Warrior Soul, Back on The Lash
This eighth studio album from Warrior Soul is all out metal punk with punch you in the face guitar, nihilistic lyrics that fans of the first few albums will recognise (before record company politics led the band to self sabotage and, arguably they were blown off course for a while). The original focus of the band is back, producing an album which is all killer no filler from start to finish.
‘American Idol’ is more of an extended intro than a song and is full of attitude and let’s you know this album is designed to kick your ass. ‘I get F’d up’ is, in fact, about despair about the way the world is going rather than a party song, but it’s right on the money with superb rock n roll guitar and is much cleverer than the title suggests. In fact, as the politically orientated artwork for the album shows there’s a lot more to the album than titles such as ‘Back on the Lash’ suggest and they all have super punching power and remarkable energy and accessibility, reminding of earlier rather than later Warrior Soul. Kory Clarke’s voice still has a recognisable distinct timbre all his own. It’s rough, but it is right for the material and still more than carries a tune and live, the songs coupled with his undeniable charisma, fit right in with the old classics more than pulling their weight. ‘Thrill Seeker’ has long passages of passionate blistering riffs that give the material a youthful tone. The professionalism is veteran no doubt, but the enthusiasm seems like they are just out of the traps on a race to oblivion.
‘I’ve Got the Rock’ and ‘That’s How We Roll’ appear on first listen to be basic rock n roll anthems, but they’re memorable and full of strut and pose. Arguably this album looks deceptively simple at first sight, but its cunningly brilliant, in that it’s not just a great rock n roll record full of devil may care lyrics, it’s also incredibly worldly wise.
Released to celebrate the band’s 30th anniversary this fourth studio album is ten brand new songs written by the all original members and it’s pleasing to report this is an album which will keep old school fans of the band very happy indeed. Melodic hard rock in the tradition of Y&T, big energy, Bay Area sound, if you are going to wait this long for a band to bring out a new studio album it helps if it is this good and true to the original sound.
‘Crash and Burn’ has an insistent urgency about it, the subject matter being a car chase. It’s a high energy start, but with tracks ‘Fool on Fire’ and ‘Tears’ we know we are back with the Babylon AD of old as the slightly slower tempo allows all the nuances of Derek Davis’ voice to reassuringly show themselves in the emotion of the song and extended guitar solos give us all the elements of what made the band originally great. ‘One Million Miles’ is a love song subtlety wrapped up in a catchy radio friendly sound. ‘She likes to give it’ is a fantasy song dressed respectably as a song about the girl at home, but the throbbing pulse of desire written right through it illustrates the eternal dilemma of the travelling man. Babylon AD have always taken an uncompromising look at the price to pay for anything at the end of the day perfectly exemplified by ‘Rags to Riches’. It’s not a world of fairytale endings, but that why there’s always been more depth to their songs than your average party style sunset strip band. ‘I’m No good for You’ is about the human propensity to want the opposite of what is good for them and the haunting and unusual guitar melodies show us just how good Babylon Ad are, not only in lyrics, at putting their finger on the agony and ecstasy of human existence also with the atmosphere their music creates. Even their party song ‘Saturday Night’ sees through to the core of what is really going on. ‘Don’t Tell me Tonight’ is about how corruption even for the sweet is inevitable in our modern world. If you don’t like your truth sugar coated, but prefer the grit of the streets, this is for you.
While their first album is still my favourite and has a special place in my heart it is great to see the band enhancing their name with a sterling effort adding positively to the band’s legacy and ensuring a healthy vibrant touring future.
Consisting of two CDs, this release from Alice contains twelve new songs, two of those performed live by the original Alice Cooper band and six live bonus tracks of classics from his touring band. It took us a little while to get into the studio recordings on this release, but after a few listens we really began to appreciate it as a fine album. It is more like Alice of the ‘Steven’ era than of the ‘Poison’ era, perhaps unsurprising due to the presence of the original band, but with the same fine axemanship we have come to associate with him due to the parade of great guitarists he has now had in the band. Featuring special guests such as Billy Gibbons and Roger Glover, it is also peppered with stardust throughout.
