HOUSE OF LORDS "Precious Metal"

(c) 2014 Frontiers Records

1. Battle
2. I'm Breaking Free
3. Epic
4. Live Every Day (Like Its The Last)
5. Permission To Die
6. Precious Metal
7. Swimmin' With The Sharks
8. Raw
9. Enemy Mine (duet with Robin Beck)
10. Action
11. Turn Back The Tide
12. You Might Just Save My Life

James Christian--Lead Vocals, Keyboards, Guitar

Jimi Bell--Guitar

B.J. Zampa--Drums, Backing Vocals

Chris McCarvill--Bass, Backing Vocals

Jeff Kent--Keyboards, Bass, Backing Vocals

House Of Lords is one of those bands that has always seemed to fly just below the radar of the hard rock world, both its fans and the media.  Sure, people know "Can't Find My Way Home", but most would be hard-pressed to come up with the name of even four albums (and they have release nine now), let alone four or five more song titles.  And the thing is, I'm not sure why they don't get the respect they deserve, as HoL has been one of the most consistently good bands in the genre since the debut album came out 26 years ago, in 1988.

When I say "consistently good bands", a lot of people are going to take issue with that statement, as only singer James Christian has been a member since the band's inception.  However, the current line-up...which also features the amazing guitar skills of Jimi Bell, along with B.J. Zampa, Chris McCarvill, and Jeff Kent...has been together for 10 years and five albums now, which shows more band stability than many current or classic acts.  It has also been during this stretch that I feel the band has enjoyed the most consistent sound in its history, as well, with each album building and transitioning from one to the next. 

Precious Metal is the latest album from the current line-up, and it will not throw many curve balls at its fan base.  The material here is pretty much exactly what fans have come to expect:  solid, melodic hard rock with top-notched songwriting, big hooks, catchy melodies, and powerhouse vocals from Mr. Christian.  However, the band sounds as if it decided to make a few minor tweaks to the classic sound, beefing up the "heaviness" on this record and scaling back the keyboards to a supporting role, rather than allowing them to take center stage at any real point in this record.  The results are slightly mixed, although, for the most part, I think the outcome is a very good, very strong record with a couple of tracks that are definitely worthy of inclusion on any "best of" compilation that Frontiers Records may decide to release somewhere down the line (and, yes, I know Cleopatra Records did an Anthology release a few years back.).

The album kicks off with "Battle", which is everything House Of Lords fans have come to expect from the current line-up, with a big guitar hook, complimentary keyboards, and some of Christian's most powerful vocals on the record.  It's a perfect song to set the stage for this album because it eases the listener into the subtle changes I mentioned previously, as the band reigns the keys in a bit and pushes the guitars further out front.  An example of this can be found on the very next track, as the heavier side of the band can be found on "I'm Breakin' Free".  This kick-the-loser-to-the-curb anthem finds Christian snarling about "losing your ass", while Bell supplies some snarl of is own on guitar. "Permission To Die" is full of sass and swagger, kicking off with a bit of a boogie feel to the guitar approach, before the "hey, heys" kick in, and Christian takes over.  "Swimmin' With The Sharks" is another prime example of the band shifting completely into guitar rock mode, as the keyboards are nothing more than a supporting instrument, giving way to the harder-edged rhythm guitars and some excellent drumming and solid bass work.  "Raw" takes a similar stance, as Bell rips through some classic-sounding guitar lines in this pulsating rocker, complete with layered vocals and just enough keyboard work to satisfy those who expect a bit more A.O.R. from this band.

Slower material is also included, as is to be expected, but it is found in a couple of odd places.  I will be the first to admit I had ZERO clue that the title track would be a ballad.  I mean, come on..."Precious METAL"?  But, make no mistake, this is definitely a ballad of the first order.  Acoustic guitar leads things in, with a slow, subtle keyboard build that takes the song to the first chorus which showcases Christian's ability to still climb the vocal scale to reach some higher-ranged notes.  The other "ballad" on this record is more of a slower-tempo rock number, as "Live Every Day (Like Its The Last)" really doesn't slow to the point of a traditional ballad.  No matter, as the message is a solid one and Christian's mastery of his vocals is really put on display here, as he once again effortlessly runs from one end of his vocal range to the other.  Bell supplies a very good guitar solo here, and the keyboards are all but undetectable here, with the rhythm section being all the support the song really requires.

One song that really sticks out is "Enemy Mine", which features Christian dueting with his wife, Robin Beck.  To say this is a quirky song would be an understatement.  There are all sorts of weird electronic elements going on here, including what sounds to be the use of an auto-tuner on some of the electronic vocals.  Beck's vocals are equally as powerful as Christian's, and the interplay between the two is solid.  I like the song, I just don't know if it's a House Of Lords song as much as it is a James Christian or Robin Beck solo album song.  It definitely stands out here, but I think it actually disrupts the flow of the album to some degree.  I don't skip it, but I will admit that it throws me for a loop whenever it first kicks in.

"Action" gets things back on the hard rock track after that little oddity, and really the band never slows again.  "Turn Back The Tide" starts off mid-tempo but builds quickly into a classic House Of Lords song before the album closes with what I think may be the best track on the disc, "You Might Just Save My Life".  A solid arena rocker, this track has a powerful, catchy chorus, some cool vocal tricks, and a driving rhythm that will have your head banging and your fists pounding on the steering wheel as you cruise along, anticipating the big guitar solo which absolutely does not disappoint.  A killer closer to a more-than-solid effort from a great band that I wish would get more recognition.

Precious Metal continues the tradition of solid melodic hard rock albums to come out from the current version  House Of Lords over the past ten or so years.  Fans of the band are going to be very comfortable with what they hear, and many are likely to include this in their Top 4 or 5 of all time from this great band.  Newcomers to HoL will find themselves encouraged to seek out the back catalog after a stellar intro to the band with this latest effort.  A frequent player for me, and one that I am sure will continue to gain spins for years to come.  

Rating:  Crankable, as is the case with all House Of Lords releases.  Crank this one to a 7.5.

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PROPHETS OF ADDICTION "Babylon Boulevard"

(c) 2012 Cargo Records

1. Hang Me Up
2. Kick It In
3. Altar Of Altercation
4. Self Portrait
5. Babylon Boulevard
6. Mistress Addiction
7. Rejection
8. Still Alive
9. Trigger
10. Where R U Now

Lesli Sanders--Lead Vocals, Bass

Amit Lee Ron--Guitars, Backing Vocals

Shawn Smash--Guitars, Backing Vocals

Jimmy Mess--Drums, Backing Vocals

Additional Musicians

Rev.--Electric Guitar, Backing Vocals

Terry Bratsch--Mandolin, Lap Steel

Rick King--Theramin, Persussion

Julia Harms--Backing Vocals

Rebecca Terry--Backing Vocals

Prophets Of Addiction is the brainchild of former Pretty Boy Floyd bassist Lesli Sanders, but you can stop reading right now if you are looking for music in the same vein as PBF.  Sanders, who also handles the vocals on this raucous debut record, is not here to chase chicks or to have little lighters-in-the-air party.  Nope, he and the boys are here to kick in the door, smash the television, set the couch on fire, drink all your booze, and then leave your house a bottle-and-needle-polluted shell of the home it once was, scaring off the neighbors in the process.  This is not a pretty record, but it is a good one, recalling the seedier side of the Sunset Strip while also incorporating the 70's glam and street rock sound of the New York Dolls and the London sleaze-punk of Tyla-era Dogs D'Amour.  

