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Assembling an extraordinarily talented cast of musicians, Stuart Smith's Heaven & Earth puts the glitz on the word super band. Featuring the voices of none others than Kelly Hansen (ex- Hurricane), Joe Lynn Turner, Glenn Hughes and Richie Sambora and the talents of Chuck Wright, Pat Regan and Ian Hersey among others, this is a welcome venture into roots rock n' roll. Following the style of mentor Ritchie Blackmore, Stuart Smith showcases amazing chops, melodies and tasty harmonies everywhere he lays a guitar line. The album lives up to every second of the buzz it has created among Hard Rock fans. Starting the album is Don't Keep Me Waiting, a killer heavy song where Kelly Hansen is left to belt out some of the best vocals I've heard him perform since the Hurricane debut album. This is a fast-paced and groovy track that leads the album in the right track. Joe Lynn Turner takes his (first) turn on the mike for Heaven & Earth, an acoustically-driven rocker with a huge melodic chorus. Stuart's classical influences surface on the intro to this song. Plus, the dual guitar solo is quite catchy and memorable. See That My Grave Is Kept Clean features the Voice of Rock himself, Mr. Glenn Hughes. As always, he puts out an awesome performance. The song itself is a blues number and is reminiscent of Glenn's more straight-out blues projects. When A Blind Man Cries follows in the bluesy style, with Richie Sambora handling the vocals. The soloing reminds me of Stevie Ray Vaughn and Jimi Hendrix combined in one - an absolute masterpiece of blues guitar: fiery, captivating and emotion laden. Hansen returns for Trouble in Paradise , which turns out to be a fun, piano-lead rocker. As on the first track, Hansen performs excellently, but let's not forget who the main man of the album is: Mr. Stuart Smith. His guitar playing keeps evolving from song to song, never repeating himself. This song features a sort of duel between piano and guitar that displays both Stuart and Pat Regan's talents. The first surprise of the album appears in the next song: Shadow of the Tyburn Tree. Joe Lynn Turner sings this tale of the lover of a woman who is to be hanged for witchcraft (which is only an excuse for King Charles I to display the power he had over the Scots). The song is as emotional as the story itself is - and its melody will haunt you as much as the sad tale behind it. Joe Lynn Turner stays on behind the mic for It's Got To Be Love - which is a more sleazy rocker, complete with horn section and all. It's not the most original track on the album, but it keeps the pace up and provides a fast and heavy break between the beautiful Shadow of a Tyburn Tree and the classical-influenced (inspired by J.S. Bach, actually) guitar extravaganza of the instrumental Dreams of Desire. Again, Regan and his delightful keyboard playing shine as brightly as Stuart's blazing guitar. Do You Ever Think of Me is a huge hard rocker with Hansen back on vocals. This is the most commercial song on the album, its chorus being one of the catchiest hooks in recent musical history. Another superb performance by Hansen and Smith. The Road to Melniboné is another instrumental song with a heavy dose of 70's attitude topped by a dual guitar melody where (assuming from the liner notes) Stuart and Ian Hersey groove away with emotion, passion and loads of talent. Closing the album is a fast, angry paced rocker that goes by the name of Lose My Number. Hansen handles the vocals again, sounding as fresh as he did on the first track. The album is well rounded by this closer because it brings the sound again to that 70's/early 80's dark guitar sound exemplified by Rainbow . The solo is sheer guitar pleasure - covering Smith's extensive set of tricks, twists and turns. All in all, Heaven & Earth is a collection of amazing songs, made even more amazing by the cast of musicians Stuart Smith has engaged for this production. A worthy purchase for fans of any of the vocalists included here, as well as for fans of melodic, expressive and well, fast!, guitar playing. ----Released in 1998 by Stuart Smith | Tracklist: Don't Keep Me Waiting, Heaven & Earth, See That My Grave Is Kept Clean, When a Blind Man Cries, Trouble In Paradise, Shadow of the Tyburn Tree, It's Got To Be Love, Dreams of Desire (Instrumental), Do You Ever Think of Me?, Road to Melniboné (Instrumental), Lose My Number