Opener ‘Paranormal’ is an atmospheric start, a slower track punctuated with riffs, it’s a creepy number about a voyeur. ‘Dead Flies’, almost more spoken than sung, with some masterful guitar playing, is a warning about just how rotten human society can be. ‘Fireball’ is a 70s style rocker with emotionally charged guitar, vocal effects and an organ contribution by Producer Bob Ezrin. ‘Paranoiac' is very typically Alice on the subject of mental illness it has that opinionated intense urging typical of his live vocal work and some haunting guitar. ‘Fallen in Love’ has a southern rock swing with Billy Gibbons easily recognisable by the boogie woogie feel of his work. ‘Dynamite Road’ is a fast paced rock n roll tale of a party on the road gone bad. ‘Private Public Breakdown’ would be a straightforward soft rock number, but the subject matter, delivered with the insouciance of the insane gives it that Alice edge. ‘Holy Water’ has the feel of the Hollywood Vampires material Alice did with Johnny Depp and with a horns section has a bit of a feel of a Movie Soundtrack. ‘Rats’ is more typical rock n roll number with that ambivalent relationship that Alice has with his audience written through it like a stick of rock. The last studio track ‘The Sound of A’ is a real surprise with a strong Pink Floyd narcotic influenced feel.
Bonus CD starts with the two new tracks played by the original band. ‘Genuine American Girl’ is a parody of the American cheerleader culture and could easily have been a Rocky Horror Show track.
‘You and All Your Friends’ is a cheerful sounding song about the power of the disenfranchised exercised through violence with Alice, master of the uncomfortable subject matter going close to the bone as usual. These first two tracks with the original band are a little less metal than ‘No More Mr Nice Guy’, ‘Under My Wheels’, ‘Billion Dollar Babies’, ‘Feed My Frankenstein’, ‘Only Women Bleed’ and ‘School’s Out’ the classics from the 2016 touring band that follow. While it’s nice to have these excellently executed (geddit!) live tracks this release is really all about the new material. Back with this really quite diverse album Alice shows he’s not quite the one trick pony he’s sometimes painted.
Wraith - Revelation
Ice Rain Records / Cargo Records
As record reviewers, it's our honour to receive a far amount of stuff, usually far ahead of release dates so that we can do our thing and write something about them, hopefully leading to people wanting to buy said records based on our words.
Upon receiving this one, it sat in my downloads for a while due to me thinking it was a thrash oriented release. It was only upon finally hearing this record did I discover just how woefully wrong I was. This is hard rock of the highest order!
From the opening riffs of first track 'Lifeline', you are put on notice that gem is here to kick you right in the fun bags! It's riffs and vocals galore, a literal hard rock feast of sounds. Almost immediately, one if reminds of bands like RATT, Y & T, Accept, and UFO.
'Dream Steeler' is the first of the tracks that will remind one of classic era RATT. 'Under The Hammer' is a monster cut that has classic Michael Schenker style riffs throughout it. It also features Pete Way on bass. 'Leaving Me Again' slows things down just a bit for a power ballad (the key word here being POWER), as it still a huge sounding tune with a ripping guitar solo.
'No Respect' is a heavier cut built around a raging bass line and some heavy duty drumming. Singer Coggin really shines here with some big time vocals, as well.
The tune 'Invasion' could easily have been a classic cut on any RATT record from the past as it has all the great elements that make them such a classic band. One could easily hear Stephen Pearcy singing this one. Singer Ryan Coggin was one considered for the lead singer position in RATT but decided to join this band instead.
'Revelation' is a short theatrical spoken word piece that serves as the intro for 'Human Hater', the heaviest tune here, reminding one of something you might hear on an Accept or Judas Priest record. It's a big, brutish tune with double time rhythm and vocals that could near melt iron.
The record wraps up with the tune 'Hunted', another tune that screams classic sounding RATT mixed with dashes of Y & T.
After repeated listens to this record, there's not a band tune on this record. This record is an amalgamation of everything that is great about hard rock. This thing is built to be played at maximum volume. It's 40 minutes of wide open, foot on the throttle rock n roll that is steeped in ripping guitars, thunderous rhythms, and vocals to die for.
This is easily one of the best records this year and maybe even the past couple years. If you're a fan of hard rock, there is absolutely no excuse not to have this in your collection. It's really THAT good. I'm still kicking myself for taking so long to get around to listening to this.
5 stars (out of 5!)