By giving a listen to just four tracks, the listener is treated to four varying degrees of styles that meld together to encompass the Prophets Of Addiction sound.  The opening track, "Hang Me Up" features a very cool 70's guitar vibe throughout the track that screeches its way across the thumping rhythm section in a way that woul dmake T. Rex proud!  Sanders snarls his way through the lyrics in a Taime Downe meets Rach Rose (Erotic Suicide) and Michael Monroe manner. while the twin guitars of Ron and Smash blister their way into your ears!  "Altar Of Altercation" skillfully mixes punk and sleaze in a violent display of angst and attitude, sounding like the Sex Pistols partying with Faster Pussycat, with Mess sounding especially in his element here with his raw, primal drum attack on display throughout.  The title track, "Babylon Boulevard" sounds a LOT like the Dogs D'Amour did in the late 80's, with hints of WASP in the guitars, while album closer, "Where Are You" showcases a band that knows how to deliver a somewhat more melodic, slower song that still manages to grind, rather than glide, across your eardrums in spite of the piano that slips just below the sonic wall of distorted guitars and crashing cymbals.

There are other equally solid songs here, to be sure.  "Trigger" instantly comes to mind, with it's one-take sounding drums and wickedly cool guitar lick setting the pace for Sanders to sneer, "I shot the devil, I took him prisoner, I smoked the devil, now I watch him disappear..." before leading into a dirty guitar solo and some funky bass work.  Also impressive is "Mistress Addiction" with its bluesy, almost jangly musical approach and a GnR-ish solo (the whole song reminds me of the Lies album) that sets it apart from anything else on the record.  This track alone proves that this is not a one-trick pony of a band and that Sanders and Company are more than capable of writing a song that can shift gears on an album without sounding like they are attempting to sell-out to corporate radio.       

Originally self-released in 2010, this 2012 re-packaging for Cargo Records has the same track-listing and instrumentation, with only a change in cover artwork, at least as far as I can tell.  The packaging cannot get any simpler, as the Cargo Records version is a single sheet insert with a band photo, album credits, and extremely basic thank-you's from the band.  No lyrics are included here, or on the band's site, for that matter, but Sanders' vocals, while snotty and sneering, are easily enough understood that printed words aren't really necessary.  Besides, this is from-the-gut sleaze mixed with snarling punk and street rock, not some deeply introspective prog rock album, so the delivery and the performance get the point across as well as any words could.  

Mixed by former Ozzy Osbourne bassist, Phil Soussan, the record sounds live and dirty, edgy throughout, and not overly rehearsed.  The mix is a bit muddy in spots, but it is hard to tell if that is intentional or not, as the sound fits the image of the band.  I would have liked to have just a bit more bottom end in places, and there isn't a ton of dynamic range here as far as the separation of highs and lows, but with the grit and scum that is liberally applied to so much of this album, it is quite likely that what you hear through your speakers is exactly what you are going to hear live, as well.

Aggressive, angry, filthy, and dirty, Prophets Of Addiction are not the kind of band you are going to pick up on the street and bring home for mother to meet.  In fact, they are the kind of band you are likely going to mistake for a gang and swerve to the other side of the street to avoid!  But after giving a listen to Babylon Boulevard, it is easy to determine that this is exactly how the band wants to be perceived: dangerous but worth the risk, to steal a phrase from Ratt.  

Touring across North America in 2014, Prophets Of Addiction is a band well-worth checking out!  

Rating:  Not for the feint of heart, but still crank-worthy.  I give this one a 7.5.

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JIMI JAMISON "Eye Of The Tiger 2014"

(c) 2014 TopNotch Records

1. Eye Of The Tiger (Rocky III Anniversary Mix)  
2. Eye Of The Tiger (Rocky III Anniversary Edit)
3. Eye Of The Tiger ("Sing Along" Instrumental Mix)

Jimi Jamison--Lead Vocals

Bob Babbitt--Bass

Dave Cleveland--Lead Guitar

In 1982, there were few songs bigger than "Eye Of The Tiger" (actually, there was only ONE bigger song), and few movies bigger than Rocky III.  The combination of film franchise and arena rock was pure gold, as this single really launched Survivor into the stratosphere of the hard rock world.  "Eye Of The Tiger" was number one on the Billboard Hot 100 for 6 straight weeks, stayed in the Top 40 for 18 straight weeks, went number one in multiple countries, and earned Survivor a Grammy Award.  (Oh, and as to that one bigger song, only Olivia Newton-John's "Physical" was a bigger hit in all of 1982.)  However, many people don't realize that it was NOT Jamison who was the voice for this massive Survivor hit.  Jamison would have his shot at movie theme song glory later ("Moment Of Truth" for Karate Kid and "The Burning Heart" for Rocky IV), but it was actually Dave Bickler who was the lead singer for the band's biggest hit.

In 2014, Jamison decided to cut his own version of the iconic song and, to be quite honest, it is vocally very similar to Bickler's take on the trrack, although I have long preferred Jamison's slightly gruffer vocals to those of Bickler, and the same holds true here.  Musically, there was a good deal of re-arrangement of the track by Babbitt and Cleveland, who are both members of  the Whitney Wolanin Band (yeah, I don't know who that is, either...).  It is still very identifiable as "Eye Of The Tiger", but the music was updated a bit to keep the song from sounding as dated as you might anticipate, and to give it new life.  In my opinion, this was done successfully, as Jamison's vocals are strong and the music is very nicely done, with a great guitar solo from Cleveland.   The regular Anniversary Mix is nearly 45 seconds longer than the edit and features an extended guitar solo, while the "Sing Along" version is little more than a karaoke track that serves no purpose for me.  I wouldn't even own it except for the fact that I could get all three tracks for $1.99 from iTunes, or just a single version of the song for $1.29, so, for review purposes, I went all the way!  That's what I do for you folks!

Seriously, there is not going to be a huge demand for this digital-only release unless you are a massive Survivor/Jamison fan, a rabid Rocky fan, or someone who is into collecting movie soundtracks.  Whatever floats your boat.  For under $2, it's a decent pick-up to throw into a gym workout mix or something, but it's not going to change your world and I would be willing to bet more than half of the people who hear this version are going to cling to the original for nostalgic reasons.  As for me, I honestly think I prefer this version, but I think that may have ANTI-nostalgia reasons, as the song in it's original form, has been simply played to death...at least for me.

You can download the song from iTunes here.

Rating:  I don't typically rate singles, but I guess if pushed into it I would crank this to a 7.5, largely because of the fresh update to the music.

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TESLA "Simplicity"

(c) 2014 Frontiers Records

1. MP3
2. Ricochet
3. Rise And Fall
4. So Divine...
5. Cross My Heart
6. Honestly
7. Flip Side!
8. Other Than Me
9. Break Of Dawn
10. Burnout To Fade
11. Life Is A River
12. Sympathy
13. Time Bomb
14. 'Til That Day
15. Burnout To Fade (writing demo) BONUS TRACK
16. Honestly (writing demo) BONUS TRACK

Jeff Keith--Lead Vocals, Harmonica
Brian Wheat--Bass, Backing Vocals, Piano
Frank Hannon--Lead Guitar, Piano, Backing Vocals, Bass
Dave Rude--Guitars, Backing Vocals, Bass
Troy Luccketta--Drums, Percussion

From the second the needle drops on the new Tesla record...and yes, the first sound you hear will be a needle caressing vinyl...the band comes out with their trademark "normal guys rocking out" vibe that fans have come to expect.  Twenty five years after the band first burst on the scene with Mechanical Resonance, the band still sounds like Tesla, which says something about the continuity of the band, as well as the comfort level these guys have with who they are.  Tesla is, and always has been, a blue collar hard rock band, and the new record, aptly titled Simplicity, finds the guys continuing in that vein with a large degree of success.

The disc starts off with four straight solid rockers of various tempos.  As mentioned, opening track "MP3" starts things off with the sound of a needle dropping on a vinyl album, with Jeff Keith lamenting the current digital age as far as music and personal communication goes.  While I probably would have dropped this track back down in the tracklisting a bit (it just doesn't come out rocking as hard as others here), this mid-tempo number is a good track that is unmistakably Tesla through and through.  I do have to wonder if the band is allowing this album to be sold on iTunes or Amazon, as it would seem to be a tad bit hypocritical in light of the lyrics...but I digress.