Guitar extraordinaire Lars Eric Mattsson gives us another collection of guitar-dominated songs. The songs are not as AOR as his Vision outing (see below for my review of Vision's Till the End of Time); instead they are more in the classically-influenced hard rock style of his previous material. The guitar lines are as melodic as ever, but Bjorn Lodin's vocals are not easy on the ear. His raspy tone doesn't fit the songs' (almost) neoclassic sound. If you can get past the vocals, the album is truly quite good. Caught in Your Web has heavy classical influences; the opening guitar solo could've easily come from Bach himself. The song reaches into progressive territory with some tempo changes and a piano interlude (a style that will resurface on many of the songs). Alive follows in the same direction, with driving power chords and awesome verses, and again, another quiet interlud. Just a Leo is more 70's influenced, with a Deep Purple / Rainbow feel to it. It's more laid back than the first two songs, allowing Mattsson's brilliant guitar lines to be even more appealing and immediate. Messenger is a groovy mid tempo tune with some Eastern influences, at least on the intro. Nothing is really catchy or memorable here, but it blends well with the rest of the album. For Long Way Home the band comes through more on the melodic hard rock side. The pre-chorus/chorus combination is just one big hook guaranteed to have you tapping your feet along. Plus the double guitar solo is a real hit. Time and Again doesn't steer too far from the direction of the previous song. The melodies are tight and the prog keys add a certain ambiance to the song that is quite effective - it gives the song personality. Also, by this point, Lodin starts sounding better. Sense and Obsession is a slow rocker, not quite a ballad - but almost there. It's nothing special, aside from Mattsson's entrancing guitar licks. Mother Forgive is similar in texture to Messenger - one more song on the album, not a high point by any means, but keeps the album well paced. As the Sun Meets the Sky is arguably the highlight of the album - Lodin keeps his voice well grounded and the song itself is fairly paced. Moody and dynamic, this shows the range Mattsson is capable of covering within one album. Thru the Eyes of a Child is for the most part forgettable - clichéd and boring it adds nothing to the album. Now, Lay It on the Line's fierce opening solo will leave you on the edge of your seat. I have seldom heard such a fast AND melodic solo performed with the finesse Mattsson exudes. Too bad that the song itself is generic and, ultimately, boring. The vocal line is utterly monotonous and veers very little from what's elsewhere on the album. The last part of the album is saved by the last track, And the Road Goes On . A guitar aficionado's wet dream, this song has it all: melody, hooks and, surprise!, Lodin's voice is even enjoyable. And this is not only a song that revolves around awesome solos. On the contrary, the solos only serve to highlight the song. Check out the INCREDIBLE final instrumental part of this song. It's simply brilliant. Overall, Mattsson provides a fine collection of guitar songs. Ranging from moody, to quiet, to flashy and simply exceptional, there is more than enough here for a lengthy course of guitar instruction. The only down point of the album is Lodin's raspy voice - but with many an instrumental passage, it's not that bothersome. Don't let his voice turn you off the songs, because for the most part, this is one of the few contemporary guitar albums that delivers the goods. ----Released in 1998 by Lion Music | Tracklist: Caught In Your Web, Alive, Just a Leo, Messenger, Long Way Home, Time and Again, Sense and Obsession, Mother Forgive, As the Sun Meets the Sky, Eyes of a Child, Lay It on the Line, And the Road Goes On
If I had to describe the sound of Hush in one word, it'd have to be HUGE!. This band has such an intensely melodic approach to arena-rock/AOR that it's almost unbelievable that this is the band's debut album. The sound can be described as Hugo meets Whitesnake meets Bad Habit - with a hearty dose of originality dashed in. Talk to Me is as close as you can get to the perfect AOR-influenced hard rocker that we've come to expect from bands like Harem Scarem. The chorus is huge - so huge you'll want to listen to it over and over until your ears hurt! It's that good, believe me. Babe, is more laid back, typical and cliché, but the extraordinary musicianship of the band more than compensates for its flaws. Now, if by the time you got to this point you needed more proof of the quality of this release, Believe would open your eyes. From the opening solo, to the beautifully sung verses and all the way to the immense chorus, this has got to be the catchiest song of the year. This is the kind of sound that made Harem Scarem a familiar name in the AOR circles - and finally someone else steps to the challenge. Piece of the Action displays the band's versatility. This is a straight-out hard rocker, that although lacking in originality, shows another tight side of the band. For some reason, we've come to expect that a well-rounded diverse album must include