CJ “Music God” Plain of Auditory Riot Radio
LA Guns, The Missing Piece
LA Guns are back and with the combined forces of Tracii Guns and Phil Lewis they have tapped right back into the spirit of the first album, high octane headlong rock n roll with sufficient rough and tuff attitude to give it an attractive and dangerous edge.
First track we should mention is single ‘Speed’ with the same driving urgency of ’One More Reason’ it’s frenetic and just what you wanna put on before a night out to the sleaziest rock club to get you in the mood and that’s an ultimate measure of whether something has legs, in my collection at least. ‘Guitar, guitar, guitar’ – there’s no doubt that Tracii Guns pays his way in this gang with an almost classical phrasing, but far more plugged into the crotch that anything Yngwie might do it’s designed to hit the right spot mainline. That backbone riff is only exceeded on the album by the seismic riff of Sticky Fingers and with the vocal of that track mirroring the introductory riff it’s a sequence that burns into the memory like a flamethrower.
Phil brings to the party attitude and the cocksure authenticity of an old Skool rockstar that’s seen and done it all. Self doubt it not in his dictionary and those tired of the legacy of the tortured 90s will lap it up in spades. With roots from a different era this is everything a longtime fan of LA Guns has been praying for at the altar of the profane. Phil brings street alley cat-cool and style that you just can’t buy.
But it’s not all nuclear explosions and the sniff of soho back alleys. The ballad ‘Christine’, a love song, is the Sunday morning version of LA Guns, but it’s no less infectious and contains a nice low key effortless guitar solo which reflects the professional that knows what fits a song well and that a little bit of contrast only sets off all material concerned to advantage. Fans of ‘Ballad of Jayne’ will get a new favourite. ‘Baby Got Fever’ and ‘Don’t ring a Gun to a Knife Fight’ have more rock n roll style guitar. ‘The Floods the Fault of the Rain’ has more of a New Orluns bluesy swing. Co written by former band mate Kenny Kweens “Devil Made Me Do It’ has a tinge of punk and title track ‘Missing Peace’ and closer ‘Gave It All Away’ have more of a slow burn.
By getting back together Tracii and Phil have managed to relight the flame of the old days. Genuine excitement and vibrancy throbs throughout this album. Just another living proof that when he says ‘Rock is Dead’ Gene Simmons just couldn’t be further from the truth.
Back after 15 years with a new line up apart from Troy Fleming who has been in the band for twenty years, original vocalist Rick Ruhl is still going and even better has managed to produced another hard edged, melodic, gritty album. Featuring 5 songs from their 2015 EP of the same name, there are three new studio recordings, three live songs and three videos to boot. Always accessible but never sugar coated or cheesy, EMN scream real life from every pore.
Single ‘Loco Crazy’ featuring Zach Myers of Shinedown gets all the way under your skin while not being at all obvious. Another obvious single ‘Blown Away’ has that easy accessibility of a song of a driving song you’ve always known and loved. ‘Snake’ featuring also Wayne Swinny of Saliva and has a slightly grungy feel about the chorus, but with the old Skool shredding featured easily strides the gap to appeal to classic rock fans. ‘Upper Hand’ and ‘Stand Up’ reveal southern influences endemic in the DNA of a band from Nashville. ‘Sacred Circle’ has a bit of a nineties feel to it but being a little Saigon Kick sounding remains commercial in its approach. ‘Days are Through’ is a slower track and more of an easygoin ballad with a rockier bluesier end. ‘Swing Again’ has slightly industrial and even Nu-metal influences, but with an ear for the catchy tune Ruhl once again stays dialled in to what HMM listeners will appreciate.
The live tracks are from the band’s performance at Minglewood Hall in Memphis at a benefit for Patrick Francis of ToraTora and including classic tracks “Closet Down the Hall’ and “Walls Come Down’ as well as ‘Push’. Ruhl commented in press that they’re not perfect but live tracks are not meant to be.
The diesel and reality infused approach of this band means they translate well against the harder profile of the rock scene these days overall. They always had a slightly harder image anyway of the old Skool bands with their first album coming out early 90s rather than late eighties after the Seattle revolution had really begun. However they’ve always been good at songs that the melodic rock fan enjoys and this album is no exception.