The next track would have been my choice to open the album, as "Ricochet" is one of the catchiest tracks on this record.  With it's Nugent name-dropping chorus ("like Uncle Ted said, a 'Free For All'..."), sassy delivery, and smooth guitar work, this track is one that is destined to be a standard in Tesla set-lists for years to come.  "Rise And Fall" features a smooth bass and drum intro, accompanied by a chugging guitar riff, and Keith's easily recognizable vocals.  Aerosmith fans will likely find themselves drooling over this one!  "So Divine..." starts off a bit on the slow side but rapidly builds into one of those unquestionably Tesla rockers built around a sparser sounding verse and then pounding things home during the chorus and the solo break.  This one could have come straight off the Mechanical Resonance album as far as sound and approach goes, and is my favorite overall track on Simplicity.  I absolutely love this song.

Speaking of sounding like classic Tesla, "Sympathy" has a bass line that sounds so much like the into to "Hang Tough" that it's almost like art imitating art.  Again, this harder-edged number is pure Tesla, edged out only by "So Divine..." and the next track, "Time Bomb" for my favorites on the album.  "Time Bomb" has a dirty, gritty guitar tone, and takes on a subtle modern vibe to the track, but there is no question as to who is delivering the goods here, as snarl of Keith and the swagger of the song keep this solidly in Tesla territory.  "Break Of Dawn" is the other real rocker here, and once again, classic Tesla in its approach and execution.  These five songs alone would have made for a killer EP that I would have slapped my $9.99 to buy in an instant; they are that good and that Tesla in their sound.

"Flipside!" is an interesting track, throwing some harmonica into the bluesy mix to great effect.  I love the way the chorus is phrased, also, and Keith's delivery of the lines just nails this song for me.  I would imagine this song will find itself being pushed as a single at some point, although we all know there are few radio stations that will play it.  "Honestly" floats somewhere between balland and mid-tempo rocker, especially once the simple yet harder-edged chorus snags your ear and pulls your attention around.  The strongest slow number, at least for me, however, would be "Other Than Me", which reminds me of a lot of the band's Great Radio Controversy album stylistically.  Good, good stuff on these three songs as well.

A couple of songs push the boundaries of Tesla's sound just a bit.  "Burnout To Fade" reminds me a lot of the smooth, contemporary approach utilized by the Eagles back in the 70's, and album closer "'Til That Day" treads very closely to the crossover country sound utilized by bands like Restless Heart and Little Texas in the 90's.  Both are solidly crafted, with "Til That Day" being a particularly good song that comes across as contemplative and reflective, featuring slide guitar, some simple piano work, and acoustic moments that really combine for a nice closer to a very good record.

At 14 tracks (16 if you have the deluxe version, which I have), the record does get a bit long, and some subtle whittling here and there would serve the disc well.  Personally, I would probably drop "Cross My Heart", which is just a bit too honky tonk and dredges a bit too deeply into the Skynyrd-meets-Black Crowes vibe for my tastes.  Not a horrible song, just not one of the stronger tracks here.  I also think "Life Is A River" is the weakest of the slower material here and doesn't really add much to the record.  To my ear, it sounds like the band tried to come up with another "Love Song" and just fell short.  And the Keith's attempt to imitate a dog barking, humorous or not, makes me cringe each time I hear it.  Additionally, if I were to buy the record again, I would just get the standard version, as the two bonus tracks really add nothing for me.

On a side note, I was surprised that 2013's digital single "Taste My Pain" wasn't included here...bummed, to be quite honest...as I think that is a great song that would have fit extremely well here, especially in lieu of one or two of the weaker songs.  Not sure why it was omitted, but I can only hope it is because we are getting closer to the oft hinted at Tesla boxed set, and that it will be included there as an added incentive to snag that set.  Who knows...

The packaging?  Hey, it's Frontiers Records, so you get the great with the not-so-great, as is typical.  Yes, its a digipack, but I'm getting to the point that the complaining isn't even worth the typing because it's obvious these aren't going away.  That being said, the rest of the packaging is what we have come to expect from this excellent record label that knows what its fans want and delivers upon nearly 100% of the time.

Simplicity is not Mechanical Resonance or Great Radio Controversy, but it is also better than Into The Now or Forever More.  A solid, solid record that is on the must-have list for 2014, for sure.

Rating:  This is pure Tesla, and a dang fine record.  Crank this to 8!

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THE LAST VEGAS "Sweet Salvation"

(c) 2014 ILS Group

1. Touch The Sky
2. Come With Me
3. Invincible Summer
4. Lucky 13
5. Miss You
6. Face In The Crowd 
7. You & Me (You Never Know)
8. Death Style
9. Sweet Salvation

Chad Cherry--Lead Vocals

Johnny Wator--Guitars

Adam Arling--Guitars

Bryan Wilkinson--Guitars

Nate Arling--Drums

Danny Smash--Bass

Chicago's The Last Vegas return with their first album since 2012's excellent, but under-publicized, Bad Decisions album.  On the new album, which was fan-financed through Pledge Music, the band takes a bit of a step backward musically.  That is not to say they underperformed, for that is not what I mean.  The skill level and the performances are still there.  When I say they take a step back, I mean back to the 1970's and very early 1980's, as there is a lot of early Aerosmith-meets-Kix influence intermixed with the band's  take on 1980's styled sleaze, a la Motley Crue. LA Guns, and GnR...all seasoned with a bit of Jane's Addiction in places, believe it or not!...which gives the album a bit of a different feel than the last record, but with equally strong results.

One thing that definitely adds to the sound of the band would be the fact that the band has bolstered its roster, now sporting THREE guitar players, instead of the two they had employed since their introduction to the mainstream while on tour with Motley Crue.  I have not yet had a chance to catch this three axe show live, but the results on the record are strong.  I am not sure who plays what solos or if someone is relegated entirely to rhythm playing, but I like the guitar approach taken here and am impressed with the early musical returns.  Welcome to the fold, Bryan Wilkinson!

Chad Cherry seems to be channeling his inner Steve Whitman of Kix throughout much of this record, and does a great job of it at that!  His voice is in excellent shape throughout and he is able to sustain his notes in any range he chooses to sing in.  Since the first time I saw them live, I have thought Cherry had that "it" factor to be one of the great frontmen of this generation, and his vocal performance, both on Bad Decisions and now Sweet Salvation, shows that his singing has caught up to his showmanship, at least for me.  

"Come With Me" is the lead single from the record (and second track), and serves to really showcase the direction of most of this disc.  Nate Arling uses some tribal rhythms with his drumming, and I was INSTANTLY thrown to the sound of early Jane's Addiction as soon as Cherry hit the chorus of this record, as all the instruments stop except for a single guitar and some simple cymbal work ringing under his vocals.  After the second chorus, a raucous guitar section powers the track forward, with solid bass work from Mr. Smash pummeling the bottom end of this song.  Just a very cool track that worms its way into my head more and more with each listen.  Definitely a top 3 or 4 track for me here.

"Invincible Summer" is another hard rocking number that finds Cherry using a bit of an Axl Rose approach to his vocals during the vocals, very similar to the style employed on "Sweet Child Of Mine" or "Mr. Brownstone", then kicking them back up into a higher range on the bridge and during the chorus.  With lyrics borrowed from Guns N Roses ("...it was the best time I can remember..."), and Ella Fitzgerald!!! ("...summer time and the livin's easy..."), this isn't your typical rock track, which is part of what makes it so cool.  If you are like me, you will swear you have heard this song before because of the lyrical snippets used here, but the song doesn't come across as a rip-off of anyone nor does it sound dated...all while also being a completely new and original song!  Now that is not an easy feat to pull-off with someone like me who has heard tens-of-thousands of songs from thousands of albums!    

"Face In The Crowd" is the lone song on this record that doesn't really have at least one foot firmly set in the 70's groove of the rest of the record.  In fact, "Face..." is easily the most modern sounding track on this record, and a lot of that has to do with the effects used on some of Cherry's vocals.  That being said, a scorching Appetite-era, Slash-inspired guitar solo and sparse-but-solid rhythm playing still drive this hard rocker forward to great effect.