at least one (but preferably a couple) ballad. A good band is measured for their ability to rock out and to have its quieter, more moody moments. Perhaps to show that they can slow down as well as they rock, Hush have included two back-to-back ballads, Let It Rain and This Side of Love . These blend perfectly well (combined by the sound of rain and ingenious lyrics that tie the songs together), showcasing Patrick Simonsen's outstanding vocal talents. At times he sounds like a young Coverdale, while at others a more laid back Mark Free, but always amazing. This Side of Love is arguably the best of the two, but only because it displays a stronger sense of emotion and the lyrics are much more captivating. Heaven Ain't follows with the most immediately appealing song on the album. MTV would be all over this song if the M still stood for Music . The verses are quite reminiscent of Nelson 's After the Rain , but the comparison fades as we move to the bridge and the heavenly (mind the pun) chorus. (Apparently, the U.S. version of If You Smile will include an acoustic version of this song as a bonus track - something that will make the album even more attractive than it already is. Big Times has a more Westcoast sound to it. It doesn't seem too great to me, but that might be because it followed such a strong track as Heaven Ain't. Sometimes is a soft rocker which shows the band in a more AOR mood. A very strong chorus molds the song into another highlight of this album. G&B (which stands for Gagged and Bound) veers into sleaze territory, oozing lots of sexuality and S/M references. It's not bad at all, but I'd stick with the softer, more melodic sound. Closing this (European) version of the album is the song If (Butterfly) . This song is a retro ballad that, although rather rough, shows yet another side of the band. The strange sounds added every now and then to the song make for an interesting listen. Hush have come out with an appealing and very promising debut album. Their unapologetic sound will appeal to all AOR fanatics, old and new, who are in search of a little more melody and a whole bagful of hooks. Don't waste another minute, buy this now! ----Released in 1998 by Hush | Tracklist: Talk to Me, Babe, Believe, Piece of the Action, Let It Rain, This Side of Love, Heaven Ain't, Big Time, Sometimes, G&B, If (Butterfly) (Bonus Track)
Well, what can I say about this band? They're pretty tight for a bar band - and their sound is undeniably a bar sound - but they lack strength in the song writing department. There are some good songs ( Party in My Pants ), some decent cover songs ( Wooly Bully , Play That Funky Music White Boy ) and even some great songs ( Mental Floss , Listen and Shannon's Song ), but the rest of the album can be dull and dragging. The production job is sketchy, to say the least, but at least the band acknowledges this is no more than a rough collection of demos. The band does have potential, but I'd recommend getting a singer. Singer duties are shifted through all three band members and that makes up for a jarred sound - a bit of diversity is good, but too much simply kills the good qualities of the band's sound. On the plus side, I bet they are really good live. ----Released in 1998 by Renegade Arts | Tracklist: Party in My Pants, Dental Floss, Rot-Gut Whiskey, Listen, Wooly Bully, One for the Road, Birthday Blues, Shannon's Song, Play That Funky Music White Boy, Top 10 Lies, I Don't Need Ya, Rock While You Can
Like a breath of fresh air, Vision , the brainchild of Lars Eric Mattsson, presents us an incredibly wholesome and easy-flowing collection of songs. The style is much poppier and AOR friendly than we've ever heard from him before. One key element for such improvement is the amazing talent of vocalist Randolph Reymers. His voice suits the sound of this album to perfection (although Bjorn Lodin sings leads on three tracks. First up is Surrender to Love a mid-paced rocker reminiscent of Silent Witness with a little Glenn Hughes influence on the vocals. This is followed by Season to Change with Lodin on vocals. The song is not all that bad, but Lodin's over the top raspy growl gets on my nerves. The track is saved by Mattsson's cream-of-the-crop guitar licks and soloing. Although flashy at times, he's never boring or uninventive. Open Up Your Heart is one of the album's highlights. A laid back rocker with a smooth chorus that blends perfectly with Mattsson's guitar voicing. Again, the style is late 90's AOR - in the vein of S.W. and Steelhouse Lane. Look In Your Eyes follows pretty much the style of the previous song, although it has a bit more kick to it. Lodin appears again for From Birth to Eternity . Here he controls more his voice, sounding much better than before. However, the song lacks the catchy hooks the rest of