Purchase 'Grind" now via HighVolMusic via the links below:
Heat, Into the Great Unknown, earMusic
Heat set themselves an ultimatum not to do any more live shows till they had a new album and this is the result of a trip to Thailand to record in the studio. Amazingly enough despite the distractions they pulled it off. After this group’s history of strong melodic hard rock albums it is perhaps not surprising that this their fifth studio album continues their fine legacy while going somewhere new.
Starting with ‘Bastard of Society’ the lyrics are designed to shock and since the song is about staying off the treadmill of 9 to 5 and shakin society up a little it is designed to have that impact. It has great energy and pace, soaring vocals, singalong chants, driving riffs and a good guitar solo. ‘Redefined’ and ‘Time On Our Side’ are about a love plateau and how to overcome it once the first phase of love is over, they are soft rock tracks but with clever structure, rhythms and rhyme it’s quality songwriting with some beautifully sung high notes.
‘In the Eye of the Storm’ is an epic song about the quiet periods between fights for a volatile couple with some operatic and fine vocal work it’s emotional stuff. ‘Shit City’ is about a rough period for the band, kicked out of their rehearsal space, sewage drowned their gear in a new one and just at the start of their self imposed live exile to try to concentrate on the new album. So there’s an angry energy about the song and some passionate Viking screams. Sometimes bad things lead to creativity. ‘Best of the Broken’ is about how rough the music industry can be. With rougher vocals than the usual smooth aor approach to match it is also an outlet for explosive energies. ‘Blind Leads the Blind’ has some apocalyptic keyboards and is about the world going to hell. Passionate guitar playing and vocals lead a challenge to the human race to wake up and change. ‘We Rule’ is a song about brief liaisons on tour that another place and time could be love, but because of circumstances never will be anything but a memory. It’s written in a grand ballad style that reminds a little of X Japan and got that band legions of young female fans. ‘Do You Want It?’ another song about sex has an unusual melody and was apparently was inspired by an incident in Thailand. Experiences are one thing recording there is good for no doubt. Final song ‘Into the Great Unknown’ has a double meaning of the human race about to become an interplanetary species and the band seeking to do something new and not just make the same albums again. Is it the end..or just the beginning? This is a fine album and we are sure it’s just the end of the beginning.
From the topics of these songs this has not been an easy period for Heat, involving a lot of soul searching and analysis of their situation. One thing for sure out of bad situations comes growth and the band have produced a worthy album and achieved their goal of taking a step forward rather than staying in the same place.
Mr Big, Defying Gravity, Frontiers
Recorded in six days in Los Angeles by all original members, Eric Martin, Billy Sheehan, Paul Gilbert and Pat Torpey (albeit that Pat had a little help on the drums due to his recent diagnosis of Parkinson from Matt Starr) its great to see Mr Big back and having so much fun in the videos for the singles for the album (both drummers interchanging which while necessary doubles as an entertaining video gimmick). In this their ninth studio album the band have proved they can still come up with the goods even if they set themselves an extremely tight schedule in the studio. The deluxe version of the CD comes with a DVD of the making of the album bringing the process of making the album alive for fans.
‘Open your Eyes’ reminded us in style of recent well crafted songs by Richie Kotzen who did, of course replace original member Paul Gilbert for a while in this band and this first track reveals a slew of influences from soul and funk behind the scenes (Billy Sheehan now, of course, plays with Richie in the Winery Dogs with strong similar influences). However, the solo from Paul Gilbert is pure metal shredding making sure the track stays firmly labelled rock. Title track ‘Defying Gravity’ is even more diverse introducing middle eastern style melodies and syncopation similar to those used recently by Kip Winger and House Of Lords and, certainly keeps things interesting. The chorus of this track, however, is pure straight down the line infectious aor. ‘Everybody needs a little trouble’ has a little bit of jazz and swing, in the rhythms, but nothing serves to supplant Mr Gilbert’s rock style solo we are pleased to see. “Damn I’m in love again’ is an acoustic number in the skiffle tradition and is the closest to the ‘To Be With You’ era so far on the album. ‘Mean To Me’ about a ball breaking female is nice word play with ‘mean’ also meaning cruel in the context of the song and has some complicated jazz style playing behind the simpler main melody. ‘Nothing Bad (Bout Feelin Good)’ has the feel of a song you’ve heard before as it is so easy on the ear, but it’s just a feature of how well the song is written with some nice sixties style harmonies in the chorus. ‘Forever and Back’ is a big sounding ballad with nice Brian May style guitar breaks. ‘She’s all coming back to me now’ is an easygoing number with chart sensibilities with another excellent Queen style guitar solo. ‘1992’ about the time of the huge success enjoyed by the band has some musician’s musician type playin sitting as a sophisticated layer behind a sixties/seventies influenced commercial chorus. ‘Nothing at all’ is a funk influenced track with a Beatles influenced chorus and some blues guitar. ‘Be Kind’ is a nod to the fifties big band vocals wise but this is combined with a Zeppelinesque guitar twist, a blues guitar interlude, some Robert Plant style seventies vocals mid track and ends in a free for all jam. Nobody can say this album does not pack it all in!