"You & Me (You Never Know)" feels a lot like an early Kix song and maintains a gritty, cutting edge with barked backing vocals and a catchy hook similar to those employed by the Baltimore rockers on their first couple of albums, up through Midnite Dynamite.  In fact, this song seems somewhat modeled after a track like "Sex", with only the harmonica missing!  Not a rip-off at all, but definitely in that same vein, this would be my second favorite track here if I had to put numbers to them.   

"Miss You" has a funky sound to it with some 70's styled Hammond organ thrown into the mix, this is an updated take on the classic Get Your Wings Aerosmith sound.  

And, if forced to rate them individually, what would be my favorite track?  No questions for me.  "Death Style" is a snotty, sassy track that really epitomizes what I think of when I think of The Last Vegas.  Full of piss and vinegar, the band's attitude on this track is that of a gang, declaring themselves "Apocalyptic, destroyer of towns, I'm always turning the world upside-down!"  This is THE anthem for this band, and I pray it is performed at every show these guys play!  Again, some excellent (and underrated) guitar work serves the song extremely well here, and I imagine this nasty rocker will come off even sleazier and grittier live!  Awesome stuff here!

"Sweet Salvation" brings things back a bit to the smoother sound of Bad Decisions as far as the style goes, but that retro-rock sound is still firmly in place, especially in the tone of the guitars and the simplicity of the drum line.  A great closer for an outstanding album.

With Roy Z overseeing the production, the album has a great feel to it throughout, with nice separation of the instruments, giving each their own voice and room to breathe.  He resists the overproduction that so many records seem to be subjected to these days, allowing the sound of the band to take center stage here, not his idea of what he believes the band should sound like.  With a pedigree of heavier acts such as Judas Priest, Sepultura, and Helloween (to name a few), Roy Z handles a less metallic band quite well here, giving the band the ability to showcase their own style.  Having had the chance to catch these guys live three times, I think this is the most "live" feeling record they have released, and it comes off as legitimate and honest, full of sass and swagger and ready to kick your ass live!  

A sleeper hit for 2014, I anticipate a lot of people are going to overlook this band once again, which will be their loss, as this album is easily going to find it's way onto my Top 15 list of the year!  

Rating:  Love it, love it, love it.  Crank this to 9!

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BABYLON AD "Lost Sessions/Fresno, CA 93"

(c) 2014 Perris Records

1. Love Blind
2. While America Sleeps
3. Love Is A Mystery
4. Bang Go The Bells (re-recording)

Derek Davis--Vocals

Ron Freschi--Guitars

Dan De La Rosa--Guitars

Robb Reid--Bass

John Pacheco--Drums

Believe it or not, 24 years have passed since Babylon A.D. unleashed their self-titled, debut EP upon the hard rock world, and the band has decided that now is as good a time as any to reunite and give it another spin, with several live dates scheduled for 2014.  In preparation for that, the band has released this little EP from 1993, simply called Lost Sessions/Fresno, CA 93.  From what I understand, Davis had actually held onto these session tapes from what was apparently supposed to be their third album (which was never finished)...only to forget he had them...and then find them again.  They were cleaned up a bit, put on CD, and voila, here you go!  New Babylon A.D....sorta....

What we have here are three new songs and a re-worked version of "Bang Go The Bells" from the debut album.  I can state without hesitation that all three of the new songs sound a LOT more like what people had come to expect from Babylon A.D. than anything that actually appeared on the band's third album, which I had a hard time swallowing outside of a couple of tracks.   

The opening track sounds to me like it was possibly a song that had been written for the debut, but just didn't make the final cut for whatever reason.  Solid guitar work and Davis' vocals carry this song which features a simple, yet catchy chorus and a tasty little guitar solo.  "While America Sleeps" is another solid rocker that, again, has that same feel as the debut disc, finding Davis reaching up into the higher reaches of his vocal range on a couple of screams, while plumbing the lower ranges for much of the verse work here.  Good stuff, to be sure!

"Love Is A Mystery" finds that band slipping into lighter-raising ballad territory.  Definitely a track in the "power ballad" style, "Love Is A Mystery" is a solid, if not overly original song with a soulful guitar solo and nicely emotive vocals.  There is also a teased false ending that leads into some more great tandem guitar work, which I love.  Nice touch!  This is a decent song, but as far as Babylon A.D. ballads go, I far prefer "Desperate" off the debut record.  For me, though, Babylon A.D. was always better when they were cranked up full-throttle, so perhaps I am a bit biased on this track.

I am not really sure why the band had decided to re-record "Bang Go The Bells" just three short years after the original was out, but I will say that I prefer the original.   Not to say this is a bad version, but I would say 99% of the time I am going to choose the original over a re-recording, and this is no exception.  If you have never heard the original, then you may end up liking this version better; I'm guessing it is going to be whichever version you attach nostalgia to that is going to end up being your favorite.

This was limited to just a couple thousand CD pressings, so it may be out of print already.  You can check www.perrisrecords.com to see if any are still available.  If so, I'd definitely recommend snagging this little gem to round out your Babylon A.D. collection and to get it signed as the band is out and about this summer.

Rating:  While short, this EP is still crank-worthy.  Crank it to 7, held back by the duration (about 20 minutes) and the fact that only three of these songs are new.

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HELIX "Bastard Of The Blues"

(c) 2014 Perris Records

1. Bastard Of The Blues
2. Even Jesus (Wasn't Loved In His Hometown)
3. Winning Is The Best Revenge
4. Screaming At The Moon
5. Metal At Midnight
6. Hellbound For A Heartbreak
7. When All The Love Is Gone
8. An Axe To Grind
9. Skin In The Game
10. The Bitch Is A Bullet
11. Sticks & Stones

Brian Vollmer--Vocals

Kaleb Duck--Lead Guitar, Vocals

Daryl Gray--Bass, Keyboards, Vocals, Lead Vocals on 7

Chris Julke--Guitars, Vocals

Gregory "Fritz" Hinz--Drums

Additional Musicians

Cheryl Lescom--Backing Vocals on 1

Nick Walsh--Backing Vocals on 4

Where has this album been for the past 25 years?!  Seriously!

For the uninitiated, let me give you a bit of a background on the band.  Helix is a hard rock/metal band from Canada that has been around in one form or another since 1974.  (That's 40 years for those of you doing the math in your head!)  It wasn't until the early 80's, however, that Helix really garnered any notice outside of Canada, starting with their first major label record, 1983's No Rest For The Wicked, and their first real successful single, "Heavy Metal Love".  In 1984 the band released Walkin' The Razor's Edge, which included their best-known song, "Rock You", and in 1985, the band rounded out their strongest stretch of albums with Long Way To Heaven, which included the MTV hits "Deep Cuts The Knife" and "The Kids Are All Shakin'".  1987's Wild In The Streets was a decent album as well, but the band had started becoming to slick, too poppy, for my tastes, and I lost interest after this record.

Despite the lack of commercial success after Wild In The Streets, the band (which was primarily sole-remaining original member Vollmer, major 80's members Hinz and Gray, and a revolving cast of musicians) continued on, releasing 7 more studio albums (including Bastard...), a Christmas album, a couple of EP's, 2 live albums, an acoustic album, and numerous best-of compilations.  All of these included a track or two which came close to recapturing the magic of the 82-87 stretch, but there was usually a little too much attempted humor, too many filler songs, weak production, and other glitches that kept the band from ever reaching their peak again. 

Things have changed, folks....

With Vollmer bringing Hinz and Gray back into the fold for 2009's solid, if unspectacular, Vagabond Bones, the band started to gel once again.  With the addition of Duck on lead guitar, and Julke on rhythm guitar, the band has once again found the right musical combination to put out what I feel may be the most solid album of the band's long, storied career!  

Things kick off immediately with the blues-drenched hard rock of the title track, which finds Vollmer's trademark rasp right at home alongside some skillful playing from Duke and Julke, respectively, as well as some excellent keyboard work from Gray, and powerhouse backing vocals from Cheryl Lescom.  This track, while not typical of the Helix of the 80's, definitely finds the band clicking and comfortable throughout this mid-tempo scorcher.  With all honestly, I was pretty shocked with what I was hearing after just one track.

