Capsule Reviewz

  Abraxas Pool – Abraxas Pool

The original members of Santana reunite for an album of latin-flavored rock.  (Go figure.)  Lotsa spicy rhythms, some great tunes and some soaring lead guitar from Neal Schon.  This is the way Santana could rock if they wanted to, but without Carlos it seems more like a tribute, really.  

AC/DC – For Those About To Rock

 The title track has got to be one of the greatest rock anthems to ever blow a set of speakers!  Songs like “Put The Finger On You” and “Inject The Venom” show that the band is back at the height of its power, vocalist Brian Johnson in full swagger.  The cover says it all – simple, heavy and explosive.

A-ha - Analogue (2005) 

The Alarm – Electric Folklore Live (1988)

This album has got some of the most sincerely cheesy moments to be found on a live album, beginning with a soap-box soliloquy about Woody Guthrie and the power of rock and roll in “Rescue Me”.  But the energy that The Alarm exudes, even in such a moment, is enough to make you smile and go along with it anyway.  This is not really a full album, but it’s not exactly pared down to an EP either.  It’s a six-pack of pop anthems (“Spirit Of ‘76”, “Rain In The Summertime”) from a band not unlike a younger U2 in some ways.  These guys folkin’ rock.

Alcatrazz – No Patrole From Rock and Roll (1983)

Graham Bonnet, fresh from a short tenure in Ritchie Blackmore’s Rainbow and an even shorter one in Michael Schenker Group, decides to do things his way.  The band brought together Graham’s great voice, and showcased a fresh-faced prodigy in one Yngwie Malmsteen.  Even back in 1983, Yngwie was a rising force (pun intended).  Bonnet seems to have kept Malmsteen in check, as evidenced by fluid, yet grounded, fret wankery on “ Island In The Sun” and “Hiroshima Mon Amour”.  At times, the whole thing sounds pleasantly reminiscent of, yet never derivative of, Rainbow.

  Alice In Chains – Dirt

Like some sort of harrowing drug-induced nightmare comes ‘Dirt’, from the troubled Seattle band Alice In Chains.  Alice In Chains was a band that actually straddled that fine line between the popular grunge of the early 90’s and the heavy rock of pioneers like Black Sabbath.  The result was that songs like “Rooster” and “Them Bones” found an audience outside the grunge scene, without necessarily losing the hometown crowd.  The late Layne Staley sang of despair, anger and his well-publicized bouts with heroin.  The songs are powerful, and in the case of “Down In A Hole”, beautiful.  But not pretty.

Ancient - Night Visit (2004)

Rusty Anderson – Undressing Underwater (2005) 

Anthrax – Spreading The Disease (1985)

This, Anthrax’ first full album since dropping original vocalist Neil Turbin, was one of the first big speed metal albums to emerge from New York .  Rhythm guitarist Scott ‘Not’ Ian, drummer Charlie Benante and his uncle (!), bassist Frank Bello lay a foundation for the guitar and vocal histrionics of Dan Spitz and Joey Belladonna, respectively.  The production is a bit trebly, but that doesn’t stop the heaviness of songs like “S.S.C./Stand Or Fall” or “Armed And Dangerous” from coming through.  MTV banned the video for “Madhouse”, citing what it felt was inappropriate portrayal of mental illness.  Whatever.  It’s just a funny song, not a social statement.  When Anthrax toured, they performed “Gung-ho”, which they claimed was the fastest song yet performed in a major arena.  You be the judge.

ARK – Burn The Sun

On this, the second album by Ark , the band basically consists of refugees from Yngwie Malmsteen’s band.  Founding members Tore Ostby and Jorn Lande have crafted an album more intricate and refreshing than anything Yngwie has released for quite some time.  Lande’s voice is reminiscent of a young David Coverdale, with infinite range.  Released on Steve Vai’s Favored Nations label.

Armageddon – Armageddon (1975)

Armageddon recorded only one album.  They were the brainchild of ex-Yardbirds vocalist Keith Relf and several members of Renaissance.  It tends to lean toward hard rock, as in lead track “Buzzard”.  Perhaps compares to ‘Metamorphosis’-era Iron Butterfly, or Captain Beyond.  “Silver Tightrope”, sounding silken and dreamy, is one of several sublime moments worth checking out on this lost classic.  

Badlands – Voodoo Highway

Jake E Lee’s Badlands returns for its sophomore effort, a bluesy brew that, with the exception of opening track “The Last Time”, is a further departure from any melodic metal tendencies on its first album.  What set the band apart from its peers in the first place here tends also to set the band apart from its fans.  Strangest here is a hard-rocking take on James Taylor’s “Fire & Rain”.  The album finds its strength in tracks like “Soul Stealer”, “3 Day Funk” and “Love Don’t Mean A Thing”, all of which bear the weight of the rest of the album.  Good stuff from a great band, but it couldn’t hold its audience. 

Bad News – Bad News (1989)

For lack of a better description, let’s call this the British equivalent of Spinal Tap.  Only funnier.  This album will appeal to fans of the short-run British comedy show The Young Ones.  Remember Rik, Neil the hippie and Vyvyan the punker?  Rik Mayall, Nigel Planer and Adrian Edmondson are back – this time as Colin Grigson, Den Dennis and Vim Fuego, respectively - in Bad News, the worst British heavy metal band ever.  These guys draw the line, then walk right across it, taking listeners through a series of rehearsals, hilarious outtakes (“Warriors Of Genghis Khan” and “Excaliber”), band fights and a blasphemous cover of Queen’s “Bohemian Rhapsody” – produced by Brian May himself!  Dare to go where Spinal Tap wouldn’t take you.  You’re in for some Bad News.

Baker Gurvitz Army – Greatest Hits Live (2003)

“Who,” you say?  Surely you remember Ginger Baker, lanky drummer with the cigarette and the van dyke, who worked up a steam behind the drum kit with the legendary Cream and Blind Faith.  Baker followed those short-lived bands with another short tenure – this time as 1/3^rd of Baker Gurvitz Army with brothers Paul and Adrian Gurvitz, themselves known for their earlier work in Gun.  This CD is actually a bit of a misnomer, not containing much in the way of legitimate ‘hits’.  But that’s neither here nor there, as it turns out.  The seven songs contained here are fantastic examples of what three like-minded musicians can accomplish.  With songs that are rarely less than seven minutes long, the trio locks and loads a groove, then rides it all over the place for a while.  “Wotever It Is” is a fine showcase for the tasty guitar soloing of Adrian Gurvitz, while “ Memory Lane ” gives Ginger Baker room to move.  Elsewhere the band sounds like a rock & soul stew, from the Donny Hathaway vibes of “The Gambler” and “Freedom” to the hard-rockin’ tribal jazz of “People”.  It’s too bad this lineup didn’t last longer than it did, or make a bigger impression than it did.  There’s some good stuff worth checking out here.  It may not be everyone’s cup of tea, but for those adventurous listeners with an appetite for originality and chops, dig in.

Beatles – Abbey Road (1969)

We can’t tell you anything about the Beatles that you shouldn’t already know.  John, Paul, George and Ringo recorded in six short years a catalog of songs that have indelibly left their mark on modern music.  They were master songsmiths, with an uncanny knack for melody – sometimes in the most unusual places (“She Came In Through The Bathroom Window”).  ‘ Abbey Road ’, named for the studio in which it was recorded, was but one of a series of landmark albums.  Call them pop (“Here Comes The Sun”).  Call them rock (“I Want You – She’s So Heavy”).  Whatever you call them, they were innovators.  Once they gave up touring to dedicate themselves to studio work, they became musical pioneers whose songs were heartfelt (“Something”), quirky (“Maxwell’s Silver Hammer”), poignant (“Golden Slumbers”) and indelibly etched in our collective conscience.  But you already knew that, right?  

Adrian Belew – Desire of the Rhino King (1991)

If there’s another electric guitarist as creative and adventurous as Adrian Belew, we’d like to know who it is.  Whether with the Bears, King Crimson, Zappa, Bowie or on his own solo turf, Belew has always pushed the edge and often gone right over it.  ‘Desire of the Rhino King’ is a glorious collection of songs that showcase Adrian’s unabashed love of the beautifully bizarre.  Belew sounds like David Byrne of the Talking Heads (whome he also recorded with) when he sings.  And whether imitating a rhinoceros (“The Lone Rhinoceros”), a whale and bubbles (“Ballet for a Blue Whale”), playing an instrumental duet with his four-year old daughter or practically yanking the tremolo out of his guitar (“Twang Bar King”), Belew knows no boundaries.  Truly exciting, eclectic and almost indescribable.  In a good way. 

Benatar - Crimes of Passion (1980)

Pat Benatar is one of the best female voices in rock history.  For her second album she comes out with a true hard rock sound, and if you were listening to the radio in the early '80s, then you have to be familiar with these first four tracks on Crimes of Passion."Treat Me Right" which grabs your attention. "You Better Run" kicks. Everyone knows "Hit Me With Your Best Shot", the single that brought Pat Benatar into the forefront. "Hell Is For Children" is an incredible rock anthem that also touches on a sensitive subject of child abuse.  Although these songs stand out, you can be assured that there are a couple of surprise tracks like "Little Paradise" and "Out-A-Touch".  Pat along with her incredible guitar blazing husband, Neil Geraldo deserve a great amount of praise for the collaboration on song writing and Neil with his guitar contributions.

Black Oak Arkansas – King Biscuit LIVE (1998)

The fact that King Biscuit Flower Hour may have countless other live performances like this in their vaults is mind-boggling.  Upon hearing the intro to this album, every self-respecting rocker’s blood should be throbbing to Tommy Aldridge’s shotgun-blast drum intro on “Hot Rod”.  Jim Dandy and BOA are about to lay waste to Reading , England and thanks to King Biscuit you are there.  “Rock & Roll” continues the momentum as the band cruise through “Great Balls Of Fire”, “Hot & Nasty” and “Keep The Faith”, leaving behind the countrified Southern boogie of their first few albums for the more modern rock of their ‘Ain’t Life Grand’ and ‘Balls Of Fire’ era. 

Blue Oyster Cult – Curse Of The Hidden Mirror (2001)

After 1998’s ‘Heaven Forbid’ album, this CD was a joy to behold.  It just had to be every bit as good as ‘Heaven Forbid’.  Well, it wasn’t.  There are some fine BOC moments on ‘Curse’, but there are some retreads of past ‘ok’ moments, too.  Opening track “Dance On Stilts” is reminiscent of AC/DC, which isn’t really a comfortable fit.  “Showtime” seems like a less powerful “Power Underneath Despair” from ‘Heaven Forbid’, kind of a ‘wait til I get out of prison…you’ll be sorry’ kind of song.  Guitarist Buck Dharma comes away with the catchiest of the songs here, as usual.  “Pocket” and “Here Comes That Feeling” are almost embarrassingly melodic.  Eric Bloom seems to take on the more brooding material, as on the powerful “The Old Gods Return” and “Out Of The Darkness”.  Some of the tracks could have been left off the album completely – “I Just Like To Be Bad” and “Good To Feel Hungry” are almost insulting, given the band’s reputation for intelligent songwriting.  They may have been better off writing more of their own lyrics this time around, instead of depending on author John Shirley, who can be a ham-fisted lyricist.  Here BOC are not quite, as they sing, “in the pocket…”.

Blue Oyster Cult – Spectres

This, the follow-up to 1976’s monumental ‘Agents Of Fortune’ album, finds BOC sucking listeners into one of its more somber albums.  From the bleak landscapes of “Golden Age Of Leather” and “Death Valley Nights” to the fog-choked “I Love The Night” and “Nosferatu”, the album is both desolate and full of hidden surprises.  One of the more obvious treasures here is the monster hit “Godzilla”.

Marc Bonilla – American Matador (1993)

Well, there’s no accounting for the reason Marc Bonilla is not held in the same regard as guitarists like Satriani or Vai.  Marc is certainly every bit as inventive as those two.  This is Marc’s second solo album, and he’s invited along several good friends you may have heard of:  Deep Purple vocalist Glenn Hughes, guitarist Ronnie Montrose and Tesla drummer Troy Luccketta.  From the opening strains of the title track, it’s apparent that this is no throwaway Shrapnel Records exercise in six-string wankery.  In other words, one needn’t be a student of electric guitar to enjoy this release.  Montrose puts down some nice slide work on a version of “I Am The Walrus”, and Hughes’ vocal on “A Whiter Shade Of Pale” is breathtaking.  Kicking up the fun quotient most is “Get Off The Fence” is a sonic trick-or-treat - a bumpy, slippery ride that shows Marc Bonilla to be as creative and accomplished a player as you’re likely to find.

Bon Jovi – Keep The Faith

As it turns out, beneath all the hair and the shouted candy-sweet choruses lay the bones of a great rock n’ roll band.  From the get-go, Jon Bon Jovi has come across as a hair-metal Bruce Springsteen.  But it’s only on the ‘Keep The Faith’ album that Jon takes a few bigger steps closer to The Boss in song.  “ Dry County ” and “Bed Of Roses” do a fly-by into Springsteen territory, and are two of the most satisfying songs on the disc.  They venture out of the usual 3-4 minute time constraints into the 6-10 minute range.  Elsewhere the album has a familiar, albeit more mature, Bon Jovi sound.  Which means the hooks are still there - thanks in part to contributions from one of the most respected pop songwriters around, Diane Warren.  All enough to keep the faith. 

Boston – Boston (1976)

A hard rock album for people who don’t like hard rock, the debut album by Boston is a marvel.  Especially when you consider that it was basically the undertaking of one man, Tom Scholz.  Tom wrote, played and produced the lion’s share of material here, with the exception of Brad Delp’s vocals.  The band on the liner photo was, for the most part, ornamental.  ‘ Boston ’ has been a staple of FM radio since its release, no less than all eight of its tracks garnering airplay – none more so than single “More Than A Feeling”.  Sweet melodies, stellar vocals and layer upon layer of Thin Lizzy-style lead guitars - Tom Scholz probably could have retired after this album.  Although sometimes it seems like he has – such are the lengths between Boston albums since – Boston continues, having recorded some five albums in their 26-year existence. 

