Vicious Mary - Vicious Mary

For Terence Holler and Sean Henderson, being the core of a fairly notable Italian prog metal band is quite the double edged sword, a joy that's loaded with its share of sorrow. Their image restricts them to complex meandering tunes while their heart cries for not being able to express their love of the music that mattered to them...80s hard rock. Come again?

Yes, my friends, these two wanted to pursue their leather and lace, denim and hairspray dreams. Influenced by a stable of big name (and underground famed) glam and even more respectable rockers such as Bon Jovi, Whitesnake, Dokken, Warrant and Harem Scarem, they decided to end their woes by forming a completely new group by the name of Vicious Mary to use as their personal outlet. And quite a difference it is from their base band.

If you go in expecting Vicious Mary to be well... vicious and progressive, you will be disappointed in atleast one aspect. This has very little in common with their alter egos in Eldritch, that band being known for their thrashy elements, instrumental gimmicks and technical expertise that has earned them a comparision to Watchtower, one of progressive metal's most forgotten about but highly complex bands from the 1980s. Definitely not considered to be 'accessible' kiddies. Eldritch's last disc was more thrash than prog but hey, if you are pouring your melodic heart out elsewhere, you have to let the aggression free somewhere right? As for the 'vicious'ness, there's a little bite here and there throughout this debut disc, sometimes when you least expect it they kind of pounce it on you, showing a fleeting glimpse at their roots, which are showing proudly. No need to dye them to match the rest, for it gives the album an edgy character that would have otherwise made this one fit into the general term of 'just another hard rock European band'. God knows there are plenty of them, all doing the 80s thing proudly. So its cool to hear something that is popped out of the ziploc bag of metal that keeps its freshness and cooks up nicely. No reeking of expired bad meat or music here.

Speaking of the music, it is like that of a darker Dokken during their glorious heyday back before their breakup; heavily situated on explosive and tough as nails guitar riffs that are not so heavy that they crush the life out of the listener, but are powered with testosterone. The sizzling electric licks slice through the songs like a blunt weapon, the rough edges showing, but are polished up to a sparkling shine for the quick, clean kills. The melodies are bent in the melodic direction, not so softened that they are cuddly however, and show that plenty of life has been breathed into the old 80s schtick that is performed well and pleasingly with fairly tight song writing that is often like that of a rollercoaster ride. Lots of detours, twists and turns that can get you so crossed up and dizzy with senseless delight before being dumped on your head unexpectedly. Their dark side combined with this unpredictability leads to a passel of surprises.

01.] "Love Or Hate"
What a question indeed, and one that is not always clear cut black and white. They bring colour to the proceedings with blue hues tingling through the verses with the very purity of sorrow, green shaded for stricken jealousy and a chorus that is streaked with the anger of red, stark and bright in its natural glowing state... all topped off by the delicate swirled grey tones of confused indecision. More importantly, its catchy as hell, a 'classic' sing-along with the sound of whirling helicopter blades for a unique opening gimmick. The warped out synthesizer twisting in its own contained vortex is a head snapping diversion from the full frontal hard rock assault.

02.] "When He Cries"
Quite a shapely tune this one, it is stacked with a full rack brimming of sweet melodic love. It is a longing tribute to desire, potent and sharp just like the chorus and ringing verses. Guitar-wise its also a tasty frosty treat with some straightforward solo-ing that snugly sits in the middle more as a supporting act than the 'thrown in for good measure' token that most bands pump out. The piano is tasteful and well placed, hovering in the background without being overpowering, inserted more to provide an extra layer of texture than anything else. Holler's vocals are solid as a rock, some of his sharper edges smoothed over for easier digestion. Fluid and tight as a drum, this is one of the finer points of the disc, honed for the coveted value of replay.

03.] "Outside"
The gallopy gritty guitars have that George Lynch "Tooth and Nail" feel that is a fire crackling delight. The vocal emphasis is put on words such as 'apart' and 'heart' and the overall offering is compiled and whipped about like a Westworld track from their debut (in the "I Belong" or "Love You Insane" vein). It packs plenty of punch in the chorus and the lightning fast double beating of the drums is so progressive metal-like that it cracks me up the few times it occurs along with the insane laughter that pops up at one point that some would classify as cheesy. Cheddah makes everything better or so the commericials have left me to believe.