The pace bumps up just a bit wit "Even Jesus (Wasn't Loved In His Hometown"), a sneering, cynical swipe at the band's hometown of London, Ontario.  Once again, solid guitar work really lays the foundation for this rocker, giving Vollmer the platform for his still-strong vocals (perhaps his work as a vocal instructor has something to do with his continued skill where others have struggled in recent years).  

"Winning Is The Best Revenge" takes a tiny step back for me, largely because it sounds like something that would have made its way onto the band's more slickly polished fare from the early 90's, like the Back For Another Taste album, which really didn't do a lot for me.  The track isn't a skipper, necessarily, but it definitely isn't my favorite.  

The band cranks the harder edge back up with the next two tracks, "Screaming At The Moon" and "Metal At Midnight", both of which are excellent tracks.  These two, along with "An Axe To Grind", all have the same style and sound as the band's biggest 80's hits and would likely have been huge back then...or now, if any radio supported hard rock of this style today.  I'm guessing Europeans fans will eat these tracks up as they are used to being fed a steady dose of solid melodic hard rock.  "Hellbound For A Heart Break" is another quality hard rock number that builds upon the band's past glories, sound-wise, in a song about gambling addiction.  

"When All The Love Is Gone" reminds me a lot of "Dream On" (the Helix song from Wild In The Streets, not the Aerosmith classic), but it goes into territory not previously mined by the band, as it is Gray, and not Vollmer, on lead vocals.  Gray is more than competent, using a lower tenor range than Vollmer does, and singing in a smoother style than the gravelly snarl that Vollmer often incorporates.  While I wouldn't want too many songs of this style to be included, this is a nice little change-of-pace that I have to admit to liking pretty well.  It will never replace "Deep Cuts The Knife" as the big Helix ballad, but it isn't a skipper, either.  

Tracks 9 & 10 are songs that originally appeared on the Skin In The Game EP, and, quite frankly, are the lower points on the record for me.  This isn't because they are bad songs, necessarily, but because they don't completely fit the flow of this record.  Maybe this is just a personal thing, but I would have rather had one new song than two previously done tracks.  Again, not a huge issue, but it does take my feel for this album down a tick or two.

The album closes with a rollicking bluesy number, "Sticks & Stones", which has a definite 70's era Aerosmith feel to it.  I swear I have heard this song elsewhere, but danged if I can find the original if I have.  It's a good track and a nice closer to a great album, overall.    

This album sounds like it would have been the logical follow-up to the band's most successful stretch from the early-to-late-80's; it is that good.  If you have EVER been a fan of Helix, you absolutely must pick up this complete surprise of an album and crank it immediately!  These Canadian hard rock legends are far from dead, and Bastard Of The Blues is all the proof you will need!

Rating:  Crank it to a killer 8!

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OUTLOUD "More Catastrophe"

(c) 2012 AOR Heaven

1. Saints On Fire
2. Cross The Line
3. Mr. Long Gone
4. Last Days of December
5. Falling Rain (Flamenco Version)
6. We Run (for Piano and Vocals)

Chandler Mogel--Vocals

Bob Katsionis--Guitars, Keys

Tony Kash--Guitars

Sven T. Soth--Bass

Mark Cross--Drums

This little EP was released in 2012 following the release of the band's full-length gem, Love Catastrophe...but I didn't find out about it until very recently.  Having loved that first album so much, I immediately tracked this EP down to see what it was all about.

 This EP consists of three new songs, a Christmas song (which is technically a new song, I guess), and two alternate versions of songs from Love Catastrophe.  The remakes are decent, but nothing overly spectacular, but I will admit the Flamenco version of "Falling Rain" is pretty catchy in this state (although I am generally NOT a fan of whistling in my rock!), though I can say with confidence that I prefer the original.   "We Run" was also previously found on Love Catastrophe, but as the title implies, this version is strictly piano and vocals.  I will say this, Katsionis is a GREAT piano/keyboard player and the format here really gives the song a different feel than the full band version on the album.  Again, I probably prefer the original, but this is definitely not a skipper by any means.

"Last Days of December" is a Christmas song that had previously been released as an internet single, and is a nice piano-based song with a big hook.  Not a religious Christmas song, this is more a song about having that special someone to love during the holidays.  Nicely written and featuring some nicely layered vocals, a solid rhythm guitar riff, and an effective, if simple solo, this song will definitely find its way onto my Christmas mix CD(s) that I make each holiday season to carry around with me.

As far as the all new material, these three songs pick up exactly where Love Catastrophe left off.  "Saints On Fire" features a galloping rhythm, screaming guitars, subtle keys to support the musical structure of the track, and Mogel's impressive vocals.  Bordering on power metal, this melodic rocker is a great song and but is better served here on this EP as it would have likely overpowered much of the previous album.  "Cross The Line" reigns things in just a bit, coming more back in line with traditional melodic metal and backing off the power just a bit.  That doesn't make this a lesser track, however, as the band sounds completely at home with this sound and style.  "Mr. Long Gone" is my favorite of the three new songs and is, once again, a driving melodic hard rock number with a great hook and a searing guitar solo. 

This band is one of the better European melodic rock bands I have heard, and I am glad I found out about this little "tide me over" EP, even if it was found AFTER the album it was supposed to tide me over until (Let's Get Serious).  I now need to track down their debut album, We'll Rock You To Hell And Back so I can complete my collection!

Rating:  Very solid and respectable.  Crank it to 8.

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MADMAN'S LULLABY "Unhinged"

(c) 2014 Kivel Records

1. What If
2. Everything's Wasted
3. Time To Time
4. Gasoline
5. Gimme Shelter
6. How Can I
7. You Never Mattered
8. Standards So High
9. Out Go Your Lights
10. Alice Doesn't Live Here Anymore
11. That One Thing

Dave Friday--Vocals, Acoustic Guitar on 6

Mr. Brett--Lead, Acoustic Guitars

Mike Tersigni--Bass

Eric Arbizu--Drums, Backing Vocals

Additional Musicians:

Aaron Leigh--Piano on 11

While Frontiers Records is in the business of resurrecting the careers of notable 80's/early 90's melodic rockers like Stryper, Night Ranger, Winger, and others, Kivel Records is in the business of seeking out and developing NEW melodic rock stars, such as LaValle, Tango Down, and the label's newest project, Madman's Lullaby.

While certainly not a new band (they have been around since 2007), Madman's Lullaby has released the best album of their career thus far with the solid melodic rocker, Unhinged.  While no one comparison will pin the band down, think of the bluesy approach utilized to such great effect by Badlands, then mix in the melodic sensibilities of a Lynch Mob, the bottom-ended riffing of Black Label Society, and a vocal approach that reminds me so much of what Robin Kyle Basauri did with Red Sea and Die Happy that I actually did a quick double-take when I first popped this record in to make sure I hadn't missed something somewhere.  Top it off with top-notch production and mixing that brings alive each of the instruments in a band and you have an album that would have fit in well in the late 80's....and should be getting more airplay and respect in the 2000-teens!

The album kicks off with a dirty guitar intro from Mr. Brett, slinking into Friday's bluesy yowl, then settling into an uptempo groove that drives the song, and the rest of the album home.  More of the same follows, with a couple of the standout cuts being "Everything's Wasted" and "Gasoline", although nothing here is weak or throw away material.  "Gimme Shelter" is another powerful rocker, with some crushing guitars and drums, a bass line that drops right into the pocket, and the most powerful, emotive vocals on the record.  Do not mistake this for a cover of the Rolling Stones classic, as there is NOTHING in common between this song and the Stones except the title of the song.  "How Can I" shows that the band can handle a soulful ballad, before "You Never Mattered" steers the band back into aggressive, angry rocking territory that will leave your neck snapping and you hands pounding!