Brain Surgeons & Friends – To Helen With Love (2001)

For any Blue Oyster Cult fans longing to see the band reunite with original bassist and drummer Joe and Albert Bouchard, respectively, this is as close as you’re likely to get.  ‘To Helen With Love’ is a tribute to the late NY singer/songwriter whose work graced numerous solo records, as well as records by BOC, among others.  Sadly, it was only the death of Helen ‘Wheels’ Robbins that would reunite BOC guitarist Buck Dharma with the Bouchard brothers.  Buck here appears with Joe and Albert on four tracks, the first time since 1981 that the three had recorded together.  Other NY music icons have gathered here as well, including Handsome Dick Manitoba and Ross The Boss of The Dictators, the members of Albert’s Brain Surgeons, Dennis Dunaway & Neal Smith of the original Alice Cooper band.  Highlights include Buck Dharma’s poignant vocal on “Elle Sol”, Bouchard/Dunaway/Smith’s rumbling take on the BOC nugget “Fallen Angel” and the Brain Surgeons’ take on “Sinful Love”.  Whether in the form of ragged pop or folksy punk, this album is nothing if not sincere – and it’s a fitting tribute to the life and work of Helen Wheels.         

Michael Bruce – Halo Of Ice (2001)

Michael Bruce was one-fifth of Alice Cooper.  Remember back when Alice Cooper referred to the whole band?  Ok, so we’re on the same page.  ‘Halo of Ice’ is a live album, recorded during a trip to Iceland in 2001.  The lion’s share of songs here are the more obscure and less theatrical fare like “Desperado” and “Be My Lover”.  You won’t find “Dead Babies” or “I Love The Dead” here, but you will find smokin’ versions of “Billion Dollar Babies” and “No More Mr. Nice Guy”.  And as the guitarist who originally wrote and played this stuff, Michael Bruce wields slabs like “Hello Hooray” and the title track (sort of) “Halo Of Flies” with aplomb.  This show was not originally slated to be a live CD, but the tapes turned out so good that the band convinced Michael to release the show after all.  And hell, Alice himself doesn’t even do half of these classics.  So turn down the lights, turn up the volume, turn back the clock and put on your ‘Halo’.

Candlemass – Candlemass (2005) 

Someone get Leif Edling’s phone number to Tony Iommi – the Candlemass guitarist could surely kick-start writing sessions for a new Black Sabbath album.  In fact, Candlemass may very well have recorded an album worthy of the Black Sabbath name.  Reuniting for the first time in, well, a long time, guitarist Leif Edling, vocalist Messiah Marcolin and company have released a super slab of epic doom metal.  Actually, their current sound goes a little lighter on the doom, but is still plenty heavy.  The chugging “Seven Silver Keys” and “The Man Who Fell from the Sky” will have old-school Candlemass fans nodding their heads at the familiar dirge the band is known for, while uptempo rockers like the “Black Dwarf” and “Assassin of the Light” make great calling cards to present the band to new fans.  Augmenting the power of the band’s sound is the superb production work of Pontus Norgren, he being a fellow Swede and veteran of the group Talisman.  Candlemass’ self-titled album is an epic chunk of iron ore.  It should find a home with Sabbath fans, and reintroduce this great metal band to the world.  Do your part and support the US release of this fine CD.   

Tony Carey’s Planet P Project – Go Out Dancing, Pt. 1: 1931

Christmas Eve 2003 brought a gift to music fans everywhere – after an absence of nineteen years, the enigmatic Planet P Project was resurrected in the form of ‘1931’, an inspired collection of songs that marks the beginning of a conceptual trilogy.  Here’s the kicker:  Tony Carey presented the entire album as a free download on his web site, referring to it as ‘Music for the people’.  If ever there was an album made for headphones, this is it.  A mix of history, electronica and  often drawing parallels with some of the best work by Pink Floyd’s Roger Waters, ‘1931’ is a cautionary tale spanning the last eighty years.  It traces fascism, racism and fear throughout the decades, for as Tony Carey states “If you don’t know where you’ve come from, you don’t know where you’re going…do you?”  The album opens in 1939, with families in both Germany and America listening to a government broadcast on the radio.  What follows is a series of haunting spoken passages and historical audio clips as Carey’s story unfolds over a driving rock soundtrack.  As always, Tony Carey has a way with words that makes his songs poignant, thoughtful and in the case of ‘1931’, troubling.  Secret police, paranoia, skinheads, and cattle trains full of people are addressed with vivid realism in songs like “Work (Will Make You Free)”, “Waiting for the Winter” and “Believe It”.  By the end of the album, when Tony has stated his case, he leaves us with the questions “Where Does It Go…where will it lead, what have we learned?”  If Tony Carey has his way, the messages of ‘1931’ – possibly his most important work to date - will reach thousands of listeners around the world.  The return of Planet P heralds the return of a man at the height of his creative powers, and bodes well for the next phase of Tony Carey’s solo career.  Hear it for yourself.  Click the link to be transported to ‘1931’!      http://www.truebeliever.de/sites_e/start.html

Johnny Cash – Unchained (1996)

This is country music for people who aren’t fans of country music.  Beginning in 1994, Johnny Cash began a quartet of albums under the watchful eyes and ears of enigmatic rock visionary/producer Rick Rubin.  Rubin brought Cash to the listener in a way that had never been done – with a sound stripped bare as a sun-bleached bone, acoustic guitars echoing under that familiar, now somewhat gravelly voice.  By the time ‘Unchained’ (the second of the four albums) was released, a skeleton crew including Tom Petty and  Flea had been brought in to accompany Cash on his dark journey through songs about lost love (“Sea Of Heartbreak”), bigotry (“Southern Accents”), taking the road less traveled (“I’ve Been Everywhere”) and ultimately, redemption (“Spiritual”).  The choice of material here is inspired, and the performances are among the most heartfelt you’re likely to find in Cash’s catalog.  When Cash sings “Jesus, I don’t want to die alone”, he at once displays both vulnerability and resolve – two elements long prevalent in his music, and multiplied here tenfold.  

Johnny Cash – Sings the Ballads of the True West (1965)

The Man in Black saw many of his classic albums remastered and reissued in celebration of his 70^th birthday.  This album, originally released in 1965, is exactly what the title implies.  Cash, along with the Carter family and the Statler Brothers has here committed to tape a collection of songs so steeped in Western lore that one can almost taste the dust from the wagon-worn trail.  From the plight of the Indians (“Hiawatha’s Vision”), the assassination of President Garfield (“Mr. Garfield”) and the tough-as-nails attitude of the era’s roughest characters (“Mean As Hell”), Cash covers all the bases.  It’s a trip through Western history – alternately acted, sung and shouted with reckless abandon by a true Country pioneer.  

Celtic Frost - Monotheist (2006)  

That Swiss Hell-hammering trio returns to the scene of the crime, some fifteen years after their last gasp, with a colossus of an album.  Tom G. Warrior, with longtime partner in crime Martin Eric Ain, is back with a couple new Frosties in tow.  But some things never change.  Warrior still manages to dredge up an impossibly low, droning guitar tone.  And he still has the songwriting skills to wield such a sound.  Imagine Celtic Frost doing Sabbath's "Into the Void".  It's that heavy.  If you could turn a nightmare world like the one at the end of Fulci's 'Beyond' into an album, this might be it.  Listen to "Synagoga Satanae" to see what that would be like.  In places, ‘Monotheist’ is a lot like 'To Mega Therion' with a few of the influences from 'Into the Pandemonium'.  Tom's vocals sound like they did on early Frost albums, and the music stands alongside the best in their catalog.  Do yourself a favor and listen to the music before you actually read the booklet that comes with the CD.  And when you do, be sure to read all of the lyrics first - before you read Tom and Martin's notes about the inspiration behind the songs.  Why?  Because those song explanations are the most convoluted, pretentious, quasi-Latin ramblings ever put to paper.  They shed no light whatsoever on the material at hand.  Seriously.  Even though you'll now be tempted, read those song explanations last.  And then forget you read them at all.  But remember this – ‘Monotheist’ may very well be the heaviest release all year.  Or any other year, for that matter.

Jeff Coffey – Jeff Coffey (2003)

Now THIS is the way to put out a CD!  Jeff Coffey’s self-titled independent debut came to us from our friends out in the Orlando area, and it is really something to see.  A veritable press kit in itself, the disc offers up a biography, interviews and performance clips.  The album is a refreshing blend of intelligent rock and pop that mixes sounds as diverse as Candlebox (“Say I”) and the Rembrandts (“Carousel” & “Write About Me”), with a modern flair.  While the latter has seen some notable chart action, it’s the ballad “Secret Love Affair” that seems like it could have breakout potential if given a chance.  It’s on this song that Jeff’s voice – an emotive cross between Bryan Adams and Aussie superstar Jimmy Barnes – really shines.  Jeff’s debut was recorded at the same Trans Continental Studios that gave birth to N*Sync, Backstreet Boys and O-Town.  That should tell you something about the sound quality here.  But unlike those bands, make no mistake – this disc rocks.

Albert Collins & The Icebreakers – Live In Japan (1984)

Albert Collins has long been called the ‘Master of the Telecaster’.  Now, some fans of Roy Buchanan may disagree, but Collins makes a convincing case for himself on this live album from 1984.  Recorded in Japan , Collins and his band of Icebreakers cruise through a set of warts-n-all performances that will leave you tapping your toes and bobbing your head around, pleased as shit that you found this album!  “Listen Here” gets things started right, a mostly instrumental track except for the portion where Albert scats along with his own playing – a solo duet, if you will.  Anyone who appreciated the type of blues featured in the movie Blues Brothers will appreciate the real deal – the soulful, sax-laced blues of Texan Collins.  Even “Stormy Monday”, as many times as it’s been done over the years, sounds as fresh as yesterday’s heartbreak. 

Company Of Snakes – Burst The Bubble (2002)

Classic Whitesnake is back!  Ok, that’s not entirely true.  Half of classic Whitesnake is back, in the form of Company Of Snakes.  Featuring the core of former Whitesnake bassist Neil Murray, along with guitarists Micky Moody and Bernie Marsden, this is a return to pre-1984 heyday, before Aqua Net became a major part of Whitesnake.  It’s all there – the long-missed blues guitar work of Moody and Marsden, the consummate groove of Neil Murray and the pouty blues wail of David Coverdale.  Except Coverdale has nothing to do with this band.  Stefan Berggren steps in as an able understudy, copping much of Coverdale’s mannerisms.  That’s all fine and dandy, but in the end it’s the songwriting that ultimately makes this album.  Moody and Marsden still have a knack for riffs, here pulling a few more from the hat that gave us great albums like ‘Ready An’ Willing’ and ‘Love Hunter’.  Indeed, the cover of ‘Burst The Bubble’ seems to be a prequel of sorts to the ‘Love Hunter’ graphic. 
 
Alice Cooper – Billion Dollar Babies (1973)

“Hello Hooray” was a great show-opener, so it’s fitting that it opens one of the most-loved albums by a great showman.  Alice Cooper (the group, not the man) stuck out its forked collective tongue at the nay sayers when they released this gem.  From its slick green snakeskin sleeve to the baby wearing mascara, most of the prim-n-propers probably didn’t know whether to laugh or to be outraged.  Needless to say, they probably never decided to investigate any further.  And it’s their loss.  They missed out on some of Alice ’s sickest (ahem) things yet (see “I Love The Dead”).  “Raped And Freezin’” finds Alice running naked and afraid from a female pursuer.  The title track is one of only a handful of rock classics instantly recognizable by the opening drum riff alone!  (Grand Funk’s “We’re An American Band” is another.)  And Alice even manages to slip in a social statement or two.  (It doesn’t hurt a bit, we promise.)  Check out the throat-shredding scream in the middle of “Elected” – Alice has rarely sounded so full of piss and vinegar.  Eat your heart out, Roger Daltrey.

Alice Cooper – Brutal Planet

Alice Cooper – Constrictor (1986)

The nightmare returns.  So said the press surrounding Alice ’s comeback tour in support of this album.  Ticket sales were strong for the tour, but the same cannot be said of sales for the album.  Why?  Well, for starters nary a guitar could be heard in lead single “He’s Back (The Man Behind The Mask)”, a tie-in to the motion picture Friday The 13^th, Pt. 6.  So fans had to wonder “What gives?”  The songs are ok at best, “Teenage Frankenstein” and “The World Needs Guts” being two of the stronger tracks.  “Thrill My Gorilla” may just leave fans scratching their heads.  Perhaps worst of all is Beau Hill’s production.  This is the man responsible for Ratt’s blazing ‘Out Of The Cellar’ album.  Here, he slathers on layers of keyboards and sampled drums, suffocating Alice in the process.  Much like the album cover would imply.

Alice Cooper – The Eyes of Alice Cooper (2003)

It’s not too hard to imagine that, were they to reunite today, the original Alice Cooper band would sound something like this.  After dalliances with new wave in the early 80’s, hair metal later in the decade, and a couple of his heaviest albums yet with ‘Brutal Planet’ and ‘Dragon Town’ in the 2000’s, Alice Cooper has stripped away the sheen and re-imagined his sound as an updated version of the retro-trash garage band glory of a quarter decade ago.  His trademark eye makeup has reverted to something akin to that of the ‘Love it to Death’ days.  What does all that mean?  Well, songs like “Man of the Year” and “I’m So Angry” are infused with a snotty punk attitude.  Alice recalls the heady days of the Motor City in “Detroit City”, getting a hand from the MC5’s Wayne Kramer on guitar.  There are echoes of “You and Me” or “I Never Cry” in the Beatles-ish “Be With You Awhile”.  “This House is Haunted” might remind a few of ‘Welcome to My Nightmare’s’ “Steven”.  And when’s the last time you heard a clarinet on an Alice Cooper album?  It’s remarkable, and heartening, that an artist around for so long can still release an album of this caliber in what might be considered to be the twilight of his career.   