Like a lot of top class musicians Mr Big clearly are interested in many forms of music, they have, however, successfully synthesised these influences into an album aimed at their longstanding fans without plowing furrows where they have already been. The result is fresh without being too much of a shock to the system for loyal fans.
Andrew the Axeman checking in:
Talk about a band who was late to the party - the Krayola Kids came on to the sunset strip scene in Hollywood with the right kind of attitude and the right kind of songs to take it by storm, but too bad it was 1991 already when they formed. But now, thanks to FnA Records, much of the material that would have been on their record 'The House that Glam Built' is available - but it is limited to 100 copies, so once you are done reading this, act fast!
The opening track "Krayola Rock n Roll" is their anthem and sets the tone for the rest of the record - this band was all about the fun of it all, having a good time and it shows. A really cool note is that Poison guitarist CC Deville was a big mentor to the band, helping them with their sound and their image. They definitely wear those influences on their sleeve - you can hear the rawness of Poison's early years, the hook-filled prowess of Pretty Boy Floyd and the trippiness of Enuff Z'Nuff at certain points throughout. The Z'nuff comparison is very evident on the track, "Sweet Pea". Songs like "Bitches N Ladies" will be stuck in your head for days and ballads like "Havin' a Friend" and "Without Your Love" could have been all over the radio. Rockers like "Don't Be a Fake" is also a favorite and rounds off the record with a bang by way of "Big Shot".
Vocalist Krayola Kelly, guitarist Pepsi Pop, bassist Holly Daze and drummer Tommi Tune lived and breathed the glory days of the strip and it is captured perfectly on this release. For all you 'hidden gem' collectors out there like me, the Krayola Kids are calling your name!
Radiation Romeos, Self Titled, Frontiers
Fronted by Parramore ‘Perry’ McCarty (Warrior, Atomic Playboys) on vocals with Dag Hayne (guitars), Jogi Spittka (bass) and Gereon Hofmann on drums this is another Frontiers super project aimed at the classic rock/eighties market and it’s an album we enjoyed as they do this sort of thing really quite well.
Title track ‘Radiation Romeos’ comes out of the trap with strong riffs and vocals, a big catchy chorus and shredding solos with ticks in all the boxes. ‘Ocean Drive’ is a highly produced road song designed to inspire a convertible ride down the Pacific Coast highway with your hair flyin in the wind and it has the desired feel good factor. ‘Bad Bad Company’ is heavier with a grittier vocal.’Mystic Mountain’ is a little Dio-like in themes and intention although the guitar work is its best feature. ‘Like an Arrow’ is a ballad lighter in tone and is rescued from saccharine sweetness by some excellent searing vocal work and some Dire Straits style atmospheric licks. ‘Promised Land’ is quite House Of Lords with a pomp and majesty feel and diverse cultural influences. ‘Castaways’ has a singalong traditional English feel a bit like some recent work from ‘Ten’. ‘Ghost Town’ has nice harmonised guitars and a good guitar solo, but is one of the weaker songs on the album. ‘Til the end of Time’ doesn’t set the album alight either and maybe should have hit the cutting room floor too. However, closing tracks ‘On the Tight Rope’ and ‘Monstertraxx’ raise the bar again with some inspired vocal work or shredding and stronger songs
Overall a pretty good album with quite a few tracks that might make your digital music collection edit. A strong debut with some material we really liked. Not every track’s a stunner, but it’s a high average score and certainly worth a good long visit.