the album delivers. The first ballad of the album comes in the shape of Till the End of Time - a rather dreamy ballad with a great sense for hooks and melodies. Reymers is in top notch form on this track, creating some of the best and smoothest layers of background vocals I've heard for a while. The sound is closer to pure AOR than anything else on the album. Not Foolin' Me picks the pace up again, and features Lodin's final appearance on the album. Again, he puts in a pretty decent performance, but the song is not as immediately appealing as the songs with Reymers on vocals. Overall, River of Love sounds like an encore performance of Surrender to Love . The first time I played it, I almost skipped the song at once. Reymers sings the first verse of the song with the type of distorted vocals I simply hate. But luckily, this doesn't last long and the song turns out exceptionally good, if only a bit too similar to the first track. I Belong to You is, well, interesting. It has a country-ish feel to it, without losing its AOR essence. This is the most commercial song on the album - and quite a departure from Mattsson's heavy sounds. Just Talk a Walk is perhaps more in the style of other Mattsson albums. Its chorus is more groove-oriented, although it remains within a melodic context. Out of Love is the album's second ballad and manages to far outshine the title track. Reymers' vocals are particularly strong - the music falls into the background to showcase Reymers' outstanding performance. Hints of Mark Free and David Coverdale show up every now and then throughout the song. Oddly enough, Goodnight is another ballad. But unlike Out of Love or the title track, this ballad has a big theatrical atmosphere to it, sounding a tad like Queen . I don't know if it's the pessimistic tone of the lyrics, or the opera-like keys sound, but it reminds me a lot of The Show Must Go On , although much shorter (timing in at about 2 and a half minutes). As a whole, Till the End of Time is Mattsson's most melodic and, thus, approachable moment. The production is a bit dry (where's the bass??), but it doesn't take too much away from the songs. Reymers steals the spotlight from Mattsson in this outing, but not for long. Vision is still mainly Mattsson. A worthy buy if you want flashy solos, memorable guitar lines and strong vocals in your collection. ----Released in 1997 by Lion Music | Tracklist: Surrender to Love, Season to Change, Open Up Your Heart, Look In Your Eyes, From Birth to Eternity, Till the End of Time, Not Foolin' Me, River of Love, I Belong to You, Just Take a Walk, Out of Love, Goodnight
Hands down, this is the best release so far this year. It has everything a solid album needs: incredible vocals, awesome shredding and hooks to die for. I'm glad that I gave this album the several spins it deserved, because upon first listen it can sound a bit jarring. But from the second play on, the musicianship and talent of this band began to become apparent. How can I describe the eclectic sound this band possesses? Well, think early Extreme, add some Journey power chords and a bit of Bang Tango for extra funkiness and we're pretty close. It's been a while that I've heard such a powerful vocalist - Tommy Dempsey is simply amazing. His soaring vocals fit the band's huge sound like a glove. If you're a big fan of high-octane vocalists, like I am, you shouldn't miss this release for the world. With such high standards as I've given them, it's tough not to be disappointed at the low points, but let's face it: there are very few albums released these days that could be called "perfect" - those days are long gone. And certainly, Sunshine Jive has its fair share of sub-standard songs. I guess the best way to say it is that they don't seem to pull off the funkiness too well. They should concentrate more on their unique blend of AOR and leave the funk to others. Fools Parade begins the album in full force, but the song doesn't match up with the high points of the album, it's still somewhat rough. Yet the Perry-esque vocals are quite enjoyable. Sunshine Jive introduces the funky side of the band, but overall, sounds rather overwhelming - too much going on at the same time. However, the pre-chorus and chorus combination saves the song from total chaos. You Got What You Wanted sounds the most like Bang Tango, with a real funky bass line and yelled verses. Cool song, but it doesn't blend well with the rest of the album. Ok. Now, the brilliancy of the band starts to shape up. Lost in Love sounds like I was hoping the Journey song on the Armageddon OST would sound like. Dempsey's voice sounds great here, and the background vocals just couldn't be anymore perfectly pitched. Under Summer Skies is a ballad that, again, showcases the power and range of vocalist Tommy Dempsey, while