later to end the song...and record).  Miqu is in top form on this track, snarling, crooning, and delivering his vocals in a manner that, quite honestly, you will either love or hate; it's really that simple.  And, that in a nutshell, describes not only this record, but Plastic Tears, overall.  What you think about Anthems For Misfits and Plastic Tears is going to hinge largely on two things:  your preference on vocal style and what you think about the genre-defying, sleaze-punk "Street Rock" the band plays. 

To me, there is no arguing the talent of the band, as they put on full display with Anthems... an ability to pull off just about any kind of music they want to, and they do it with a Plastic Tears flair.  Is it metal?  Nope.  Punk?  Maybe sometimes.  Sleaze?  Here and there, sure.  But they are also glam, New Wave, and apparently 1950s rockabilly, all at the same time!  And I honestly feel that Miqu's vocals are a huge part of the band and its uniqueness that helps Plastic Tears transcend genres so easily, but I also get why they might not be everyone's style.  For me, however, I'll take Plastic Tears any day over cookie-cutter clone bands with no real personality and no ability to push the envelope of who they are as a band.

True to the album's title, Plastic Tears is a band of musical misfits, and Anthems For Misfits is a perfect representation of who they are.  

Rating:  Definitely crankable!  Crank this to 8!

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LOVE AND DEATH "Perfectly Preserved"

 

(c) 2021 Headdog Music/Blind Tiger Entertainment

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

Brian "Head" Welch--Vocals, Guitars

J.R. Bareis--Guitars, Vocals

Jasen Rauch--Bass, Vocals

Isaiah Perez--Drums, Percussion

Additional Musicians

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

Keith Wallen--additional guitars on "The Hunter"

Ryan Hayes--Vocal bridge on "White Flag"

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

And then the world went sideways...

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

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

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

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

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

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

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

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

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

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

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

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SNAKE BITE WHISKY "Black Candy"

 

(c) 2021 Sliptrick Records

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

Jay R--Vocals

Laggy--Guitars

Stacii Blake--Bass

Dan "Sharkz" Weldon--Drums

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

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

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

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

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

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

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

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

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

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

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

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WITCH HUNT "Rock N Roll Possession"

 

(c)2021 Rata Mutante Records/Dead Center Productions

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

Luis Sanchez--Lead Vocals

Robinson Rincon--Guitars

Adriana Lizcano--Bass

Jhonathan Martinez--Drums

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

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

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

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

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

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

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

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

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

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

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**RETRO REVIEW** CINDERELLA "Still Climbing"

 

(c) 1994 Mercury Records

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

Tom Kiefer--Lead Vocals, Guitars

Jeff LaBar--Lead Guitars

Eric Brittingham--Bass

Additional Musicians

Kenny Aronoff--Drums on 1-10

Fred Coury--Drums on "Hot & Bothered"

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

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

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

Big deal...  

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

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

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

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

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

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RAZORBATS "Little Miss Crazy" (Single)

 

(c) 2021 Rob Mules Records

Razorbats is:

Paul Vercouteren--Vocals

Kjetil F. Wevling--Guitars

Asle Tangen--Guitars

Martin Hervig--Bass

Christian Hapnes Svendsen--Drums

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

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

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

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

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

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

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

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GUNNER "Back 4 More"

 

(c) 2020 Lion's Pride Music

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

Oscar Muguertegui--Vocals

Rodrigo Bugallo--Guitars

Marcos Prevalil--Keys

Sam Carabajal--Bass

Gustavo Jamie--Drums

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

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

On the excellent side, we have tracks like "Searching For Victims", a big, brilliant 80s movie anthem if I ever heard one!  The guitars scream with a big, fret-running solo from the sensational Bugallo tearing a trench through the song, the drums are big and aggressive, the backing vocals are in great form, and the lead vocals from...well, I'm just going to call him Oscar rather than type out Muguertegui any number of times....are edgy and delivered with conviction.  Heck, even the song title has attitude!  "Faster Than Lightning" is another great, great action flick track!  Thundering drums, a massive...and LONG...guitar solo from the uber-talented Bugallo, big, gang "whoa-oh-oh" backing vocals, and a really solid lead vocal from Oscar.  "Sunset Kiss" is another excellent 80s flashback through and through, complete with the edgy radio-rock guitars and unmistakable keyboards that hearken back to the summer nights of my teenage years! And, as is really a trend on this record, Bugallo absolutely dominates with another smoking solo that absolutely nails the style and sound of the era.  This guy has MAJOR skills, folks!  His soloing abilities alone are worth hunting this record down! Check out the intro work on "Begging Love" for yet another example of that stunning skill, followed by some era-appropriate rhythm work and yet another top-shelf solo that finds Bugallo pulling out all the tricks!  And even when things slow down a bit, such as on the more mid-tempo romper "Liar", the band has plenty of heft in the right places, and the bass work from Carabajal really jumps out at the listener.  "Street Kid" takes us back to that action flick feel, with a really gritty guitar setting the tone right from the start, and I can see the song's titular down-on-his-luck character jumping rope or working a speed bag as he puts in his time to get his title shot!  Or maybe he was a loner and his Army dad was kidnapped and the kid has to find his inner-hero and hijack a helicopter so he can go rescue his father!  Yeah!  You can come up with your own scenario; Bugallo and his pals will provide the soundtrack for it, with another excellent solo, gang-shouted chorus vocals, and a solid rhythm section driving the song along perfectly.  "Stay Strong" closes the record in excellent fashion, with the mid-tempo rocker firing on cylinders musically, and the perfectly-titled (for an 80s action flick) track is definitely a top 3 or 4 song on the entire album.  "Cold Nights" is another slower track, definitely carrying a plodding tempo, but Carabajal's bass again gets to rumble and Bugallo is afforded the opportunity to showcase a different style of playing here than on the flash and fire solos of the up-tempo material.  

This is not a perfect record, however, but rarely does Back 4 More just completely blow it for me.  In a couple of spots, it's just one little thing that will hold a track back from being all it could be.  Maybe it's the vocals, maybe it's the mix, but something is a tiny bit off somewhere.  The opening track and title cut, "Back For More" is a perfect example.  The track starts with a muscle car's engine roaring to life, and the guitars come blazing out of the gates, but Oscar's vocals really sound strained to hit the higher end notes here, even pulling him a bit off-key in places, and his accent is really noticeable here.  The previously mentioned "Cold Nights", "Street Kid" and even the excellent "Searching For Victims" are also victims to this to varying degrees.  Again, they are far from ruined, but I wish the producer would have gotten another take or two on a couple of lines to strengthen what I think are some of the best tracks here.  I want to state for the record  that even when he is a bit off, Oscar's husky, lower-tenor is perfect for this band and the style of songs they present here, and he projects a power across the majority of these tracks that is a key element to them being pulled off as well as they are.      

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

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

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

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

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

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

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VOODOO CIRCLE "Locked & Loaded"

 

(c) 2021 AMF Records

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

David Readman--Lead Vocals

Alex Beyrodt--Guitars, Vocals

Mat Sinner--Bass, Vocals

Markus Kullman--Drums

Additional Musicians

Corvin Bahn--Keyboards

Melissa Bonny--Backing Vocals

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

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

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

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

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

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

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

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

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

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

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

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

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

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