The Cult – Electric (1987)

They started out as kind of an edgy new wave band.  But by the time of this, their third album, The Cult had turned up the volume on their amps and apparently listened to an AC/DC record or two.  Thanks in part to producer Rick Rubin, The Cult reared its head with a stripped-down, raw and blustery bellow.  That’s not to say they left behind melody, as “Wildflower”, “Love Removal Machine” and “Lil’ Devil” show.  There’s also a bit of a retro vibe going on, as evidenced by singer Ian Astbury’s dalliances with a kind of psychedelic lyrical slant, and the band’s rather dubious cover of “Born To Be Wild”.  A hint of things to come on the next album, the great ‘ Sonic Temple ’.

Dan Reed Network – The Heat (1991)

Charlie Daniels Band - Million Mile Reflections (1979) 

The Charlie Daniels Band offers up a little something for everyone on their 1979 release, ‘Million Mile Reflections’. The album that spawned their signature hit, "The Devil Went Down To Georgia" (a song that found a home on the silver screen in the film Urban Cowboy, as well as the set lists of both rock and country radio stations), also serves up slices of musical diversity for any open eared and open minded listener to enjoy. Rock, blues, jazz, country, and even funk, this was Daniels and Co. incorporating those styles into their music and saw the band at their very best in the studio (and subsequently, on stage). Long before Charlie’s music became overly focused on politics and religion, he and the band were busy entertaining audiences with great music and songs like "Jitterbug", "Reflections", and "Rainbow Ride". The Charlie Daniels Band were always more than just the band that played "The Devil Went Down to Georgia" and ‘Million Mile Reflections’ stands as a testament to that.  Review submitted by Ian Salazar - thanks Ian!

Deep Purple – Made In Europe

Some people don’t like live albums at all.  They must be listening to the wrong ones.  ‘Made In Europe’ almost comes across as an EP, with its scant six songs.  But it’s the quality that counts, not the quantity.  The album opens with the most exciting version of “Burn” the band ever laid down on tape, followed by “Mistreated”.  If Ritchie Blackmore’s shorter intro is an indication that he had grown tired of playing this song, as some have suggested, it’s not apparent in his execution.  The performances by vocalists Coverdale and Hughes are spot-on, as the band blaze thru a collection of barnstormers from the ‘Burn’ and ‘Stormbringer’ albums.

Deep Purple – Bananas (2003)

Many long-time Purple fans have been dreading the release of this album.  Others have been looking forward to it with relish.  After all, this is the first album without founder and band cornerstone Jon Lord.  While Lord certainly was an integral part of Purple, his absence becomes a non-issue in the capable hands of his successor Don Airey.  It’s funny to think at this point that guitarist Steve Morse is a relative veteran in the band now, having joined almost a decade ago.  Album opener “House Of Pain” should disarm most nay-sayers, as Ian Gillan’s scream signals the rallying cry of a band renewed.  And it’s a joyful roller coaster ride from here on out.  The first major departure for the band comes in the form of “Haunted”, a heartfelt ballad unlike anything Purple has done so far – and one of Gillan’s shining moments on the CD.  “Razzle Dazzle” leaves a little to be desired, as it becomes unclear whether the song was written to fit the snazzy title.  And it’s anyone’s guess what the song’s about.  “Silver Tongue” is the second major departure for the band at this point, as Airey brings out the synthesizers that give the song its electronic foundation.  It works, but only just.  Synthesizers seem out of place here.  As the rest of the album plays out, it blossoms like an exotic deep purple flower.  There are some nice moments on songs like “Never A Word”, more classic Purple on “I Got Your Number”, and an especially touching tribute to the fallen NASA shuttle crew in the form of “Contact Lost”.  I suppose some fans will talk themselves out of liking this album, but if they do then they’ve gone bananas – this is a great record from a still-great band.

Def Leppard – Pyromania

For some reason, every album since ‘Pyromania’ has taken Def Leppard longer and longer to complete, always with varying results.  But this is one milestone that they’ve never been able to match since.  ‘Pyromania’ was their second collaboration with producer/song-writing guru/nitpicker ‘Mutt’ Lange, and the album still burns brilliantly almost twenty years later.  Guitarist Phil Collen is the new kid in town here, as outbound Pete Willis struggled with personal problems that hindered his continuation with the band.  Pete laid down basic tracks, and the band forged on without him.  ‘Mutt’ had worked magic with AC/DC’s albums from ‘79-’82, and he pulled the best from what Def Leppard had to give – “Photograph”, “Rock Of Ages” and “Foolin’”.  Better yet are the songs not heard on radio or MTV – the stormin’ “Stagefright” and the album’s longest track, “Die Hard The Hunter”.  Pure gold, in more ways than one.

John Denver – Poems, Prayers & Promises (1971)

With the song “Poems, Prayers & Promises”, John Denver could have been writing his own eulogy.  Which is made all the more interesting, considering this album came out some twenty-five years before his untimely death.  While Denver might have been seen as a milquetoast artist in some circles, his success meant he didn’t have to answer to anyone.  In truth, Denver ’s output was not too far removed from artists like James Taylor or a song like the Beatles’ “Yesterday”.  Indeed, Denver seems to have been a big fan of the Beatles – here, he covers both “Let It Be” and “Junk”.  And don’t let Denver’s pleasing vocal delivery fool you – he discussed issues like war and the environment long before many of his contemporaries – witness “Wooden Indian” and an unaccompanied reading of Kendrew Lascelles’ classic tale of war, “The Box”.  Heavy stuff, even for a supposed lightweight like John Denver.           

Derringer, Bogert & Appice – Doin’ Business As…

Almost twenty years after recording a classic album with Jeff Beck, drummer Carmine Appice and bassist Tim Bogert reunite with longtime friend Rick Derringer for what should be a return to form.  Not so.  While there are some nice moments on the album (“Blood From A Stone”, “Dawn Of Love”), they’re hard to enjoy – the mix leaves a lot to be desired.  The drums are way too prominent, which tends to bury the guitar and some of the vocals to the point of distraction.  Interestingly, Derringer re-recorded three of these songs on his own ‘Aiming 4 Heaven’ CD, bettering the versions here by a long shot.  Which is too bad.  This could have been something really special. 

Rick Derringer – Free Ride (2002)

Fans may be shocked to find out that Rick’s taken a liking to smooth jazz, especially when they read such song titles as (groan) “Jazzy Koo” and “Smooth Frank”.  But the album, to be fair, is actually quite likeable.  All the elements of smooth jazz are there – the groovy backbeat, the smooth Dave Koz-like sax, and the understated guitar.  What makes this album easier to swallow, however, is the fact that Derringer fans will know most all of this material.  And Rick’s guitar playing is better than ever, so there’s no shortage of tasty six-string action on the album.  “Big City Loneliness”, “Jump, Jump, Jump” and “Free Ride”, all Derringer classics, are included here in their new forms.  And longtime concert favorite “Rhapsody In Red” is no less impressive with the volume turned down a few notches.  As the cover photo shows, Rick’s still got the fire – it’s just not a wildfire.

Desperado – Bloodied, But Unbowed (1996)

Dio – The Last In Line

Ronnie James Dio’s ‘Holy Diver’ album is considered by many to be his crowning achievement as a solo artist.  It’s a tough call.  ‘The Last In Line’ was recorded with the same lineup a year later, and is a marvel in and of itself.  With the exception of opening track “We Rock”, the album is pure gold.  Ronnie sang about rock n’ roll once before, on Rainbow’s “Long Live Rock N Roll”, and that was once enough.  He’s better at spinning tales of mystery and imagination, as in “Evil Eyes” or the epic “ Egypt (The Chains Are On), which was resurrected in concert on his 2002 summer tour.  Finally, ‘The Last In Line’ offers a perfect glimpse at what made Vivian Campbell one of the most promising young guitarists of his generation.

Dirty Americans – Strange Generation (2005)

From the wilds of Detroit, Michigan come the Dirty Americans, the latest in a long line of Detroit steel that includes Ted Nugent, MC5 and the Stooges.  ‘Strange Generation’ is a strong debut platter featuring a baker’s dozen fuzz-rock anthems that recall the best of the band’s predecessors, and bear a heavy grooving sound that’s as current as it is retro – thanks to 3 Doors Down producer Paul Ebersold.  Kicking the album off with “No Rest”, “Car Crash” and lead single “Strange Generation”, the band tosses out riffs like fishing hooks, and reels in the listener with ease.  At times, there’s enough groove to make Lenny Kravitz sit up and take notice, but the band is careful not to stray into funk.  Vocalist Myron and guitarist Jeff Piper pilot the band through melodies that sound fresh and edgy (“Burn You Down” & “Way to Go”), Piper injecting some stinging lead licks throughout.  The whole affair is anchored by Pete Bever and Jeremiah Pilbeam’s thunderous rhythm section; they make a great tag team, creating a sonic deep end for the others to jump headlong into.  For too long, classic rock has been considered a relic.  Dirty Americans have arrived on the scene to dust it off and give it a swift kick in the ass.  “Strange Generation” salutes the blood, sweat and tears of Detroit Rock City, and shows that Detroit can still make ‘em like they used to. 
 

Dog Faced Gods – Stoned Council (2005) 

Dog Faced Gods hail from the San Manuel Indian Reservation, and their debut album ‘Stoned Council’ is filled with a kind of fuzzed-out tribal metal juju.  The thick, meaty slabs of fuzz guitar that kick off lead track “Desperately” might lead one to believe that Dog Faced Gods is just another alt-metal band, but as the album progresses it becomes apparent that the band’s operating from a different point of view than their alt-metal peers.  ‘Stoned Council’ invokes the angry 6-o’clock-news imagery of Biohazard (“Earth is Hell”) and the bludgeoning riffs of Black Sabbath (“Run, Run” & “But Me”).  DFG also wears its collective heart on its sleeve, professing its love of simple pleasures (“Water Pipe Bong” & “Simple Man”).  The album could probably do with more crunch and less fuzz, if only to lend the Dog Faced Gods a bit more bite.  But these guys are off to a great start – vocalist Raymond Galvan Whiteowl puts a lot of personality into the music, and guitarist David Torres mixes in some thoughtful licks, giving the band heart and an edge that’s all too lacking in many of their peers.  Dog Faced Gods – check ‘em out.

Dokken – Tooth And Nail (1984)

Tom Werman could hardly have spent more than a few minutes of the mid-80’s relaxing, so busy was he helping the likes of Motley Crue, Twisted Sister and Dokken churn out classic 80’s metal.  Werman was behind the controls for this, Dokken’s sophomore effort, easily one of their best releases.  ‘Tooth And Nail’ was nudged along by adrenaline rockers like “Just Got Lucky”, but what really broke this album big was the ballad “Alone Again”.  Even though they fought like cats and dogs, vocalist Don Dokken & guitarist George Lynch led their talented mob through a milestone album in their career.  From the fade-in of “Without Warning” to the final manic seconds of “Turn On The Action”, ‘Tooth And Nail’ documents a band in its prime – before conflict tore the band in two.       

Dream Aria – In the Wake (2005) 

Dream Aria's debut CD ‘In The Wake’ is a medley of sound. Their music is generally labeled progressive rock, but it is so much more, there really isn't just one label to put on it. This CD combines all the best elements of classical, opera, blues, and rock music (to name but a few). A lot of CDs claim to have a little something for everyone, but this one really delivers on it. It is easy to see the full range of musical influences on the band members; every time you listen to it you hear something new in each song. Dream Aria is Ann Burstyn (lead vocals), Don Stagg (keyboards), Jozef Pilasanovic (guitars), and Gary Gray (drums).  The band’s name is very fitting for the music they do.  Ann Burstyn's haunting lead vocals are very captivating.  Her style ranges from operatic on the songs "Spirit," "Sungoddess," and "Spanish Nights", to bluesy on "Snapshot".  Her exceptional vocal range and soulful singing on the gospel-toned “He Touched My Soul" is moving.  This CD takes you on a musical journey with up tempo songs "In The Wake - Body," "Blue Lady," and "Raindrops," to a slower, ballad style on "He Touched My Soul" and "Opus Dei." A heavier rock edge can be found on "Spirit" and "11th Hour." The Middle-Eastern sound on "In The Wake - Soul" has a very calming effect. "Spirit" includes bagpipes to give it a different twist, while "Raindrops" and "Promise" are very reminiscent of the freestyle music of the 60's.  “Sungoddess" and "Opus Dei" are probably the most "commercial" sounding tracks, but applying that phrase to any song on this CD would seem to do it an injustice. This music is too unique and refreshing for such a label. It is more for music lovers than just the casual listener. This is music for your mind, body, and soul.  For more information on the band, or to order a CD, visit their web site at: www.dreamaria.com. Review submitted by Kat Coffin - thanks Kat!    

Dream Theater – When Dream And Day Unite (1989)

When Dream Theater released “Pull Me Under”, everyone raved about what a great new band they were.  But they had been around for several years before that, and this album is one that should be of interest.  Vocalist James LaBrie had not yet joined the band, and here predecessor Charlie Dominici hosts the proceedings nicely.  Check out “Afterlife”, which could have been a great single.  For whatever reason, the label chose to release “Status Seeker”.  Probably because it’s the shortest track.  Elsewhere the band works up a progressive metal groove on tracks “Ytse Jam” and “Light Fuse And Get Away”.  It’s nice to see where Dream Theater have come, but go back and visit where they came from.

Drive-By Truckers – Southern Rock Opera (2002)

The Drive-By Truckers is a Southern band raised on a diet of AC/DC, Ozzy and Lynyrd Skynyrd.  Can’t forget Skynyrd, because they are the basis for this two-disc set.  It’s quite an ambitious project, undertaken with a passion for the subject matter and no major label support.  The concept loosely follows a Ronnie Van Zant-type character from his formative years in Alabama (“ Birmingham ”), his rise to superstar (“Let There Be Rock”, “Road Cases”) and his unsettling death in a plane crash (“Angels & Fuselage”).  Think you’ve heard the story before?  Not like this, you haven’t.  The riffing is raw, hard-edged and to-the-point.  The lyrics tell a captivating story, part history lesson and part fantasy, all fried to a greasy crisp.