The last two tracks on this album somewhat set themselves apart from the rest of the album, as both take on a darker musical tone than the rest of the disc.  "Alice Doesn't Live Here Anymore" is very reminiscent of what Tesla has been doing on their past couple of studio releases: mid-tempo and rocking, slightly down-tuned, with thunderous drums and a soulful solo.  But for me, the last track is where the gem of the album lies.  Album closer, "That One Thing" has a definite Tesla-meets-Alice In Chains vibe to the music (tell me you can't hear AIC's "Rooster" in this track...I dare you!), and, for my money, really showcases the best this band has to offer.  While the entire album is very good, this song, to me, is borderline perfection, as the band seems to hold nothing back.  Bottom heavy, sludgy guitars feed the bluesy mood of the song that contains one of the coolest lines I have heard from a song in a LONG time:  "Well I got a cemetery of years of broken love haunting my past...".  Talk about painting a picture and setting a tone!  A killer guitar solo from Mr. Brett just scorches its way through the middle of the song before the heavy, dare I say grungy riffage kicks back in and Friday unleashes his powerful, emotion soaked vocals to carry things through to the haunting, echoing fade away at the end.  Truly powerful stuff from a band who plays their music their way without compromise.

The packaging is top-notch, as tends to be the case with Kivel releases.  A 12 page booklet includes all lyrics, thank you's, credits, band pictures, and additional album artwork.  The production is smooth and flawless, but not so polished that all the feeling is lost in the slickness.  The mix is solid with every member of the band given the chance to contribute in their respective manner (kudos to Jerry Osokie who recorded and mixed the project).

Rating:  An excellent introduction to the band for those who may be experiencing them for the first time, and a must-have release from 2014.  Crank this to 8!

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EYES N LIPS "Pornstar For President"

(c) 2014 Street Symphonies

1. Jack N' Daniel
2. F**kin' Obsessive
3. Pornstar For President
4. Soldier Of Love
5. With You
6. Bring Me To Your Paradise
7. Come Away, Come Away With Me
8. Desire And Curiosity
9. Rock Your Love
10. Day After Day

Mr. Skorpion--Vocals

Gypsy--Guitars

Swiff--Bass, Backing Vocals

Vik--Drums, Backing Vocals

Eyes N Lips are the latest European sleaze band to come across my desk, with this particular band hailing from Milan, Italy.  From what I can gather, the band has been together in one fashion or another since 2011, with Vik and Gypsy being the only original members (they have also added a second guitar player, Chris, since the recording of this album).  Listing bands such as Guns N Roses, Faster Pussycat, and Airbourne as influences, then titling your album Pornstar For President, it is pretty obvious what these guys are going for as far as a sound and style goes.  But do they pull it off?

This is something of a yes and no answer, to be honest.  They are pure sleaze, to be sure.  There is no doubt of that fact.  They also have some definite musical ability, especially Gypsy, who rips out some really nice guitar solos.  Vik is more than competent as a drummer, and Swiff stays nice and tight with the drums, falling into the pocket on each of these tracks and never really straying from there; there are no huge bass intros or solos anywhere on this record, but he is solid enough for this style of music.  

And then there's Mr. Skorpion...

To say that his vocals are going to be an acquired taste is kind of like saying, "Well, at least the poison tasted good before it nearly killed me!"  Mr. Skorpion squawks and squeals all over the place, sounding rather nasal in places, and using a falsetto approach about 70% of the time.  Think of the lead singer of The Darkness...but worse (and for me, The Darkness is ruined by their singer).  In all honesty, Mr. Skorpion's vocals just about make this unlistenable for me, which is too bad because a few of these songs have some pretty decent potential.  "Soldier Of Love" is an okay song with a nice guitar solo, a crunchy little breakdown in the middle, and very basic, shouted backing vocals that are pretty catchy, but MAN...those lead vocals KILL ME!    "Rock Your Love" has a heavy, dirty groove to it that I really liked when it kicked the song off, but then those squeals and falsetto vocals just start trying to claw at my brain...through my ears!...and the song is nearly destroyed.  

On those occasions when Mr. Skorpion brings his vocals back into a normal range that won't drive dogs insane, he actually isn't a horrible singer and the songs are pretty good, if relatively simple.  Yes, his Italian accent is pretty thick, but I can deal with that without trying to find a set of earplugs!  A prime example of this is "With You", which I think is actually a pretty solid ballad with a nice bass line and good guitar work (I could do without the whistling at the outset of the song, but it isn't a song-killer for me).  "Bring Me To Your Paradise" has a Poison-esqe guitar tone and a Faster Pussycat-styled hook that makes for a really catchy song, and Mr. Skorpion manages to keep his vocals under control on what I think is the best song here.  "Desire And Curiosity" has a GnR kind of rhythm guitar line, and Mr. Skorpion only loses control of his vocals a couple of times, spending most of his time in a lower range than anywhere else on the album.  Album closer "Day After Day" sounds like the band may have found some sheet music Poison lost during the recording of Look What The Cat Dragged In, as it has that same kind of catchy guitar solo approach that C.C. DeVille used so frequently back in the day, and a pop-punk pace that I'm sure is a crowd favorite that will have people bouncing all over the place in a live setting.  Mr. Skorpion once again stays in vocal control here, so this song makes the cut as far as stand outs here.           

I get it, this is sleazy, punky, glammy rock n roll, and it isn't supposed to be perfect or necessarily beautiful all the time.  Trust me...I get it.  But when one part of a band can almost single-handedly dismantle an album, it may be time to look for a solution for the next record.  Whether that solution is a new singer or some vocal lessons for the current yowler, that is for the band to decide.  As it stands, Eyes N Lips is definitely not the worst band I have heard even this month, and I think they have a lot of potential as they mature in their songwriting.  But damn...something has to be done vocally or I can't even guarantee I will survive reviewing the follow-up record.

Rating:  Rock this at a 5, but don't sit in a room full of windows or mirrors, as the glass is bound to shatter...just like your eardrums may do!

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STEVEN PATRICK "Guns & Gold"

(c) 2013 Steven Patrick Publishing

1. Ain't Got To (I Get To)
2. Mississippi Wine
3. Guns & Gold
4. George Jones & Jack Daniels
5. Lisa Marie (Don't Cry For Me)
6. Daddy's Girl
7. Gale
8. The Music Of Life
9. Singlesville
10. Hell's Half Acre

Steven Patrick--Vocals, Trumpet

Dan Needham--Drums

Steve Brewster--Drums

Dave Cleveland--Guitars

Scotty Sanders--Steel Guitar/Dobro

David Russell--Mandolin

Mark Hill--Bass

Jacob Lowrey--Bass

Gary Lunn--Bass

Darrell Mansfield--Harmonica

Glenn Duncan--Fiddle/Bazooki

Jason Webb--Piano/Organ

Blair Masters--Piano/Organ

Tim Akers--Piano/Organ

Barry Green--Trombone

Mark Douthit--Saxophone

Beth Beeson--French Horn

In the late 1980's, Steven Patrick was the lead singer of one of the top Christian hair metal outfits going, Holy Soldier.  In my opinion, Holy Soldier rivaled Stryper as the best of the Christian sub-genre, and lacked only the marketing and label support that I think would have put them over the top in a big way.  They were that good. (see reviews of Holy Solder's albums Holy Soldier and Last Train)  After leaving the band, Steven also released a solo album called Red Reign that featured several tracks that would likely have comprised his third Holy Soldier release. While not quite as strong as the two band albums. Red Reign was still very solid with a couple of excellent songs, and it is a highly sought after (and sometimes bootlegged) album if you care to spend between $35 and $60 for it.

Fast forward to 2013, and we find that Steven Patrick has released a new solo album...but things are WAY different folks.  All you have to do is look at the list of instruments and players to know right away that this is NOT Holy Soldier or anything close.  No, Steven Patrick has...gulp....gone country!