Love Reaction goes back to the Bang Tango /early Extreme sound. This one is a much better rock tune than the previous attempts. The chorus is quite catchy and memorable. Plus the guitar line is all over the place. Sunday Rain is a bluesy ballad in the style of The Black Crowes - showing that Tommy's voice also has a ballsy side to it. Nothing could have prepared me for the shock I would received when I heard the next song on the album. When You Love Someone sounds so much like a Storm song, that upon comparison, the whole Eye of the Storm album fails to match up to this one song. And, oh boy, is this a treat for fans of high range vocalists. If you can believe a combination between Freddy Curci and Kevin Chalfant could exist, this is it. It even puts (my favorite singer) Hugo to shame. Sha Na La La is on the goofy, silly side, but it's still pretty cool, especially cranked up. It reminds me a bit of Extreme's Hole-Hearted. The funkiness returns for Stop This Crazy Ride and Trapped . Both songs are ok, but nothing too spectacular and certainly not up to the rest of the album. Reason For Me is a very cool acoustically driven mid paced rocker, somewhat similar to Queen's Crazy Little Thing Called Love. The Queen similarities resurface in the last song, Something More which is a more standard-like ballad. The production as a bit rougher than I'd like it to be, but with mixing and engineering by Nuno Bettancourt and Bob St. John, it sound like the band wanted to sound this rough. All in all, Sunshine Jive is a mighty debut which introduces a new force to the scene. Nothing but great things must be in waiting for the band. I certainly see a bright future for Sunshine Jive and (I can't say this enough) especially singer Tommy Dempsey who is bound to lead a new wave of awesome vocalists! Long shine the Jive! ----Released in 1997 by MTM Records | Tracklist: Fools Parade, Sunshine Jive, You Got What You Wanted, Lost in Love, Under Summer Skies, Love Reaction, Sunday Rain, When You Love Someone, Sha Na La La, Stop This Crazy Ride, Reason For Me, Trapped, Something More
David Carl Band's debut album is, as a whole, disappointing. The songs are not as well rounded as they could be and the vocals are generic - with no sense of individuality. Still, there are some very cool moments on this album - it's a shame one has to go through so much average material to get to the real gems. For Jacky is the first song that shows some potential with its groovy hooks and sax solo. Trapped is a good follow up with its big chorus, but the verses are rather dull. Now, Arms of Love is an awesome ballad - similar to Unruly Child 's Is it Over, which is probably my favorite ballad ever. The verses are top-notch and the chorus is well harmonized and sung. Love is Like Heaven picks the pace up again and turns out to be the best song on the album. Reminiscent of Michael Morales, this song's chorus is the epitome of AOR choruses: it's by-the-book perfection. However, Crazy Love falls short of its potential, the melody falls apart by the time it reaches the chorus. Luckily, it falls in between the best rockers on the album, the already mentioned, Love is Like Heaven and Can't Slow Down. Dreamin' , an acoustically driven rocker is pretty good, but a bit rough around the edges while Insatiable drags the verses on too long and doesn't keep a steady pace. Another highlight of the album comes in the shape of another ballad. Make Love Shine is an acoustic ballad that has a great, recognizable riff and harmony. This is one truly beautiful song. Hungry Woman and The Cost of High Livin' are weak and simply, generic. There's nothing special or recognizable at all about these two songs. As a whole, the album falls short to the standards set by other acts that have released debut albums this year like Big Bad Wolf and Savannah . David Carl Band, simply put, fails to develop an identity. The songs can be confused with a hundred others. Still, some songs are quite good and serve as testament that there is indeed talent behind this band - they just need to find their own sound. Not by any means mediocre, but not superb either. If you don't mind some lame tracks, the good ones should compensate for those that don't make the cut. ----Released in 1998 by MTM Records | Tracklist: Innocent Kiss, For Jacky, Trapped, Arms of Love, Love is Like Heaven, Crazy Love, Can't Slow Down, Dreamin,' Insatiablem, Make Love Shine, Hungry Woman, Cost of High Livin'