Les Dudek – Freestyle! (2002)

To many, Les Dudek is one of those “Whatever happened to…?” talents that just seemed to up and disappear.  Good news, folks:  Les Dudek never stopped rocking.  His latest album is called ‘Freestyle’, and is reminiscent of the many great projects he’s been part of in the past - from the Allman Brothers, Boz Scaggs and Steve Miller.  Behind the truly awful cover art lurks a fair collection of retro-rock.  “Hot Fun In Dixieland”, for instance, sounds like a more rocking Steve Miller, with some tasty slide guitar.  The cool, laid-back California vibe of the title track was co-written with Stevie Nicks, and the late Toto drummer Jeff Porcaro is heard on a few songs here.  The performances on the album are slick and spirited.  But ultimately many of the songs themselves may limit the potential of this album.  If you’re a fan of late-70’s Boz Scaggs and early 80’s Steve Miller, with a heaping helping of hot rock guitar tossed into the mix, this album is for you.  Songs like “Tied Up”, “He’ll Go On” and “Gold N’ Snakes” all sound like they could have been written in that era.  If that’s your thing, then Les is more!      

Craig Erickson – Shine (2001)

Craig Erickson has long been known for a series of guitar-laden blues albums like ‘Two Sides of the Blues’ and ‘Force Majeure’, as well as for co-writing Glenn Hughes’ comeback album ‘Blues’.  With the release of ‘Shine’, things suddenly get really interesting.  Craig has beefed up the rock aspect of his playing, and the songs really come to life.  Joining him on this release are ex-Riverdogs vocalist Rob Lamothe, ex-Deep Purple vocalist Glenn Hughes and Johnnie Bolin, brother of the late, great Tommy Bolin.  For Lamothe’s part, his vocals add a Paul Rodgers quality to the material, bringing a track like “Familiar” into the realm of a more laid-back Bad Company.  Glenn Hughes and Johnnie Bolin join Craig in paying tribute to Tommy Bolin with that guitarist’s signature song “Wild Dogs”.  ‘Shine’ boasts quite a lineup of musicians, and splits pretty evenly between rock and blues, which may cost it a cohesive identity.  The album closes with a special treat, “Beautiful Venus”, a fluid instrumental where Craig Erickson really gets to shine. 

Rob Lamothe & Craig Erickson – Ride (2003)

Rob Lamothe and Craig Erickson reunite for the follow-up to 2001’s ‘Shine’, no longer flying the banner of the Craig Erickson Project.  This time around, with Lamothe’s Voodoo Brothers band in tow and a fresh batch of Erickson originals in hand, the group made tracks for Canada and laid tracks in Rob’s home turf of Hamilton, Ontario.  This is how rock should sound – huge, dynamic and live.  This may not be a live album, but it’s pretty damn close.  We have it on good authority that the band simply set up shop, plugged in and let fly with some serious rock grooves.  “Deep River” is a swift kick in the pants, opening the album with aplomb.  Craig gives his Wah-wah pedal quite a workout on “Deep River” and “Connection”, and lays down one of his most inspired solos ever on “Which Way to Go”.  It has to be noted that this album contains something indefinable that ‘Shine’ somehow lacked.  The songs here are rock solid, and the performances nothing short of brilliant.

Roky Erickson – The Evil One (1981)

For those who are unfamiliar with the strange case of Roky Erickson, here it is in a nutshell:  Roky, once leader of Texas pysychedelic rock combo 13^th Floor Elevators, was busted for pot possession and opted to spend the time in a mental facility instead of prison.  He emerged a changed man, living for the past twenty-five years or so in an altered state of mind.  Roky’s music remains quite striking, a mixture of Dylan, Ed Wood and punk.  With a fascination for horror films, Roky turns songs like “Creature With The Atom Brain” and “If You Have Ghosts” into very real concerns.  “Night Of The Vampire” and “I Walked With A Zombie” continue this trend, the latter covered by REM on an Erickson tribute in the early 90’s.  A somewhat disturbing, horrifi-delic brew. 

ESP – ESP (1999)

This project started out as the Eric Singer Project.  Shortened to ESP for whatever reason, the band features ex-Badlands/Kiss drummer Singer, ex-Motley Crue singer/guitarist John Corabi and ex-Kiss guitarist Bruce Kulick.  The guys have assembled a dozen great tracks from their favorite 70’s albums, dusting them off and giving them a 90’s sheen.  It’s all great stuff, too, because they didn’t just go for the hits.  They dug into some deeper album tracks – Purple’s “Never Before”, “Twenty Flight Rock” by Montrose and “SOS” by Aerosmith are only a few.  Elsewhere the band has revisited Edgar Winter, Hendrix, Humble Pie and The Who – all to great effect.  Can you say road trip?

Foreigner – 4 (1981)

In 1981, producer Mutt Lange stepped in to help Foreigner polish their fourth record to an ass-kicking sheen.  ‘4’ presented a new version of the band, guitarist Mick Jones and vocalist Lou Gramm having pared Foreigner down to a four-piece during the initial recording sessions for the album.  The change apparently did them good.  Able to focus on songwriting, the Jones & Gramm crafted their best album to date, in the process spawning no less than four top-30 singles, “Urgent”, “Waiting For A Girl Like You”, “Night Life” and “Juke Box Hero”.  “Luanne,” a final single, was released but the album’s momentum had slowed a bit by then and the song stalled at US #75.  There are some great album cuts here, as well as contributions from keyboard wiz Thomas Dolby and Motown legend Junior Walker.  One of the classic albums in the Atlantic Records catalog.  

Andy Fraser – Naked…and Finally Free (2005) 

Andy Fraser had returned to recording, after an absence of two decades, and following the false internet rumors of his death in Spring of this year.  The onetime bassist and songwriter for Free took an extended leave from music when he went into self-imposed retirement following his last solo album, 1984’s ‘Fine Fine Line’.  ‘Naked…and Finally Free’ is at once a look forward for Andy, as well as a look at the troubles and trials of the past twenty years.  Coming into play are Andy’s homosexuality (“Too Far to Turn Back Now”), living with AIDS (“Yours Faithfully”) and the toll his lifestyle has taken on his personal life (“Hands of Time” & “Family”).  For all that, ‘Naked…’ is a remarkably upbeat sounding album.  Part of that is due to the calypso nature of much of the music, a sound Andy explored a bit as far back as “Knocking on Your Door”, from the ‘Fine, Fine Line’ album.  He’s in great voice, at times reminiscent of former Free band mate Paul Rodgers, and he has surrounded himself here with some top musicians including backing vocalist Niki Haris of Madonna’s touring group and ace session guitarist Michael Landau.  It’s not hard to imagine “Healing Hands” or “Family” as hit singles, with the right promotion.  ‘Naked…and Finally Free’ is Andy’s most complete solo album to date, and by far his most personal.  It’s rare that an artist is so unblinkingly honest in their songwriting, and Fraser is to be applauded for putting so much of himself under the microscope.  This cathartic, introspective album begs to be heard.  For song samples and more information, go to www.andyfraser.com

Niacin – Niacin (1997)

This seemed like a novel concept upon first listen.  The band features world-class bassist Billy Sheehan, drummer Dennis Chambers and John Novello on the Hammond B3.  Well, good ideas don’t always pan out in execution.  That seems to be the case here.  There are fifteen tracks here, and over the course of them it becomes rather annoying to listen to so much “lead” bass guitar.  What’s missing are the textures that a guitar can offer.  Or vocals.  Something.  Apparently the band realized that too.  On their later album ‘Deep’, we finally see some variations on the sound presented here.  The result is right on the money. 

Nils Lofgren – The Best Of Grin (1976)

Nils Lofgren has been wowing Springsteen fans for almost twenty years now.  As the lead guitarist for The Boss, he has set the stage alight with his nimble-fingered guitar playing.  But long before 1984, even prior to Nils’ work with Neil Young and Crazy Horse, was Grin.  The band was made up of Nils, his brother Tom and a few buddies.  Together they made a name for themselves, unfortunately impressing more critics than fans.  The collection here is a testament to Grin’s early contributions.  Nils wrote, and the band recorded, songs pure as moonshine.  And in the case of “Moon Tears”, just as potent.

Ted Nugent - Ted Nugent (1975)
This meaty slab of buffalo-sized guitar riffs defines what was great about mid-'70's hard rock.  It showcases the one-two punch of Motor City Madman Ted Nugent's overdriven guitar mania, tempered by vocalist Derek St. Holmes' power and range.  St. Holmes was one of the most underrated vocalists of the era, and it's his singing that makes this album just about the strongest in Nugent's entire catalog.  The record starts off strong with "Stranglehold", one of the most ambitious songs in the Nugent songbook, then picks up the pace with "Stormtroopin", the rocking blues of "Hey Baby" and "Just What The Dr. Ordered".  This album is easily one of the few landmarks of the era, and sits nicely alongside the likes of the Montrose debut and Kiss' 'Alive' as shining beacons of earthshaking American rock.
       

Ozzy Osbourne – Bark At The Moon

The first full studio album to be released after the death of Randy Rhoads.  New guitarist Jake E Lee proves to be a force to be reckoned with on the title track, and elevates the intensity even more on “Rock N Roll Rebel” and “Centre Of Eternity”.  The band consists of Rhoads-era bassist Bob Daisley and drummer Tommy Aldridge, who complete what could have been a difficult puzzle to reassemble if Ozzy’s career had shattered in the wake of Randy’s death.  ‘Bark At The Moon’ is a descent into madness, and a journey out the other side.

Alan Parsons Project – Tales Of Mystery & Imagination (1976)

Alan Parsons has been a studio hermit, for the most part.  Beginning his career as a recording studio engineer at Abbey Road Studios, Parsons was behind the controls for the recording of such albums as The Beatles’ ‘Abbey Road’ album and Pink Floyd’s ‘Dark Side Of The Moon’.  ‘Tales Of Mystery…’ was Parsons first foray into the world as a recording artist.  Surrounding himself mostly with studio session players, his first project was to bring to life the works of Edgar Allan Poe.  Opening with a narration by Orson Welles, the album weaves its way through a dynamic interpretation of “The Raven”, the manic “The Tell-Tale Heart” and the murderous “Cask Of Amontillado”.  The centerpiece of the album is “The Fall Of The House Of Usher”, a five-part instrumental complete with raging storm, Welles’ narrative and an orchestral score that does the late Poe proud.  To be taken in one sitting!

Buster Poindexter – Buster Poindexter (1987)

David Johansen of the seminal New York Dolls stepped back into the spotlight in the mid-Eighties as Buster Poindexter – an alter ego that performed in NY nightclubs and appeared semi-regularly on Saturday Night Live.  Buster fronted a pseudo-serious swing band, Johansen looking dapper in a tux, sipping martinis.  This is a far cry from the singer’s earlier work in the Dolls and his respectable, if not ground-breaking, solo output.  This album even managed a single that became, and still remains (for better or worse) a party hit – “Hot Hot Hot”.   
 

The Police – Ghost In The Machine (1981)

The Police released ‘Ghost In The Machine’ to much success, based partly on the huge single “Every Little Thing She Does Is Magic”.  Despite that light-hearted single, the predominant feeling of this album is that of darkness.  Perhaps our perception is being tainted by the cover, with its digital trio.  This album feels a lot like the film ‘Blade Runner’ – bleak, futuristic and subdued.  “Spirits In The Material World”, “Invisible Sun” and “Demolition Man” reinforce this idea.  The band was already dealing with much turmoil at this point in their career, which inevitably bled into the music to some extent, wrapping the Police up in (to borrow from the closing track) “Darkness”.

Powerman 5000 – Tonight The Stars Revolt! (1999)

Rob Zombie’s kid brother Spider’s second album makes us wonder what fun must have been had at the Zombie household all those years ago.  Like Rob’s, Spider and company’s songs tend to hover around classic b-movie imagery, as in the sci-fi of “When Worlds Collide” and the title track.  Opening monologue “An Eye Is Upon You” is a sinister invitation to this 50’s and 60’s trash-cinema party.  The CD cover itself is a marvel, harking back in style and content to those pulp-novels and comic books of yore.  Like a comet screaming towards Earth, this album packs an out-of-this-world wallop.   

Power Station – The Power Station (2005) 

Power Station’s 1985 debut gets the deluxe treatment in this new remastered edition, which will surely excite fans of the original release.  Power Station featured singer Robert Palmer, guitar and bass-playing brothers Andy and John Taylor from Duran Duran and Chic drummer Tony Thompson.  Whereas they could very well have been polar opposites when it came to recording the songs, instead the group hit pay dirt.  The songs were sophisticated, funky, hard-rocking pop gems.  Producer Bernard Edwards of Chic knew how to bring out the funk in the drums, and the soul in the vocals, without turning the music into R&B.  For his part, Andy Taylor was able to really let loose and strut his stuff on guitar, as heard on the singles “Some Like It Hot” and the T-Rex classic “Get It On (Bang a Gong)”.  But the quality of the album extends beyond the songs that garnered the most airplay.  “Murderess” and “Lonely Tonight” could have been singles in their own right, and would have showcased different facets of the band.  Unfortunately Power Station, for all its promise, was short-lived.  Robert Palmer jumped ship when the group began considering going on tour.  In his place was the less interesting Michael Des Barres, who is represented here on the bonus track “Someday, Somehow, Someone’s Gotta Pay”.  While the band was still quite competent, Palmer’s departure ‘powered down’ the Power Station.   A later reunion was somewhat lackluster and incomplete.  But this reissue is a fine document of an inspired union and the great album it left behind.     