Now, it's not all that uncommon for 80's rockers to dabble in country here and there.  Most notably, and also most successfully, Ron Keel has made the crossover, but he did it without abandoning his hard rock and southern rock roots, releasing an album that covers all the bases in remarkably well-done fashion.  Jeff Keith of Tesla, on the other hand, ditched the rock completely and went for old school acoustic country on his solo EP.  Fortunately, Patrick chose to lean more toward what Keel did than what Keith chose to attempt, and it really isn't that bad in spots...if you are into country.  As I have stated before, I grew up on during the Outlaw Movement of the 1970's country world, and even worked in country radio for several years in the 90's, so I am not as closed-off to rocking country as some people are.  As such, I have to say that a couple of the tracks here are actually pretty good, and could probably see radio airplay if Patrick had label support and financial backing...kind of like the situation Holy Soldier was in back in the 1980's.

The fact that this is a straight up country rock record has lost about half of the people who started reading this review, I'm sure, so I'm not going to go into a track-by-track breakdown.  I will say that the title track, "Guns & Gold", is a very good song with a rocking edge and a great guitar solo.  "Mississippi Wine" is a pretty good track as well, and "Gale" is a decent story song with a bit of a rocking edge.  "The Music Of Life" makes a stab at modern country and does a pretty good job of coming across like something Keith Urban might record, complete with some good banjo work.  I could see "The Music Of Life" charting today with little problem if, once again, Patrick had the label and financial backing to get the song out to the "hit makers".  But for me the real gem here is "Hell's Half Acre", a haunting country rock tune in the style of the great story-songs of Johnny Cash, David Alan Coe, Kris Kristofferson, and others of that ilk.  I'm glad I stuck around to give this track a spin because it is a really, really good song, and the one place where you can hear the "old" Steven Patrick shine through a bit vocally.  It actually reminds me a bit of the Holy Soldier song, "Last Train", at least in his vocal approach.

There are a couple of real bombs here, too.  "Lisa Marie (Don't Cry For Me)" uses actual Elvis vocals in the song (it's kind of creepy), and is just a weird song that is just...wow...WEIRD.  Patrick says its based on a dream he had about "Elvis in Heaven", so perhaps he was still in the dream state when he put this together, but even if I was a hardcore country fan, I have to think I would skip this every time!  "Daddy's Girl", while poignant in its lyrical approach, is the kind of material that started to swamp country radio in the late 90's when everyone started to sound the same (much like what happened with hair metal in the late 80's/early 90's).    "Singlesville" is just one big 90's country cliche and sounds dated, even if it isn't executed poorly, while "George Jones & Jack Daniels" is equally straight out of the 90's radio-friendly country, a la Alan Jackson and Clint Black, complete with piano, fiddle, and a name-dropping title that I am certain would've been a hit about 15-20 years ago.   There is also an unlisted bonus track that is actually an alternate version of "The Music Of Life", but it is far inferior to the credited track I mentioned previously.

The packaging is extremely simple, with a simple single-fold insert that features a couple of pictures, credits, and thank-yous.  Interestingly, none of Patrick's Holy Soldier mates made the thank you list, but a couple of other names from the 80's Christian rock scene did, as both Darrell Mansfield and David Zaffiro (ex-Bloodgood) are both mentioned.  My copy is also autographed by Steven, which is cool enough, I guess.

All in all, am I ever going to listen to this album in its entirety again?  Probably not, no.  I did rip "Hell's Half Acre" because I think it's a killer tune, but other than that, I'm just not going to sit through a country record these days unless it's one of the VERY small handful of artists that I would admit to liking.  Unless you are willing to accept this as a country record or are a DIE HARD collector of all things Holy Soldier, I really don't see any reason to hunt this CD down, but if you would like to order it, you can get it from Patrick's website:  www.stevenpatrick.com  

Rating:  Since most readers of G2G are not all that interested in country, I have to rate this album at 3.5 at best, and that's really because of "Hell's Half Acre" and "Guns & Gold".  Take the album for what it is, and it really isn't that bad, and I would rock it at a 5. 

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HEART "Fanatic Live"

(c) 2014 Frontiers Records

1. Fanatic
2. Heartless
3. What About Love
4. Mashallah!
5. Even It Up
6. 59 Crunch
7. Straight On
8. Dog and Butterfly
9. Walking Good
10. These Dreams
11. Alone
12. Dear Old America
13. Crazy On You
14. Barracuda

Ann Wilson--Vocals, Guitar, Flute

Nancy Wilson--Guitar, Vocals, Mandolin

Craig Bartock--Guitar, Vocals

Debbie Shair--Keyboards, Vocals, Percussion

Ben Smith--Drums, Percussion

Dan Rothchild--Bass

String Section:

Ben Mink--Violin, String Arrangements

Svetlana Mondrusov--Violin

Molly Hughes--Violin

Roman Kosarev--Viola

Lusine Petrosyan--Cello

Ann and Nancy Wilson have been pursuing their musical dreams as Heart for more than three decades now, having released their debut album, Dreamboat Annie,over 37 years ago!  During that time, the sisters have amassed a more-than-respectable catalog of albums, a good-sized handful of recognizable classic rock hits, reinvented themselves into a quasi-hair band in the 80's, and continued on through the 90's and 2000's, even releasing a Top 20 rock record just four years ago with Red Velvet Car.  Refusing to go quietly and gracefully into the rock n roll night, the band still straps on their guitars and rock out when the mood strikes.  The band took the opportunity to record just such a show for this CD/DVD release from Frontiers Records, Fanatic Live from Caesar's Colosseum.  

After a somewhat drawn out keyboard intro, the album starts off with the "Fanatic", the title track to both this and their latest studio album.  Despite the fact that this is a newer song, the band shows they can still bring it, especially with the huge riffs provided by Nancy and the always powerful vocals of Ann.  Maybe a little bit more crunchy and heavy than most casual fans will associate with the band, the song is a clear indicator of the attitude the sisters still bring when making music, and it is a good opener for this live package.  "Heartless" follows up nicely and shows the band is not going to shy away from their past in this performance, as this track goes clear back the 1978 record, Magazine.  Executed nearly perfectly, this is the Heart that I was hoping to hear more of on this record, but I will get to more of that in a bit.

Things get really comfortable for a good portion of the crowd with the massive 80's hit, "What About Love", which features a tastefully done string section and Ann's spot-on vocal performance.  The band then channels their inner-Led Zeppelin on "Mashallah!", which again allows Nancy to flex her guitar prowess in a way that I don't think was ever fully appreciated, even in the band's heyday.  "Even It Up" is a sassy number that is likely the only tune from the Bebe Is Strange album that most people even remember, but it still rocks 34 years after it's 1980 release.  "59 Crunch" is another great hard rocker, but not a song a lot of people will be familiar with outside of the Heart fanbase, as it also came from Fanatic.  "Straight On" takes the band back into familiar, classic territory.  The album closes with "Crazy On You" and "Barracuda" both of which never fail to disappoint as the sisters rip through these songs like they haven't been performing them for 30 plus years and are still out to prove the worthiness of these major hits.

Not everything is clicking on all levels here, at least for me.  I don't understand why they felt the need to include a song with a FLUTE for crying out loud!  While I understand want to let Nancy get  a chance to showcase her under-appreciated vocals, "Walking Good", was not a good song in studio fashion (check it out if you dare, but be warned...Sarah McLachlan AND a banjo show up on the studio version!!!), and its just as bad here with a flute.  "Dear Old America" is just not a great song, in my opinion, and could have easily been left off in favor of something else.  I also cringe at the inclusion of "Dog And Butterfly", which is a song that has ALWAYS annoyed me and I loathe that it is included here!  Seriously, I could go forever without hearing that song again and I skip it no matter where I come to it.  Heck, it barely even cracked the Top 40 back in the day, so I really don't get the attraction to this song, especially at the cost of so many other songs the band regularly skips over in concert.   Speaking of which, several of the band's more prominent hits are missing, such as "Nothing At All", "All I Wanna Do Is Make Love To You", "Who Will You Run To", and most surprisingly the top five hit, "Never" and the classic "Magic Man", most of which the band ALWAYS seems to ignore live.  I guess I just had hopes that they would finally get around to including a couple of these songs rather than some of the lesser-known material.  "These Dreams" and "Alone" are performed well, but they sound a bit tired, as if the band is just going through the motions.  