All in all, The World is Round is a wholesome collection of arena rockers and smooth ballads with a little tinge of southern flavoring. Jimmy's voice is sort of like a mix between Mitch Malloy and Mark Spiro with a dash of Axl Rose-like raspiness thrown in. Although we don't know exactly who plays on each song, a bunch of talented (and recognizable) musicians are credited for the music on this record, including Dann Huff, Tim Pierce, Rick Neigher and Mark Douthit. The songs were produced individually, by Jimmy and a cast of producers including Robert White Johnson, Tom Werman, and Rick Neigher. Despite all the hands involved in the project, the album sounds complete and homogenous. Highlights include openers All We Have Is Our Dreams , which sounds a lot like a Blue Tears song, and One Night Like This - more in the style of Starship and Eric Carmen 's Hungry Eyes. Under the Influence is more experimental, with Latin sounding percussion but it is still a rocking tune. Test of Time is the first ballad, and although decent, doesn't show much originality. Ain't Nothing But Love is, again, just decent. It's even a bit too gospel-like for my taste. This one's more similar to Dan Reed's Network than anything else. The song quality picks up again for Tonight I Got the World and Rose Tattoo, both are excellently crafted mid-paced rockers with great harmonies and hooks. Cool Blue is the second and last ballad of the album and it's the best of the two. The beginning just sounds very cool plus the sax solo by the end of the track is equally great. The keyboards on this track are also noticeably well performed. Fight For Your Love and After the Fire are both arena rock heaven. The choruses are perfect and hook-oriented. Plus both feature very memorable pre-choruses. A Little More Blue Sky is a weak closer, but after so many good songs, this one won't bother you too much. It's not a terrible track, but it just doesn't keep to par with the stronger songs on the album. This is an album that should appeal to all fans of AOR, although it's more oriented to softer, mellower AOR/Pop in the lines of Mitch Malloy, Danny Wilde's solo stuff and Mark Spiro's latest, My Devotion. Still, it's quite a worthy purchase if these bands are what you're into. ----Released in 1998 by MTM Records | Tracklist: All We Have is Our Dreams, One Night Like This, Under the Influence, Test of Time, Ain't No Thing But Love, Tonight I Got the World, Rose Tattoo, Cool Blue, Fight For Your Love, After the Fire, A Little More Blue Sky
In all honesty, I had never heard this band (or mention of them) before this release, so I'm only reviewing the album without comparing it to the band's previous material, because I don't have such a point of comparison. On Adult Orientation, Bad Habit blend pure AOR sounds with a modern rock approach. At times, they sound like an 80's version of Collective Soul while at others, like a 90's take on Journey . The songs are quite catchy and hook-oriented with a very appealing glitch for memorable lyrics. Vocalist Bax Fehling's voice is a bit hard to get used to, but once you do, you'll enjoy Adult Orientation for what it is: a solid, very 90's sounding, AOR record. Highlights include openers Shine Your Light on Me and Heart of Mine . Both these songs are mid tempo rockers with lots of harmonies and hooks. The band has a tight, original sound. Lost Without You is probably my favorite track here, mainly because it reminds me of Fair Warning - not really the sound, but because of the harmonies and melody lines. Also, the tasty guitar riffs are quite attractive. Suddenly is similar to Open Skyz, but with an accent. This one's a quiet, upbeat ballad driven by clean guitar riffs. When the Sun Goes Down has a trippy chorus to it and sounds more mainstream AOR than anything else on the album. Another highlight. Hard Rain Fallin' , Make It Easy and Makin' the Headlines are all pretty cool rockers following the lines of the first two tracks. Girl is a soft ballad that sounds a bit like Petra, but with a more worldly topic, of course. Still, the band saves the best for last. The climax of the album is its finale: the gorgeous and huge ballad Forever . This song is also, quite appropriately, on MTM's Ballads sampler and features a duet between Bax and Sara Heurlin (who is this girl?? She should have a deal of her own.). Their voices match each other's perfectly and the song itself is a great song: one of the best ballads of the year. Being introduced to this band through this release, I'm curious as to what their previous albums are like. If they're half as good as this, I've been missing out on something great. The production of Adult Orientation is fresh and sharp, allowing the songs to flow smoothly. A very relaxing sound permeates the album making it a must buy for all AOR fans. ----Released in 1998 by MTM Records | Tracklist: Shine Your Light For Me, Heart of Mine, Every time I See You, Miss It When It's Gone, If I Could Do It All Again, Lost Without You, Suddenly, When the Sun Goes Down, Hard Rain Fallin,' Make It Easy, Makin' the Headlines, Girl, Forever |
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