Queen – Innuendo

When listening to this album, one can scarcely believe vocalist Freddie Mercury was so sick he could barely contribute a few hours per week to its completion.  These are some of the strongest performances of Freddie’s career.  He sings as though his life depends on it, and perhaps it did.  After all, it was to be the last Queen album before Freddie’s death.  This is his legacy – twelve songs as regal as any that came before.  From the wistful “These Are The Days Of Our Lives”, the Zep-ish “Innuendo” and the triumphant “The Show Must Go On”, Queen banded together one last time to declare its reign.  God save the Queen.

Racer X – Superheroes (2001)

Yes, those are all grown men on the album cover.  Having more fun than a room full of kids on a sugar high at Chuck E Cheese, guitarist Paul Gilbert, vocalist Jeff Martin and co. return with their unique version of Judas Priest-inspired riff rock.  From the blitz of the title track to the speed-run/groove insanity of “King Of The Monsters”, Racer X are every bit the over-the-top metal megaforce they were back in the 80’s.  But they always keep it interesting, as in their creative take on Blue Oyster Cult’s “Godzilla” and the brainfrying instrumental “Viking Kong”.  Racer X is a great band for those fans who lost their faith in Judas Priest, and who can keep their sense of humor while they’re getting their ass kicked.

Ratt – Out Of The Cellar

What a difference the right production can make.  Ever heard the EP that preceded this album?  Raw is an understatement.  Producer Beau Hill took the band into the studio and Ratt came out of the gutter to wreak havoc.  They were slick, lean and hungry.  Ratt catapulted onto magazine covers and radio in 1984, taking America by storm.  This album is perhaps their most classic piece of cheese-metal.  Hit single “Round & Round” is an infectious, nasty bite.  “Wanted Man”, “You’re In Trouble” and “The Morning After” all blaze with the same intensity, and there’s even a reworking of the debut EP’s “Back For More”.  Ratt set the tone for, and later became victims of, the 80’s metal scene.

Return of the Living Dead – Original Soundtrack (1985)

“They’re back from the grave…and ready to party.”  That was the tag line to one of the coolest horror flicks of the 80’s, ‘Return of the Living Dead’.  Half a tribute to George Romero’s classic creep show ‘Night of the Living Dead’, and half parody of the genre, the film was funny, irreverent and scary all at the same time.  The story concerns the employees of a medical supply house and a group of punk rockers who get caught in a rain storm while partying at a local cemetery; all hell breaks loose when the residents of that cemetery rise from the grave with a voracious appetite for human brains.  With us so far?  Great, cause we really want to focus on the music from the soundtrack.  Why?  Because it’s a gloriously bizarre collection of tunes by an even more bizarre collection of bands like The Cramps, 45 Grave and Roky Erickson.  The disc begins with The Cramps’ punkabilly fuzz-guitar classic “Surfin’ Dead” and gets down to business with “Partytime”, by 45 Grave.  This version of “Partytime” is similar in name only to the Grave’s earlier, funereal classic, singer Dinah Cancer shrieking her way through a decidedly metal take on the song - possibly one of the greatest party anthems of the decade.  TSOL’s “Nothing For You” wants to veer into bluesy metal territory, but can’t seem to let go of its punk roots.  The crown jewel of the album is “Burn The Flames” by Roky Erickson.  Erickson’s personal life is twisted enough, but hearing his sometimes detached, other times maniacal take on the lyrics elevates the song to something altogether unsettling.  Rounding out the selections are songs by The Damned and SSQ, the latter featuring a young and morbid pre-hit Stacey Q on vocals, whining and pouting a paean to death.  Gotta love it.  

Rocky Athas Group – Miracle (2003)

Good things come to those who wait.  Well, Rocky Athas has been waiting a long time.  He’s seen friends like Stevie Ray Vaughan and Eric Johnson move on up to the big leagues, while he himself has sustained near-misses with his legendary Texas band Lightning and a trying tenure with Jim Dandy’s Black Oak Arkansas .  This CD is the ‘Miracle’ Rocky’s been waiting for.  Rooted back in 2001, the songs were honed in the recording studio with ace Santana/Steve Miller Band producer Jim Gaines.  With Gaines in their corner, Rocky and his band laid down a confident collection of Southern-rocking blues numbers.  Vocalist Larry Samford elicits a calm cool as he sings, much in the way that Paul Rodgers or (Robin Trower vocalist) James Dewar do.  His smoky timbre is most at home on a song like “Bluesville”, and scuffs up songs like “Slow Driver” and “Wish I Could Be That Strong” quite nicely.  There are covers by Gary Moore and Tommy Bolin included, and “That Was Then, This Is Now” seems to invoke the spirit of the Dickey Betts-era Allman Brothers.  Although Rocky Athas is easily in the same league as those other artists, his bank account doesn’t agree.  But with a ‘Miracle’, all that should change.

Rolling Stones - Get Yer Ya Ya's Out (1969)
A two-night live recording from Madison Square Garden in late 1969, this ten-song, high energy and riff-packed album is one of the Stone's career highlights - flat-out rockin' renditions of some of the Rolling Stones' best songs, as well as terrific versions of Chuck Berry's "Carol" and "Little Queenie".  You are guaranteed a sample of everything from hard rock to blues, and the wicked romp of "Sympathy For The Devil".  A great platter featuring some of the best of the Rolling Stones' 60's output.
 

Rolling Stones – Steel Wheels (1989)

Way back when the Stones were ‘only’ thirty years into their career, they released this vibrant set of rock and roll.  Highlighted by the driving “Rock And A Hard Place” and “Mixed Emotions”, the album showed that Mick and Co. were still a force to be reckoned with.  If memory serves, this was also one of the first big VH-1 sponsored tours, and it became a marketing machine that very well may have inspired Kiss’ Gene Simmons to his current level of Kiss-as-product mania.  Best moment on ‘Steel Wheels’ may belong to Keith Richards, whose heartfelt vocal on “Slipping Away” quietly takes the cake.

Rough Cutt – Rough Cutt

Rough Cutt is an offshoot of early Ratt, and at one point had as a member future Ozzy guitarist Jake E Lee.  The band was nurtured along with assistance from the Dio’s (Wendy & Ronnie), and Dio took the band on the road as a support act in 1985.  Rough Cutt is considerably harder than Ratt, leaning more into heavy metal territory.  “Take Her” and “Dreamin’ Again” are perfect showcases for the raspy vocal work of Paul Shortino (who incidentally appears in the film Spinal Tap).  “Cutt Your Heart Out” is an outright sonic blitz, and quite a departure from the electronic-driven rock guitarist Amir Derakh would later perform in his band Orgy.

SunStorm, featuring Joe Lynn Turner (2006) 

Scorpions – Animal Magnetism

Somewhere between 1977 and 1978, Scorpions discovered melody.  This made quite an impact on them, because suddenly they went from being popular in Europe and Japan to being popular all over the world.  ‘Animal Magnetism’ continues the exploration started on 1978’s ‘Lovedrive’ album, and this time around the band hits pay dirt with “The Zoo”.  Songs like “Make It Real” would pop up in their set list for the next few years in the 80’s, as they filled their canon with classic after riff-rock classic.

Michael Schenker Group – MSG

Michael Schenker Group – Heavy Hitters (2005)

Michael Schenker returns to the scene of his recent Schenker-Pattison Summit albums with ‘Heavy Hitters’, a collection of cover songs spanning artists as diverse as Cream, Pink Floyd, Black Sabbath and his own beloved UFO.  While ‘Heavy Hitters’ is credited as a Michael Schenker Group release, any ties to the band fans have come to know as MSG are tenuous, at best.  Original MSG vocalist Gary Barden appears here, along with UFO drummers Aynsley Dunbar & Simon Wright, and a supporting cast of genre favorites including Jeff Scott Soto, Tim “Ripper” Owens, Sebastian Bach and Joe Lynn Turner.  The results vary, as one might expect.  “War Pigs” is quite powerful, if not a bit overwrought, thanks to Schenker’s spot-on soloing and the vocal stylings of Tim Owens.  One of the more interesting tracks is a take on Pink Floyd’s “Money”, which features Styx vocalist Tommy Shaw and interesting interplay between Michael and saxophonist Edgar Winter.  Also of interest is Schenker’s version of “Out in the Fields”, a song made famous by fellow Euro guitar god Gary Moore.  Not all of the songs work as well.  “Hair of the Dog”, with raspy, shouted vocal by ex-Iron Maiden front man Paul Di’Anno, seems a bit tired and ragged.  On the other hand, Sebastian Bach makes himself at home in Hendrix’ “I Don’t Live Today”, delivering a gutsy, spirited vocal.  Throughout ‘Heavy Hitters’, Schenker continues to show why he is as revered and influential as he is.  It is a welcome return to form, which will surely whet everyone’s appetite for the next ‘real’ MSG release.

Scorpions – In Trance (1976)

Even back in 1976, there were signs of the Scorpions’ untapped songwriting potential.  ‘In Trance’ came just a few years before they broke big in America, back when guitarist Uli Jon Roth was still spreading Hendrix around wherever he could.  Annoyingly, Roth sings a lot like Hendrix on some songs – not really singing, but not really talking, either.  Klaus Meine is getting less screechy by this point, and songs like the title track are not too far removed from the material on 1978’s ‘Lovedrive’ album.  “Robot Man” is a great example of the sometimes silly songs Scorpions used to sing, but the music is a real scorcher.  For fans of classic 70’s metal like Judas Priest’s ‘Sin After Sin’.  Dark, and a bit chilly.  Sexy cover photo, though.

Shaw/Blades – My Hallucination

This would be a surprising pairing, if not for the fact that their collaboration in the group Damn Yankees was so successful.  Tommy Shaw of Styx and Jack Blades of Night Ranger complement each other vocally, like a hard-rocking male version of the Indigo Girls.  Actually, the album’s not all that hard.  There’s a heavy infusion of acoustic guitar here, which works to great effect on songs like “I’ll Always Be With You” and “Blue Continental”.  The album comes across as sentimental, without being sad.  “My Hallucination” is a folk protest song in a candy-coated rock n’ roll skin.  And it all works.  It’s been a number of years since this album came out…thank you, sirs, may I have another?

Jeff Scheetz Band – Beggars, Rogues and Thieves (2003)

From the opening jangly chords of “Beggars, Rogues & Thieves”, this album started to evoke the Texas blues stylings of Stevie Ray Vaughan, thanks to a scratchy, naked Strat sound.  But it was a pleasant surprise to find out that it soon veered off that path and into a whole other direction – that of funky fried blues.  Jeff Scheetz Band’s reputation brings them sellout crowds all over Kansas, Missouri, Arkansas, Iowa…and Jeff has fans as far away as Switzerland!  This CD will surely please all those folks, and ‘wow’ a few more. While there are comparisons to be made with SRV’s Double Trouble at times, songs like “Beautiful Day” and “Free My Soul” take Texas blues somewhere into the neighborhood of Jeff Beck and latter day Rory Gallagher territory.  And there’s some fluid, groovy extended soloing that hints at Scheetz’ shred-guitar past.  Of greatest interest for guitar enthusiasts will be the sublime instrumental “Buffalo Jam”, which smokes up until a sinewy Native American flute break, then builds back up into a steady burn to the end.  It’s those moments - when Jeff and the band stray away from the relative confines of the blues – when the music really soars.   

Gary Schutt – B Sides Myself (2005) 

Wasting no time after returning from a lengthy world tour with Jeff Scott Soto’s band, Gary Schutt has issued ‘B Sides Myself’, a collection of tracks originally intended for release on Gary’s three previous albums.  The disc opens with four tunes intended for 2002’s excellent ‘Excruciating Pleasures’ album.  “Controlling the Rage”, clocking in at just over nine minutes, is the most epic of the songs here, mixing meaty, creative riffing and an ear for melody.  The same strengths can be found in “Left in the Dark” and “Only You Know”.  All three songs feature some rather inspired soloing which, at times, brings to mind players like Vinnie & Gary Moore, Steve Vai and Brad Gillis.  It should be pointed out that Gary writes and performs everything on ‘B Sides Myself’, and there are indeed a couple moments where it becomes apparent that having so much studio time on one’s hands isn’t always a good thing.  “I’m in Love With the Girl That I Hate”, in its original form, was a slightly deranged, yet heartfelt, song that here receives a bit of an ill-advised alt-pop makeover.  Same with Gary’s caustic take on “Without You”, which is almost unrecognizable as the Badfinger classic.  From the halfway point, the album segues into songs originally meant for Gary’s two earliest albums.  Of those, “Behind My Back”, with its driving guitar/piano riffing, stands out as a high point.  ‘B Sides Myself’ closes with a spirited cover of Queen’s “Death on Two Legs” (Gary’s version predating the JSS band’s abbreviated take on the song by a year or two).  Bottom line – ‘B Sides Myself’ is well-balanced glance back at the music of Gary Schutt up to this point, and the next best thing to a ‘Best of…’   Gary’s songwriting is uniquely off-center, and his guitar playing on this collection of heavy (and sometimes progressive) power-pop songs is often breathtaking.  To order ‘B Sides Myself’, and to check out Gary’s other releases, go to www.garyschutt.com.      

Gary Schutt – Sentimetal (2005) 

Gary Schutt – Dramatically Acoustic (2005) 

Gary Schutt has decided to switch hats this time around, and tone the proceedings down for an acoustic retooling of songs from his various solo releases.  ‘Dramatically Acoustic’ is, in fact, dramatically different from what we’ve come to expect from Gary.  The overall vibe is much like having Gary perched on a stool in your living room for a sing-along.  Songs like “Psycho Bitch” and “Enemy Lines” actually work quite well in their kindler, gentler versions.  Others, like “Act of Sympathy” and “She’s Letting Go”, are great songs but are somehow lacking, stripped down as they are.  In the case of “She’s Letting Go”, a simple maraca or tambourine would have sufficed to lend the rhythmic punch needed (or better yet - drums, as on “I Won’t Be Here”, which also features Gary letting fly with a tasty bit of acoustic soloing).  A couple of the more intriguing tracks here are the quiet, unnerving beauty of “Donut” and the pensive “Breathing You In” – both of which expose Gary as a sentimentalist.  Also worth mentioning are “Stranded” and a cover of Queen’s “I’m in Love With My Car” – both of which have been performed by Gary with the JSS band in recent years.  With ‘Dramatically Acoustic’, Gary Schutt has not necessarily reinvented himself; rather, he has reinterpreted some of his best songs in a new light.  To order ‘Dramatically Acoustic’, and to check out Gary’s other releases, go to www.garyschutt.com.     