   

The packaging is what you can generally expect from a Frontiers release: a quality booklet with a nice selection of photos, thank you's, credits, etc., although there are no lyrics, which is to be expected on a "best of...live" collection.  This is also a DVD release, so we have a tri-fold digipack here, but at least it is the type that has the solid plastic trays to help hold the discs in place.  The mix is pretty good throughout, although there are times when I wish the guitar was a bit more out front, and the bottom end is a bit muddy in spots, but not distractingly so.  It actually sounds like a live show and not a studio-retouched record, so kudos for the authenticity.  

All in all, a solid live performance, but one that doesn't do a lot to distinguish itself from previous live efforts except to include a couple of new songs.  Too many classics are still skipped, especially from the late 80's/early 90's, and I think one or two of the songs here could have been dropped to include those missing tunes.  For this reason, I think Alive In Seattle, the band's 2005 live effort, is a superior, 2-disc package as it includes a couple of covers, a new song, and "Magic Man".  

Rating:  Not bad, but not amazing, either, mostly because of the song choice and the fact that its hard for a live record to do much for me.  Rock this to a 5.5, although I suspect only hard-core fans are going to spend much time with this record.

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BOSTON "Life, Love & Hope"

(c) 2013 Frontiers Records

1. Heaven On Earth
2. Didn't Mean To Fall In Love
3. Last Day of School
4. Sail Away
5. Life, Love & Hope
6. If You Were In Love
7. Someday
8. Love Got Away
9. Someone (2.0)
10. You Gave Up On Love (2.0)
11. The Way You Look Tonight

Tom Scholz--All Instruments on Tracks 1-4, 6, 8, 9, 11

Gary Pihl--Lead Guitar on 5

Curly Smith--Harmonica on 9

Kimberly Dahme--Flute on 10

Lead Vocals:

Brad Delp on 2, 4, 9

Tommy DeCarlo on 5, 7, 10, 11

Kimberly Dahme on 4, 6, 10

David Victor on 1

Tom Scholz on 8, 9, 10

Guest Vocals

Louis St. Augus (MASS) on 1

Jude Nejmanowski on 7

Jeff Neal on 5

It has been 11 years since one of the truly classic American hard rock bands cranked out an album, and that disc, Corporate America, met with mixed results, to be kind.  In the years since that record, lead singer, Brad Delp, committed suicide, the band disbanded...then reformed with Stryper's Michael Sweet on vocals...and then essentially disbanded again before releasing this, their 6th studio album in 38 years.  I say "essentially disbanded" because, despite the name on the record, this is a Tom Scholz solo album for all intents and purposes, and you need look no further than the musical credits I listed above to understand why.

Like so many other great bands of the 70's and 80's, Boston has always struggled to live up to their initial success.  Few people in the hard rock world will deny the absolute greatness of the first two Boston albums, and that shadow of success has been a long, dark one that Scholz has never fully emerged from.  Sure, there have been hits here and there, but they came largely at the expense of the classic sound, as tracks like "Amanda" sound nothing like the classic rockers "Don't Look Back",  "Smokin'", "Rock N Roll Band", and "More Than A Feeling".  

With Life, Love & Hope. it seems that Scholz tried very hard to please fans of all incarnations and eras of the band, bringing together a wide array of lead singers, song styles, and structures.  When it works, it works very well, but when it misses, it is often hard to listen to.

First, the hits....

Surprisingly, the most classic-sounding tracks on this new batch of songs are songs NOT sung by Brad Delp.  These are the album opener, and lead single, "Heaven on Earth", which features Tommy DeCarlo on lead vocals and Louis St. August of MASS on backing vocals, along with Scholz, and "Life, Love & Hope".  I say surprisingly because with the presence of Delp on a few of these tracks, it would seem that those might be the most "Boston-like" songs, but I'm telling you, the moment that classic Boston guitar tone cranks through the speakers on "Heaven on Earth", I was immediately taken back to those first two records, and for the most part, the song lives up to those feelings of nostalgia, albeit in a bit cleaner, slicker produced package.  This is a Boston song, no doubt, and I am sure many fans were very excited to hear this song when it was released if they are fortunate enough to have a local rock station that still plays classic bands.  The same can be said for the title track, which has that great tone, some Hammond organ, and a dual guitar solo that just screams 70's arena rock!  The Delp-fronted "Didn't Mean To Fall In Love" is also a throwback to those classic days, feeling like the tamer little brother of "More Than A Feeling".  "Sail Away" is a pretty good song, mixing some classic song structures with more modern instrumentation and effects to mixed results, but once that big chorus hits, it feels like Boston's mid-80's output.  So, if you are keeping track, that's the first 4 songs on the record all receiving very good to great ratings. (I don't count the instrumental, "Last Day of School", which is okay, but come on...it's an instrumental!)   Not a bad start, huh?

Sadly, the wheels start coming off at this point...

"If I Were Love" is a dark, moody song with Kimberly Dahme on lead vocals.  This is, plain and simple, NOT a Boston song in the classic style; not at all.  The song is boring with no hook, no snarl, and little in the way of anything that resembles what we have come to expect from Boston.  "Someday" tries to recover the record, but this song feels like the Boston truck ran into a pop band's minivan, leaving a musical mixture spilled out on the road where passers-by honk and wave, and occasionally flip the bird, screaming for someone to clean up the mess!  Seriously, I think this COULD HAVE BEEN a great song, but it sounds incomplete, like its a demo or a garage recording that got stuck on the album to take up space.  It is all over the place, stylistically, and the inclusion of a misplaced harmonica solo does nothing to help decipher the musical direction of the song. "Love Got Away" finds Scholz taking the lead microphone position with less than amazing results.  He's not a horrible singer, but his range is severely limited, giving the song a flat quality that is not assisted by the relative blandness of the organ-heavy, oddly mixed music that has the drums basically buried at points and most of the guitars choked almost completely off, while the bass and a computerized-sounding high hat are the prevalent instruments in spots. 

"Someone (2.0)" is a reworking of the song "Someone" from the Corporate America album.  With Delp on vocals, the classic Boston sound manages to rear its head for one final howl on this record, but on a track that would rate as 5th best on the record.  I will say this; this version is FAR superior to the version that showed up on Corporate America, so I'm glad Scholz resurrected it.  The other retread is the next song, "You Gave Up On Love", which was also on Corporate America...and which should have been allowed to die on that record.  Not a good version of a not particularly good song, and just not Boston to my ears.  I mean, come on...a flute solo?  Is this Jethro Tull?!  Ugh!  The album's closer is the piano-based semi-ballad, "The Way You Look Tonight" which tries very hard to capture classic Boston, but falls short, allowing the album to go out on a whimper rather than a snarl.  The song is too saccharine and bloated, with too many things going on OTHER than classic rock guitar to keep my interest at all.  

As far as packaging goes, this is one of the high points (how sad is that?!), as Scholz includes all the credits, lyrics, and even the meaning behind each of the songs.  There is a picture of Scholz at the mixing board, along with an explanation of the meaning of the album (and an indictment of the music industry and the internet).  The cover art has that classic Boston feel, and various shots of the band in concert...along with some odd shots of space...fill the pages of the 16 page booklet.  This is a Frontiers release, so yes, its a cardboard package, and the worst kind: a slipcase that I am afraid will end up scratching the CD over time.  WHY?!

I want to like this record, as I have so many great feelings tied to the first two records, and even to a couple of songs on Third Stage.  But, like the band themselves say, this is about more than a feeling, and in the end, even those feelings of nostalgia and longing for a once-great band cannot overcome the fact that this new album is a disappointment for me.  I am sure there are some who will love the record, but I am not one of them.  

Rating:  Turn this down to a 4.  Four good songs (1,2,4 and 5) and one okay track (9) simply can't overcome the rest of this album, which leaves me bored and a little sad, to be honest.

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