04.] "Million Words"
Creepily sentimental piano-esque key doodlings begin the track before it kicks into gear with a flowing sound...Ahh the midtempo love song, or is it? Chorus-wise its another easy to pick up little number with building background vocals that back up the lead with fluidity, and keys that swim with a proggressive life all their own. The vocals originally start out as softly soothing then transcends into a darker, moodier sound as Terence laments over all the words he has to say to this object of affection...then wham, here comes the kicker...about the third time through the ultra melodic chorus "in my heart in my mind, three words that are hard to say to you..." (as usual)... aww how sentimentally nice, an expression of such shy devotion. Ah ha, but then they throw the loop that's like a smack in the face and brings a *completely* different dimension and feel to this deceptive little number... "I hate you." Hmm OK...so its not sweet little nothings he wants to whisper in someone's ear. They don't just stop there, unexpectedly wind the song down with a little light instrumetal jazz improvisation at the ending til fade. Yep, this is NOT your average AOR band.

05.] "Crying For You"
Light a candle...its dark in here. The acoustic laps like a gentle lullaby then the electric breaks the contemplating silence with its silent crying wails. Rising the emotional bar is Terence sneaking in and taking the spotlight for some simmering vocals and overall emotional performance that drives this power ballad that comes stacked with an expansive chorus and lyrics soaked with the dampness of tears that will "bring a flood in this night." Ah and the guitar, in true blue fashion squeeze out the last teardrops just as the chorus kicks in once again even stronger and fuller than before.

06.] "The Call"
Opening the bag of tricks, this track attacks the listener with a huge variety of guitar sounds, hitting upon that experimental progressive rock background again, that never stays with just one particular feel, skipping to a world of sound that's a total polar opposite from the last, at the drop of a dime. It keeps you on your toes, and the interest level soaring high. The chorus is this big plush thing that slows the song down to a slow melody enriched burner reminiscent of some Scandi bands without the excessive polish or perhaps a mixture of Melodica and Bon Jovi in their softer, darker moments. A tight and flowing piece that allows all the pieces, no matter how off the wall, fit together like a puzzle.

07.] "E.L.I.S.A."
Exploding the clouds and leaking the lightning out, this track thunders forward like an unstoppable hurricane, a storm of giant porportions, quieting only for the eye that is the lurking reminder of what is to come. The bridge sticks out like a brightly feathered critter, atmospheric and subtle in that modern-esque Westworld mold that allows the song to creep into the big surprise that will take more than a few offguard: a chorus which turns the background vocalists into cheerleaders. They spell out the word 'Elisa' with a series of mighty shouts in what is vintage 80s Keel/Helix combined style (remember "Rock You"? Yes you do, admit it already). So this might seem like a strange mixture that would not work well together at all, no way, not even in the coldest day of hell where the begging for ice water is low on the priority list admist heat of the hellfire flames. But yet, in this parallel to Eldritch dimension, it clings together like a perfect fit, amazingly snug at that. A natural and uncanny ease to all the strangeness, bringing all these weird elements together for a sheer unusual delight that might take a few listens to truly get the hang of, but when it does, watch out.

08.] "Keysage"
Nothing like a little instrumental to break the pace of things up a bit to catch a breather. Henderson's piano work is light and fluffy, he definitely has skills, and his fancy fleeting runs down the keys are breathtaking with the ambient backing of drums and bass rumbling along behind as a solid backbone. The craving to hear more is in full effect before its closure, imagine something along the lines of Dream Theater's "Wait For Sleep" with keys like this? Wow. Maybe next time we can only hope.

09.] "I'll Be There For You"
No this isn't the Bon Jovi song by the same name. Unfortunately though it presents the first in the last three of the album, where a sharp downslide in quality occurs. Midtempo and solid but not stunning, not even in the chorus which comes off a bit flat when compared to the hook laden classiness of the first few tracks. The piano allows the song a deeper appreciation, giving it life and a boost of well-rounded porportions. But it takes more than a full support piano that is the wonderbra of the track to lift this baby up all the way from the ground to being in line with the remainder of the album. Too bad too, for that extended guitar solo is quite nice when paired with that rumbly bass that peeks up out of hiding now and then. Its just not enough...but it sure isn't bad.

10.] "You Run Me Wild"
Piano and guitar align for a splashy mid-tempo piece that sees Holler growling in metal-mode, edgily frolicking admist the rock garden of hard love. "So tell me tell me" why I like this one so much. Its not the most inviting tune on the album and runs shorter than it should by a good thirty seconds plus, but its chorus is damned addictive crackling with repetitive personality.

11.] "Indian Giver"
The final act of Vicious Mary is a failure for them musically, and is below even the lowest rung on the ladder. Why this was included is beyond comprehension because it ends the disc on a sour note that was simply not necessary. "You Run Me Wild" was enough of a finishing filler, admittedly a pleasant one, but this not-so grand finale is a bitter tasting disappointment after the sweet and juicy fruits ripe for the partaking earlier in the album's lifespan. It doesn't totally suck, but it is not that great either and only helps to bring down their score.