SHUT – Excruciating Pleasures (2002)

SHUT is the new band project built around multi-instrumentalist Gary Schutt.  Gary is perhaps best known for his early work with Takara and his association with Jeff Scott Soto.  In hindsight, Gary ’s strengths really seem to manifest themselves when he’s left to his own devices.  The SHUT album is one of the most satisfying heavy rock albums of the past year.  Gary sang, played and produced the thing.  So if you don’t like something, you know who to blame.  But what’s not to like?   Gary ’s a creative lyricist.  His lyrics can be cynical, and are often hilarious, as in the case of “Drama Queen”, “Psycho Bitch” and “I’m In Love With The Girl That I Hate”.  Hmm, we’re sensing a theme here.  Maybe too much of a theme.  In any case, the lyrics are piggy-backing on some great riffing – imagine White Zombie crossed with The Offspring and Dream Theater.  Two of the most satisfying tracks are “Mental Ward” and “Therapy”, the former really showing off Gary ’s prowess on guitar and bass.  The disc is available only through Gary ’s web site www.SHUTworld.com.  So open your wallet, and surf on over.  Then open your ears to SHUT.                         

Signal – Loud And Clear (1989)

A lost classic if ever there was one.  Signal was a collaboration between bassist Erik Scott and drummer Jan Uvena, both formerly of Alice Cooper’s early 80’s band and the latter being a veteran of Alcatrazz.  The main force behind Signal, however, is vocalist Mark Free of King Kobra fame.  (These days Mark is known as Marcie Free, which is an interesting story in itself but, alas, not ours to tell.)  Free is one of the most underrated vocalists in melodic rock.  Hell, let’s be honest - in music, period!  ‘Loud And Clear’ is an AOR dream, from the throbbing opening rocker “Arms Of A Stranger” to the album’s vocal standout, “This Love, This Time” and all points in between.  Melodic hooks abound, and there really isn’t a clunker in this whole set.  

Jeff Scott Soto – Lost in the Translation (2004)

There’s nothing lost here!  This is a great musical statement from Jeff Scott Soto.  Whereas on his first two solo albums JSS more readily wore his influences on his sleeve, ‘Lost In The Translation’ weaves those influences more deeply into the songs - except for obvious exception “Believe In Me”, the first single, seemingly lifted right out of the Journey songbook.  And why not?  Neal Schon co-wrote the song, and here plays with gusto.  The overall effect of ‘Lost in the Translation’ is an album that integrates both the raw power of, say, the Talisman ‘Life’ album and the more melodic moments off Jeff’s ‘Prism’.  Quite simply, ‘Lost in the Translation’ has got more hooks than a tackle box.  There are some wonderfully creative moments in “Soul Divine”, “Find Our Way” and the acoustic party of “Sacred Eyes”, to name just a couple of highlights in what is one of the strongest records in Soto’s long career.  For those who loved ‘Prism’, ‘Lost in the Translation’ takes the best of that album and builds on it.  How JSS continues to exceed expectations is baffling, and a real treat.  Treat yourself.

Jeff Scott Soto  – Live At Gods 2002 (2003)

Jeff Scott Soto – Prism (2002)

Jeff Scott Soto is one of the greatest rock vocalists there is - an opinion shared by most who have heard him sing.  Since his debut with Yngwie Malmsteen’s Rising Force at the age of 18 in 1984, Soto has steadily built a reputation as a world-class talent, building an astounding catalogue of music in the process.  The man can sing anything.  ‘Prism’, Jeff’s second solo album, is the culmination of years spent honing his craft.  Leading off with “Eyes Of Love” (also included as a video track here), ‘Prism’ instantly becomes a showcase for those traits that identify Jeff’s work – soaring lead vocals, complex layered choruses and melodic hooks abound.  For those who didn’t buy into Springsteen’s take on the tragedies of Sept 11^th, Jeff’s “Heaven Knows” offers another voice on the matter.  “Holding On” and “I Want To Take You Higher” are two of the other standout tracks, the latter featuring Glenn ‘The Voice Of Rock’ Hughes sparring with Jeff on the Sly & The Family Stone song.  Overall, the album could have used another rocker or two, but that’s splitting hairs.  This album should break Jeff Scott Soto through to a wider audience.  And for those who have supported him from his tenure with Malmsteen to his current band Talisman, Soto includes “By Your Side” – an ode to the fans that have been there all along.  If you don’t like ‘Prism’, I’ll buy it from you.

Soul SirkUS - World Play (2005)
Taking less than a year from formation to fruition, Soul SirkUS - the union of Jeff Scott Soto, Neal Schon, Virgil Donati and Marco Mendoza – has delivered a debut CD, ‘World Play’, which bristles with energy and splits the difference between Schon’s Journey (“Coming Home”), Soto’s Talisman (“New Position”), and adds a bit of a progressive polish.  Brushing off the ashes of Planet US, Schon has picked up where he and Sammy Hagar left off, and Soul SirkUS affords the guitarist the opportunity to explore a more engrossing approach in his playing – deftly burying his hooks a bit in the riffs, making them work most effectively with Soto’s vocal melodies.  For his part, Soto has brought to the table a vocal arsenal that gives each song its own identity.  ‘World Play’ opens with “Highest Ground”, a driving rocker that would be a prime contender for first song of the band’s live set.  The relentless "New Position" kicks up the adrenalin before the album settles down for the slow-and-steady "Another World".  “Soul Goes On” is one of only two real ballads on the album, and contains a wonderful moment of synergy between Schon and Soto about three minutes in.  It's a great song, full of mood and atmosphere.  It’s got some nice key changes – there’s a tricky one or two, and this is something unlike anything we’ve heard JSS do yet.  It also contains a superb, relaxed solo by Schon.  “Peephole”, the lone holdover from the aborted Planet US project, shows Soto in full Hagar mode.  The song is aggressive and modern, with an unusual rhythm accented by Virgil Donati's syncopated percussion.  “Periled Divide”, with its mysterious intro riff and verse, is one of the more compelling tracks here.  Its understated chorus is quite catchy, and would make this a worthy, if unusual single.  “Praise” is a double-time rocker; everyone gets a workout on this one, from the hard drumming, lots of moving bass/guitar interplay and Soto’s ascending vocal after the solo.  It's worth noting that 'World Play', in its original version, closed with “Close the Door”.  However, the band has retooled the album (originally released via Warner Brothers Records' online store in 2004) for wide release.  In doing so, they have included several showcase tracks - Marco Mendoza's Bobby-McFerrin-on-PCP-ish "Abailar To Mundo", Jeff Scott Soto's a capella "My Love, My Friend" and the somewhat bizarre "James Brown" (which really should have been relegated to a hidden track).   A welcome addition to the retooled version of 'World Play' is "Alive", which manages to bring to mind both the groove of Extreme and the melodic nature of Night Ranger, without sounding dated.  In the end, 'World Play' is an engaging listen - incorporating elements both familiar and unusual to melodic rock and, at times, putting a square peg into a round hole with aplomb.  Usually, these all-star affairs have ways of misfiring or being over hyped.  In the case of Soul SirkUS, the proof is in the pudding.  This album demands your attention.  www.soulsirkus.com

 Soundgarden – Badmotorfinger

If Black Sabbath was twenty-five years younger and lived in Seattle , they’d be Soundgarden.  While Soundgarden is not as dark as the Sabs, Chris Cornell and co. put out a muddy bog of sound that definitely owes more than a tip of the hat to those boys from Birmingham , UK .  ‘Badmotorfinger’ finds the band raising hell at A&M Records, having moved up from the minor leagues of SST Records.  “Rusty Cage” throws open the hatch, careening into lethargic second single, “Outshined”.  Thick, foamy riffs abound, guitarist Kim Thayil laying them out as on the enigmatic “Searching With My Good Eye Closed”.  When the band kicks up the tempo, as on “Drawing Flies”, they wield their heaviness like a ball and chain, smashing their way through their garden of sound.

Rick Springfield – Living In Oz (1983)

Like it or not, Rick Springfield knows how to rock.  Whether that’s mostly due to guitarist-extraordinaire Tim Pierce is up to the listener to decide.  Although it’s doubtful.  Rick simply writes great songs, mixing a hard chord attitude with the right melody, and adding intelligent lyrics.  The reason some of these songs may sound cliché today is because so many have copied them since.  There’s no denying the power of “Souls” or “Alyson”.  On the other hand songs “Me & Johnny” and “Like Father, Like Son” find a contemplative Springfield exploring both child and parenthood.  He’s more than just a pretty face.  Admit it.

Steve Miller Band – Fly Like An Eagle (1976) 
'Fly Like An Eagle', with its cache of radio-ready album cuts, might seem in hindsight to be a Steve Miller greatest hits compilation.  Believe it or not, the guy could just write albums that were this damn good.  "Space Intro" is pure genius to start this 70's classic off with - it remains burned into our collective memory and transports the listener to a point in time when Steve Miller was setting 'em up and knocking 'em down.  This album would come to be a crown jewel in Miller's catalog, as “Rock’n Me”, “Take The Money and Run”, “Fly Like An Eagle”, the catchy “Wild Mountain Honey” and “Serenade” became FM radio staples, and remain so thirty years later.  There’s diversity with the country-inspired “Dance, Dance, Dance”, the blues of “Sweet Maree” and “Mercury Blues” and a soulful cover of “You Send Me”.  Miller's lead guitar work does his mentors Les Paul and T-Bone Walker proud; like Miller's singing, his playing is unique, and yet understated at the same time.  This album was a highlight of an era, and should be in any complete rock collection.  If you don't have it, fly like an eagle to the nearest record store and get it.

Stuart Smith – Heaven & Earth

For those who think that there is not enough Ritchie Blackmore to go around (and there are a few of you out there) comes the debut album by Stuart Smith.  Stuart Smith was guitarist in a latter version of The Sweet, but has now dedicated himself to recreating the work of the aforementioned Blackmore.  He starts off by enlisting two former associates of Blackmore’s - vocalists Joe Lynn Turner of Rainbow (“Shadow Of The Tyburn Tree”, “Heaven & Earth”) and Glenn Hughes of Deep Purple (“See That My Grave Is Kept Clean”).  Then he records the classic Purple track “When A Blindman Cries”.  There are other parallels too, but in all fairness, Smith must be complimented for assembling an all-star group of musicians far and above those already mentioned, and for recording an album of almost instant-classic AOR status.  Blackmore, once Smith’s mentor, would be proud.  After all, imitation is the sincerest form of flattery.

Bruce Springsteen – The Rising

Who better to tackle in song the unrest and sorrow of a nation, than one of its most respected song-smiths – indeed, the voice of a generation?  ‘The Rising’ is the first album to fully address the events of September 11, 2001 .  The Boss reunites the E Street Band for a heartfelt set that addresses confusion and loss, opting to explore resolution rather than place blame.  “Lonesome Day”, “Into The Fire” and “Empty Sky” are but a few of the songs that try to soothe the burn, and the overall effect is noticeably mellow.  “Mary’s Place” is markedly different in feel, attempting to find some revelry amidst the melancholy, and would not have been out of place on an earlier Springsteen album like ‘Darkness On The Edge Of Town’.  A modern classic, and a model to follow. 

Starwood – If It Ain’t Broke, Break It! (2004)

Shh!  Don’t tell anyone, but this is really Metal Blade Records mainstay Lizzy Borden in disguise.  Yeah, apparently Lizzy and the band (Marten Andersson, Joey Scott and newcomer Joe Steals) have decided to rethink their strategy.  Voila - Starwood is born!  Taking their name from the renowned LA rock club – and their musical direction from the more mainstream Brides of Destruction – Starwood has laid down nine decadent tracks that echo the trashiness of the New York Dolls (“You’re So Real”) and the power-chord bravado of the classic Eighties Sunset Strip era (“Won’t Back Down” & “All My Girlfriends Have Boyfriends”).  What’s interesting is that Lizzy and company weathered that very era the first time, and took no part in it.  Instead, they recorded a catalog of Iron Maiden and Alice Cooper-inspired shock rock, which makes ‘If It Ain’t Broke, Break It!’ all the more curious to a longtime Lizzy Borden fan.  Starwood and Metal Blade are offering this fun album at a steal, so be sure to take them up on their offer.  www.starwood-band.com  You just might love ‘em to pieces!

Curtis Stigers – Curtis Stigers (1991)

Arista seemed to serve Curtis Stigers up on a platter with this album, and deservedly so.  This is simply a wonderful debut by a soulful, jazz-weaned pop singer.  Buoyed by a series of successful singles, including top-10 lead single “I Wonder Why”, the album went on to sell some 2 million copies.  Additionally, ‘Sleeping With the Lights On’ gets kudos for being the only pop song in recent memory to mention both Bela Lugosi and Boris Karloff.  In all seriousness, tracks like “The Man You’re Gonna Fall In Love With” and “People Like Us” are prime examples of the talents that Curtis Stigers has to share – his writing is beyond his years, he conveys a passion for the material and he surrounds himself with the people necessary to get his music across.  Unfortunate, then, that Stigers was lumped in with the strained, blue-eyed soul wailings of Michael Bolton and others.  Stigers is out of their league.

Jake Stigers – Comin’ Back Again (2005) 

Jake Stigers’ ‘Comin’ Back Again’ is a thoughtful debut, crackling with infectious power pop, rootsy balladry and hooks galore.  Stigers has a keen eye for observing the human condition and the world around him, as in the title track and the anthemic confessional of “Another Negotiation”.  Jake is an entirely different animal than his brother, jazz artist Curtis Stigers.  But the two find common ground on “Only Wanna Be With You” and “Don’t Know Where I Belong” – either of which could have sat comfortably on Curtis Stigers’ ‘Brighter Days’ album - with the former of the two songs actually co-written by the brothers.  The rest of the album showcases bits and pieces of Jake Stigers’ divergent influences – from a bit of soul (“Marlena”) to David Johansen and the Stones (“That Ain’t Livin”).  ‘Comin Back Again’ is an honest album full of raw guitar and emotion, and songs that appeal equally to the heart and to the head.  Jake Stigers is an independent artist on the rise.  Hop on the bandwagon now, so you can say you knew him when… www.jakestigers.com

Styx – Kilroy Was Here

Styx vocalist/keyboardist Dennis DeYoung can rock out with the best of them, but one thing that keeps creeping to the fore is his seeming hesitance to do so.  This album had a couple big hits in the guise of DeYoung’s “Mr. Roboto” and “Don’t Let It End”, but rock they do not.  For the rock element here, turn to guitarist James Young.  His tongue-in-cheek indictment of hard rock music, “Heavy Metal Poisoning”, is an exercise in riff rock.  It lacks quite the punch it deserves, however, due to the production.  There are some finer, albeit lighter, moments on the album from Tommy Shaw as well (“Just Get Through This Night”).  One last note - listeners will be forgiven for thinking this concept album is somehow tied in with the film Blade Runner.

Styx – Cyclorama (2003)

At this point, there’s really only one original member of Styx left in the band.  That’s James ‘JY’ Young.  Sure, Chuck Panozzo is still involved, but he’s more peripheral as time goes by.  JY and Tommy Shaw, the real driving forces behind the band now that Dennis DeYoung has moved on to other things, have put a lot of faith back into the fans by releasing ‘Cyclorama’ – an album which has Styx fans falling all over themselves trying to decide which of Styx’ earlier classics it is most reminiscent of.  So is it closer in spirit to ‘The Grand Illusion’ or ‘Pieces Of Eight’?  Neither, really.  This is a new millennium, and Styx seems to be aware of that.  Their last album, ‘Brave New World’, seemed forced and uninspired.  The band had almost reached its breaking point by then.  DeYoung left; Styx closed the door on him and moved on.  ‘Cyclorama’ is full of both old and new sounds for the band.  Tommy Shaw’s penchant for melody brings him two very strong tracks that open the album – “Do Things My Way” and “Waiting For Our Time”.  Glen Burtnick and Lawrence Gowan, the two relative ‘newbies’ in the band, have each enjoyed successful solo careers.  That undoubtedly alleviated much pressure, and simply allowed the gentlemen to do what they do best.  In Glen’s case, that means coming up with the wistful wordplay of “Killing The Thing That You Love”.  For Gowan, that meant the drama of the mini-epic “Fields Of The Brave”.  JY deserves special mention here.  His two tracks, “Captain America ” and “These Are The Days”, are two of his strongest tracks in years.  Very rarely have Young’s tracks been some of the strongest on a Styx album.  That just may be the case here.  Of note also is the small band of quirky guest performers on ‘Cylcorama’, including Beach Boy Brian Wilson, actor Billy Bob Thornton, John Waite and Jack Black’s goofball acoustic metal duo Tenacious D.  Lastly, in a nod to their past, the band have included a choral rendition of their classic “Fooling Yourself”, showing that things really do happen in cycles.   

Sybreed – Slave Design (2004)

Well, the good people at Reality Entertainment have done it again.  Continuing to mine the same rich vein of metal that produced the likes of Freakhouse and Godhead, RE unleashes the new album by Sybreed.  Welcome to the future, folks.  And it’s a dark one, at that.  Sybreed hails from Switzerland, home of Swiss metal grandfathers Celtic Frost, and this writer can’t help but wonder if the mighty Frost played any part in planting the seed of Sybreed’s dark soundscapes.  ‘Slave Design’ is a churning, well-executed sonic treat.  “Bioactive” opens the album with an inviting bit of atmospheric keyboard, before ambushing the listener with machine gun guitar-and-drum riffery.  That the band can write songs like “Synthetic Breed” or “ReEvolution” and retain such a sense of melody is a credit to them, and while the band bears similarities to label mates Freakhouse and Godhead, Sybreed is heavier than either of them.  There’s only one obvious bone to pick with these guys - the atmospheric interludes are at the expense of any guitar solos.  With the rest of the band getting plenty of opportunity to burn, it’d be nice to hear guitarist Drop shift into high gear and lay out some tasty solo licks.  If there’s any justice in the music industry, Sybreed will last well into the dark future they write about.  You might want to catch these guys on the Harsh Reality tour this summer, and say you knew them when…         

The Black Sweden – Gold (2000)

Like Abba?  Like Metallica?  Ever wish you could hear the two together?  The Black Sweden has made that wish a reality.  Borrowing their album title from the Abba greatest hits collection of the same name, these Swedes have concocted a riotous collection of heavy metal Abba songs.  How?  First, imagine the riff for Metallica’s “Enter Sandman”.  Now imagine the opening chants of “Take A Chance On Me” getting louder in the mix as “Enter Sandman” comes crashing to life.  You should get the picture.  Now repeat with such pairings as “Woman From Tokyo/Does Your Mother Know” and “Ain’t Talking About Love/Money, Money, Money”.  In the few instances where the combination sounds awkward, it may only be because the songs are so familiar that they’re expected to sound a certain way.  This would be a great party album, if you’d like to mess with peoples’ heads.  For fans of Sweet, Deep Purple, Metallica, Kiss, Judas Priest, Led Zeppelin and ZZ Top.  Oh yeah, and ABBA!

Talisman – Cats & Dogs (2003)

OK, it’s been a little over four years since the last studio album from Talisman – has it been worth the wait?  Let’s put it this way – come May 12^th, have your credit card ready!  Following the comparatively softer ‘Truth’ album, Talisman has regrouped its classic Fredrik Akesson-era lineup for a real firecracker of an album that echoes the both the best moments from Talisman’s pair of ‘Humanimal’ albums (i.e.“In Make Believe”) and the band Humanimal’s debut (i.e. “Friends 2 Stranger”).  The band seems to have spent some quality time honing this set of songs, because it’s one of the group’s most cohesive efforts yet.  Vocalist Jeff Scott Soto seemingly possesses an endless well of melody – indeed there are a couple songs here that would not have sounded out of place on Soto’s ‘Prism’ album of last year (“Sorry” & “Time”).  Not surprising, since some of the writing for both this album and that was likely being completed simultaneously.  As well, “Outta My Way” (complete with indulgent Marcel Jacob bass intro) and “Trapped” are both reminders of Talisman’s trademark tendency toward intricate guitar/bass interplay.  In the end, while not as diverse as the almost unbeatable ‘Humanimal, Pts. 1 & 2’ albums, ‘Cats & Dogs’ is fit to stand next to the band’s best work.  And very well may be their best work – decide for yourself.  

Talisman – 7 (2006) 

Ken Tamplin & Friends – Wake The Nations (2003)

‘Wake The Nations’ is positively rocking, in every way.  From the powerhouse riffs that Tamplin and his friends unleash to the intelligent lyrics behind those riffs.  And let’s get this out of the way first:  it must be cool to have such amazing friends as guitarists Marty Friedman (Megadeth), Richie Kotzen (Mr. Big), Jeff Watson (Night Ranger), Daniel Pearson (J-Lo), Reb Beach (Winger, Dokken) and…well, we don’t want to ruin all the surprises.  Some of the songs here sound like pop music dressed up with guitar (“The Man With A Plan”), and others are unabashed hard rock gems (“The Story Of Love” & “Falling Houses”), the former featuring vocalist Jeff Scott Soto in a high-velocity duet with Philip Bardowell.  Ken Tamplin can hold his own against longtime guitar foil Howie Simon or any of the other high-profile guests here, as he proves throughout this collection of eighteen tracks.  Whether it’s singing or playing guitar, Ken knows his way around a great song.  Don’t let any of the Christian leanings scare you away – Ken is more of a storyteller than a preacher.  That said, given the state of current affairs, a tune like “We’ve Jihad Enough” seems quite timely.  With ‘Wake The Nations’ Tamplin appears to be sitting on one of the strongest melodic rock releases so far this year.  

The Bones – Straight Flush Ghetto (2004)

There’s something distinctly retro about The Bones, and it’s not just the muscle car on the cover of ‘Straight Flush Ghetto’, the Swedish quartet’s North American debut.  Equal parts Eddie Cochran (“Bottle Cry Salute”), Motorhead (“Dog Almighty”) and Social Distortion (“Spit It Out”), The Bones cut a wide swathe across genres like rockabilly, metal and punk with admirable results.  The songs adhere to the punk mentality of “get in, say what you’ve got to say, and then get the hell back out”, the longest of the bunch (by far) clocking in at 3:11!  This tends to lend a sameness to some of the material in spots, but the album maintains a level of energy that makes it damn near impossible not to turn it up and lose yourself in it.  Liquor and Poker Music seem to have cornered the US market on street-wise trash punk, or whatever you want to call it.  ‘Straight Flush Ghetto’ is worth your attention – and your money – make no bones about it.

Thin Lizzy – Thunder & Lightning

Despite the laughable cover art, the image really says it all – this is Lizzy’s hardest album ever.  Philip Lynott’s final version of Thin Lizzy welcomed newcomer John Sykes on guitar, and the result is a satisfyingly heavy album.  It opens with the tumultuous “Thunder & Lightning”, Phil almost breathless as he shouts the lyrics.  The moody “The Sun Goes Down” and desperate “Cold Sweat” are but a few of the gems to be found here.  Lizzy could have gone on, if Sykes had not left the band to join Whitesnake.  We all know where he took them.

Bernie Torme – Wild Irish

Bernie’s 1997 album finds him back with a power-trio format, and an album that sounds like it was recorded live in the studio.  The sound is huge, and the band leaves Bernie lots of room to breathe.  His guitar moans, whoops and wails its way through the attitude-check of “Rat” and the plaintive “Follow The Leader”.  Early into the album it’s apparent that Torme’s vocals are stronger this time around, too.  Maybe it has to do with the confidence this album exudes - even on closing track “Yesterday & Nowhere”, an entirely acoustic piece.  This wild Irishman is obviously comfortable doing things his way.  Something else you won’t find in Bernie Torme’s music - pretense.  

Bernie Torme/Electric Gypsies – White Trash Guitar

Pretty much the same lineup as the last go-round, but now flying the ‘Electric Gypsies’ flag.  Bernie might be revisiting his punk spirit a bit more now, as songs like “Shoot The DJ” would indicate.  As with the ‘Wild Irish’ CD, Bernie’s label RetroWrek Records has made this release a 2-CD set.  The second disc features an appearance on “Easy Action” by Dee Snider (Torme’s band mate in the very-unfortunately-aborted Desperado project) and a raw, live stab at “Purple Haze”.  Could it be original Electric Gypsies/Waysted drummer Frank Noon who supplied the groovy live photos for the liner notes?  Probably.

Pat Travers – Live!  Go For What You Know (1979)

T-Rex – Electric Warrior (1971)

The cover of this album would have you believe that you’re in for an all-out power chord assault.  Not so.  Marc Bolan’s most famous album rocks in all the right places, but really isn’t all that hard on the decibel meter.  We’ve all come to know and love “Bang A Gong (Get It On)” by now, and it should be noted that this version is far sexier than the fair Robert Palmer/Power Station version that was a mid-80’s hit.  “Jeepster” bounces along on a road-ready riff, and the bulk of the remainder of the album shows Bolan to be feeling very “cosmic” – witness “Mambo Sun”, “Cosmic Dancer” and “Planet Queen”.  A great place to start for the uninitiated, who may or may not decide to venture further into the band’s more uneven mid-70’s output.

Joe Lynn Turner – Rescue You (2004) 

Originally released in 1985, ‘Rescue You’ is Rainbow vocalist Joe Lynn Turner’s solo debut.  The album splits the difference between Rainbow’s Eighties hits (“Street of Dreams” and “Stone Cold”) and Foreigner’s smooth AOR sound.  As a matter of fact, opening track “Losing You” sounds so much like Foreigner, it very well could have been nestled comfortably on that band’s ‘4’ album.  Joe Lynn Turner knows his way around a good song, as he proves on the excellent ballad “Endlessly”, the relatively hefty “The Race is On” and radio-ready “Young Hearts”.  This album’s Achilles heel, however, is the dated sound of the keyboards.  That doesn’t lessen the quality of the songwriting, but it adds a certain camp value to songs that otherwise might have aged a little better.  Still, ‘Rescue You’ is a rocking pop album from a superb vocalist.  Long out of print, Wounded Bird Records reissued this minor gem on CD in 2004, to the delight of Turner’s long-suffering fans

Joe Lynn Turner – JLT (2003)

There’s an interesting phenomenon surrounding Joe Lynn Turner’s solo work up to this point – although each album has its moments, none of them rise above one’s expectations.  Rarely do they fall below them, either.  This album finally breaks out of that rut, containing more gusto than a lot of the material on the last three Turner CD’s.  Perhaps it has something to do with the fact that guitarist Al Pitrelli is back in a big way on ‘JLT’.  Maybe Joe’s feeling energized by his recent success with Hughes/Turner Project.  What ever the catalyst, Joe has produced a knockout – from the opening chords of “In Cold Blood” to the fading jam of “Reprise”.  Even cheese like “Let’s Go” works, on some level.  Of course there is a heavy dose of Rainbow-inspired songwriting, but Ritchie Blackmore and Co.’s ‘Stranger In Us All’ CD a number of years back contained little of the fire heard here.  Interestingly, drummer John O’Reilly and bassist Greg Smith (themselves refugees from Blackmore’s Rainbow) are both back in the JLT fold.  Turner’s critics have long joked that Joe’s ballads are haunted by Rainbow’s “Street Of Dreams”.  Not so this time around – “Love Don’t Live Here” is a wonderful piano ballad, owing more to a song like Alice Cooper’s “Only Women Bleed” than to any Rainbow song.  Very bluesy, like a hard rock torch song.  There are moments throughout ‘JLT’ where Joe isn’t afraid of sounding ‘ugly’ for the sake of the song, and these moments are when it becomes clear that ‘JLT’ is possibly Joe Lynn Turner’s most vital solo album yet.    

U2 – Rattle & Hum (1988)

In what some consider U2’s pretentious ‘Joshua Tree’ era, the band embarked on a world tour.  Following them across America was young filmmaker Phil Joanou.  ‘Rattle & Hum’ is an album soaked in Americana - from the tracks recorded at Memphis’ legendary Sun Studio (“Angel Of Harlem”, “Love Rescue Me”) to the gospel take on “I Still Haven’t Found What I’m Looking For” and the plea of “Freedom For My People”, sung by a street musician in Harlem.  Pulling the ‘jangle’ back quite a bit, this album pushes U2 into unfamiliar musical territory.  And as U2 explores icons Elvis Presley, Jimi Hendrix and Bob Dylan along the way, they succeed in capturing a look at America through truly ‘seeing’ eyes – in all its grit and polished glory.

UFO – Obsession (1978)

Although the young Michael Schenker was hired by UFO to fill a vacancy in their guitarist position, Schenker’s influence within the band was soon all-too-apparent.  ‘Obsession’ feels a bit detached, despite the energetic rockers “Only You Can Rock Me” and “Hot N Ready”.  Elsewhere, there are some nice, if uncharacteristic, moments on the record like the short, sweet instrumental “Arbory Hill”.  There may have been some dissention within the band at this point.  Schenker’s the only member of the band shown on the cover, and he left following the tour. 

Uriah Heep – Abominog (1982)

After the disappointment of the ‘Conquest’ album and the subsequent departure of Ken Hensley, Uriah Heep pulled itself up by its bootstraps and hit one out of the ballpark.  If you think the cover of ‘Abominog’ has got teeth, wait until you hear the music!  The band starts out at a dead run, bolting out of the speakers with “Too Scared To Run” and frankly, they sound like they’re playing for their lives.  New blood probably had something to do with the freshness and vitality of this album – bassist Bob Daisley had just come to the band from Ozzy and vocalist Peter Goalby came to the band via Trapeze.  Equal parts heavy and melody, ‘Abominog’ rocks along smartly due in no small part to the stellar writing behind songs like “That’s The Way That It Is” and “Chasing Shadows”.  Peter Goalby really earns his keep on songs like “Think It Over” and the aforementioned “Too Scared To Run”.  Band founder Mick Box and Uriah Heep caught their second wind with this album.  Outstanding.

Uriah Heep – Fallen Angel (1978)

Not a whole lot to talk about here.  This is one of Uriah Heep’s more pop-sounding efforts.  “Woman Of The Night” is pretty rockin’, despite it’s heavy infusion of keyboards.  Elsewhere, “I’m Alive” and “Falling In Love” maintain the band’s reputation.  But you must wade through the boogie bog of “One More Night”, and you have to wonder what other unpleasant surprises lie ahead.  Things seem to be going fairly well until “Whad’ya Say” pops out, and the second, mellower half of the album takes over from there.  Vocalist John Lawton manages to carve some nice moments out here and there, but how much can you carve from cheese?

Vanilla Fudge – The Return (2002)

Whoa, it’s 1967 all over again!  Carmine Appice has returned to the scene of the crime, revisiting a few Fudge classics like “You Keep Me Hangin’ On”, “She’s Not There”, “People Get Ready” and “Take Me For A Little While”.  Hell, even the album cover will have most fans doing a double-take.  Along for the ride are original bassist Tim Bogert and original guitarist Vince Martell.  Mark Stein opted out of this reunion, so the classic Vanilla Fudge organ is well-represented by Bill Pascali.  While hardcore fans may lament Stein’s absence, a few minutes of Pascali’s swirling organic meltdown will make things right.  The band is tight, and even tries on a few new covers by (gasp) Backstreet Boys and NSync.  Guess what?  It works, it really does!  Listening to this album will make you want to light up….a candle or two (what did you think I was going to say) and plug in the ol’ lava lamp to complete the journey back in time.  This album honestly sounds like vintage 'live' Fudge.  One minor fly in the ointment: the awkward cover.  C’mon guys – maybe twenty-five years ago…    

Van Morrison – Moondance (1970)

Stevie Ray Vaughan – Live Alive (1986)

Vinnie Vincent Invasion – All Systems Go

WASP – Still Not Black Enough

Butch Walker – Left Of Self-Centered (2002)

Before ever hearing the first note of the first song, listeners will have an idea of what they’re in for.  “Rock Vocal Power” deflates several rock egos right off the bat.  “My Way”, which some may recognize from radio and MTV, was a power-pop hit for Walker, whose devil-may-care-but-I-don’t attitude shines through this whole CD.  Butch used to be in the band Marvelous 3, whose music sounded just like this does.  Catchy, modern, hard-rocking and not to be taken too seriously.  Special guest bassist Nikki Sixx makes an appearance on one track.

Whitesnake – Ready An’ Willing

This is a prime example of pre-hairspray Whitesnake.  The band at this point was actually three-fifths of Deep Purple, with Jon Lord and Ian Paice joining David Coverdale here.  Early hit “Fool For Your Loving”, later redone by the band with Steve Vai, is here in its earliest form, alongside a collection of bluesy rockers (“Sweet Talker”, “Ain’t Gonna Cry No More” and “Black & Blue”) that really strut their stuff.  Guitarists Micky Moody and Bernie Marsden make a great tag team, switching off between some pretty tasty licks.  This is Whitesnake in its prime, before it became a caricature.

Whitesnake – Slide It In

At the time this album was released Whitesnake were certified headliners in Europe .  Yet they still hadn’t managed a foothold in America .  Things were about to change.  David Coverdale and company (ex-Trapeze guitarist Mel Galley, Micky Moody, keyboardist Jon Lord – about to exit for the Deep Purple reunion, drummer Cozy Powell and bassist Colin Hodgkinson) assembled a firecracker collection of blues-dipped Euro-metal.  “Love Ain’t No Stranger” was a relatively big hit, garnering airplay in the States.  Anyone who ventured further into the album would find unsung classics like “Slide It In” and “Slow An’ Easy”, both of which expose Coverdale’s penchant for subtlety.  It’s the last album of ‘classic’ Whitesnake - from here on out, the band was focused more heavily on image.  For fans of guitarist John Sykes - this review is of the European edition of ‘Slide It In’.  Sykes was a last minute addition to the band, and added only a few squawks and squeals to the mix available in America .

White Zombie – Supersexy Swingin’ Sounds (1996)

This was just about the last release from White Zombie before Rob checked out and moved up in the world.  This release comes across as remarkably refined, given the band’s retro HG Lewis image and Soundgarden-meets-Casio sound stylings.  Harkening back to the lounge-lizard albums of the Sixties, the cover treats us to a couple of Bond-girl beauties.  The music is a spacey head-trip thru the likes of “Electric Head Pt. 2” and “More Human Than Human”, detouring into such ‘out there’ fare as “El Phantasmo And the Chicken-Run Blast-O-Rama”.  Kinda sexy, kinda trippy, not bad for a laid-back party.

Wild Horses – The First Album (1980)

You could almost call this a supergroup…almost.  It’s actually a band headed by bassist Jimmy Bain, of Rainbow and Dio fame.  The rest of the band included ex-Thin Lizzy guitarist Brian Robertson, as well as future UFO members, keyboardist Neil Carter and drummer Clive Edwards.  The songs aren’t too bad.  Not incredibly memorable, either.  The overall effect is that of Thin Lizzy jamming on some pub rock, with Jimmy Bain’s vocals sounding not unlike Tommy Bolin.  Jimmy, coincidentally, collaborated with Lizzy’s Phil Lynott on his two solo albums.  Probably more of note for who’s in the band than for the fruits of their labor.  Produced by future Yes guitarist Trevor Rabin.  

Wilson Phillips – California (2004)

The trio of Wendy & Carnie Wilson and Chynna Phillips returns with ‘California’, a collection of songs that celebrates their heritage by reworking songs that defined the Sixties and Seventies eras.  The overall effect is that of the three women embracing the values of the generation before them, and yet songs like “Old Man”, “Turn, Turn, Turn” and “Get Together” are made new again.  Wilson Phillips is more than the sum of its parts; strength in numbers, vocally, makes a song like “Go Your Own Way” really resonate.  In the end, ‘California’ is a relaxed celebration, satisfying and a bit melancholy at the same time – an indelible stamp on the music of the era.  For all that was bright and airy about a lot of the music, there always seemed to be an underlying sobriety to it all.  And hey - listen closely for contributions by both Brian Wilson and Michelle Phillips.

Edgar Winter – Winter Blues (1999)

It’s unfortunate that Edgar Winter is associated most often with his singles “Frankenstein” and “Free Ride”, because, as one of rock’s most versatile multi-instrumentalists, he’s got a lot more to offer.  This album features Winter – along with guests Eddie Money, Leon Russell, Rick Derringer, Dr. John, Toto’s Bobby Kimball and brother Johnny Winter – tackling a wide variety of sounds.  Opening with the blues of “Good Ol’ Shoe”, Winter takes a left turn into the Cajun-laced jazz of “Nu Orlins”, where Dr. John and Bobby Kimball lend some great vocals.  “White Man’s Blues” is not exactly what it sounds like – rather, it explores the blues faced by men of no color – albino brothers Johnny and Edgar.  Great stuff.  Probably the most fun is the track “They Only Come Out At Night”, complete with White Trash horn accompaniment.  Winter has crafted a great album, full of blues, jazz and pop – highlighted by Edgar’s unique, heartfelt vocals.  It’s not often that an artist around for so long still sounds so vital.  That’s what makes ‘Winter Blues’ a pleasure to listen to.

Johnny Winter – Johnny Winter And…Live (1971)

“Rock and roll!” shouts Johnny Winter as he tears into the riff of one of rock’s all-time standards, “Johnny B. Goode”.  This is the essence of rock, given a thorough spit-and-polish, then dragged through the dirt one more time.  For this great set of blues and blues-as-rock, Johnny is joined by drummer Bobby Caldwell and half of The McCoys, including guitar kid Rick Derringer.  As good as this set is, it might have been nice to hear another Winter original - Johnny’s “Mean Town Blues” here hold its own against a collection of tunes that may be too familiar by now.

The Yardbirds – BBC Sessions (1997)

From the Warner Bros. Archives comes this 26-song retrospective of the great British band The Yardbirds.  This band can claim the distinction of having within its ranks the likes of Eric Clapton, Jeff Beck and Jimmy Page - and having had an influence the length and breadth of which are as far-reaching as the day is long.  To start, the Yardbirds had a reputation for cranking blues numbers into full on ‘rave-ups’, nearly careening out of control by the end of the song.  None of that business here, as BBC sound technicians were pretty firm in their ‘no needles in the red zone’ policy.  There are too many classics to mention – “I Ain’t Got You”, “Heart Full Of Soul”, “For Your Love” – classics, all of them.  Whether writing their own songs or breathing new life into someone else’s, no matter how you look at it – over, under, sideways or down – The Yardbirds have left a marvelous body of work.  Imagine if they’d lasted longer than four years.  
 

Rob Eberhard Young – Consistent Variation (2003) 

‘Consistent Variation’ is the sound of a man trying to find his way.  Indeed, before this release Rob Eberhard Young was he of long hair, screaming guitars and Marshall stacks.  Tired of the grind, Rob unplugged his guitar from the amplifier and instead plugged it into his heart.  What he found was a new voice, and a new musical outlook.  ‘Consistent Variation’ brings to mind the great Michael Hedges in a couple ways - one being the percussive nature of Young’s playing style (i.e. “Wandering Minds” & “Windsong”), the other being the sense of discovery one feels as Young picks and scrapes his way through nine raw and evocative pieces.  At times, the recording feels so naked that if you close your eyes you can almost smell the wood of the guitar.  And that’s an amazing thing, given the fact that we live in a time when so much of the music released sounds so processed and pasteurized.  Subsequent albums would build on Rob’s explorations here, adding new elements while retaining the same organic, yet dynamic, foundation.  To check out Rob’s music for yourself, go to www.robeberhardyoung.com.
 

Y & T – In Rock We Trust (1984)

Ok, so the cover is corny.  And so is the title.  And they weren’t part of the wave of huge acts that erupted from L.A. in the 80’s.  Y & T were actually better than many of the bands that came out of L.A.   Hailing from the Bay Area, Y & T had actually been around almost ten years, by the time this album came out.  Dave Meniketti and the band started out as Yesterday & Today, probably shortening it so as not to appear to be a Beatles tribute band.  While their prior album ‘Mean Streak’ is widely considered to be their strongest work, this reviewer would have to disagree and go with ‘In Rock We Trust’.  Memorable riffs abound, and Meniketti gets a thick and nasty tone out of that Les Paul.  Songs like “Rock And Roll’s Gonna Save The World” and “Don’t Stop Runnin” show the band’s ear for melody, while “Lipstick & Leather” is one of a few chunks of attitude that the band blow around the place.  Look past the cover.  If you want something with better production, better songs and better playing than many of the 80’s pack, trust in Y & T.

ZZ Top – Eliminator (1983)

There were probably a number of long-time ZZ Top fans who did not appreciate the band’s gravitation toward a more modern, synthesized sound.  But those dissenting few disappeared into the sea of fans that the Top gained when ‘Eliminator’ hit the streets.  The album spawned five singles and several memorable video clips, least of which is the quirky “TV Dinners”.  “Legs”, “Sharp Dressed Man” and “Gimme All Your Lovin” showed off ZZ Top’s hip brand of electric Texas boogie.  Bassist Dusty Hill and guitarist Billy Gibbons by now sported long, long beards, in contrast to beardless drummer Frank Beard.  Hmm.

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