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Recent
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Very few people have noticed, but I’m a huge power metal fan. I’ve been a Helloween fan since 1987 and have purchased almost everything they’ve released. I’ve also been following the recent resurgence of power metal with both excitement and caution. Bands like Stratovarious, Angra and Gamma Ray have brought this genre back into the spotlight. Although many of these releases are marvelous, years beyond what I thought metal would evolve into, there has been a share of clones and sub-par bands jumping into the bandwagon and attempting to the light of at least one light bulb. So where does Freedom Call fall? Smack in the middle. They don’t have an original bone in their system, but they play perfect power metal. They borrow unashamedly from Helloween, but at least mix things up a bit. Throw in a few early Metallica riffs, more than few hints of Stratovarious’ massive choruses and a bunch of Manowar-like chants into the equation and you should get an idea of what to expect. Highlights include “Fairyland,” an atmospheric, tempo-changing song that comes out as the most original track of the album, although not by much. “Over the Rainbow”, “Tears of Taragon” and “Tears Falling” are other highlights. This isn’t that bad of a record. Yet, when a band sounds so much like other bands, I’d rather go back and listen to the originals. ---Rant mode on--- What is up with the fantasy themes of so many power metal discs of late? I mean, this is a trend that Manowar started and Hammerfall has exhausted to the point of ridicule. To a certain degree, the melodies and epic nature of the genre almost call for fantastic stories of chivalry. But some of these bands need to take a step back and realize that this is getting old real. How many more songs like “We Are One” can we take before quitting the troops? Sheesh. ---Rant mode off--- ----Released in 1999 by SPV |Tracklist: Over the Rainbow, Tears Falling, Fairyland, Shine On, We Are One, Hymn to the Brave, Tears of Taragon, Graceland, Hole Knight, Another Day
The twin brothers with the killer harmonies are back! With their most melodic record in years, Nelson have reentered the realms of melodic rock. A heavily sugar coated roast of tunes, signature harmonies and a crisp production define Life as one of the most inspired records of the year, and a very welcome return to form for the brothers. “A Girl Like That” opens with a promising riff that instantly reminds us of their debut album. The band kicks in and the song builds up to a quite memorable chorus. The song (as most of the album) has a definite acoustic sound, yet it rocks as we all know Nelson can. “I Would If You Want Me To” follows in the same vein, although with a more definite electric punch. Those ever-present soaring harmonies guarantee an amazing chorus, and the boys don’t disappoint. The title track, “Life,” is a cover of a Ricky Nelson song (the brothers’ dad, as you should all know). This is a Beatles-esque number and I’m still not sure whether I like it or not. I haven’t heard the original, so I can’t compare this version to it. It’s not a bad song, but it doesn’t seem to fit in with the rest of album. “She Sheila” is a rockier track, with an amazing keyboard introduction. It reminds me a lot of their latter material, but poppier and less dark than Imaginator. "Someone Like You” is the only ballad of this CD. It has a bluesy feel to it, and is more reminiscent of their Because They Can release. The massive background vocals (courtesy of Steven McClintock, Beth Hooker, Marilyn Martin and Anthony Joyner) are a highlight of the song, and give it a touch of gospel. “Let’s Talk About Me” is almost punkish. Yeah, you read right. This is Nelson with attitude. But boy, does it work! The harmonies bring back the ghosts of their past glory - very similar to “Won’t Walk Away” but faster. “She Said She’d Be Mine” is a bit different because the boys sing the verses in a lower register than we’re used to. But the song builds into a country-ish AOR number that is very catchy and memorable. This is what I’d love to hear on the radio in the morning. Strings bring out the beautiful harmonies upfront and make this the highlight of the disc. As if to not let the momentum die, “The Hunger” follows with the same mid-tempo beat and even more candied vocals. You just can’t help singing along to this one. Yet another slice of perfect AOR. Um. Hold on. “Is That How It Is?” is the highlight of Life. Co-written by Russ Ballard, this is truly a masterpiece of a song that would have fit in perfectly in After the Rain. The song begins with an acoustic guitar through the first verse. Yet, once we reach the bridge we’re in pop heaven. Again, the gang vocals and the keys add depth to the chorus. A classy finale for the return of one of the most promising (yet very underrated) bands of the decade. ----Released in 1999 by Stone Canyon Records |Tracklist: A Girl Like That, I Would If You Want Me To, Life, She Sheila, Someone Like You, Everybody Cries Sometimes, Let’s Talk About Me, She Said She’d Be Mine, The Hunger, Is That How It Is?
Taking cues from earlier sounds, Def Leppard returns to the forefront of melodic rock with this, their 7th record (not counting the b-side and greatest hits packages). The Leps have let their hair down (well, what’s left of it) again and with crunching guitars and sugar-coated vocals deliver their best record since 1987’ Hysteria. “Demolition Man” takes me back to Pyromania with its fast beat and unapologetic power rock feel. “Promises” is the definite hard rock classic here, in true-Lep style. Sure, it sounds like “Rock of Ages” and “Animal -” yet da’ Leps manage to keep it interesting and fresh-sounding. With “Back in Your Face,” the guys establish once and for all that they’re back. This sing-along monster rock track would surely make a kickass show opener with its cocky attitude and enthusiastic rhythm. “Goodbye” is the first of the many ballads on Euphoria. Classic Lep sound – these guys should sue themselves! “All Night” I have to admit, is a bit embarrassing. Juvenile at best, this should have been demoted to B-side, if that. With a dance beat to it, it only shows that the Def Leppard of the late 90’s is as commercially driven as they were 15 years ago. (Good Lord! Has it been that long??) “Paper Sun” is the darkest track of the bunch, yet it’s driven by a Leppard riff that could’ve come from the Pyromania outtakes. With socially-driven lyrics and pounding rhythms, this might be the best track on board. Gotta love that wall of sound! “It’s Only Love” is acoustic pop with a definite Lep touch. Nice and soothing, this would have fit in nicely in their Slang record. "21st Century Sha La La La Girl” doesn’t do much for me. The riff kicks ass, but it seems rehashed. The verses are pretty good, I admit that much, but the chorus brings the quality of the song to a grinding, childish halt. What the hell where they thinking with those lyrics? Obviously, they weren’t thinking much. "To Be Alive” will remind you of their latter ballads (“Miss You in a Heartbeat,” “Have You Ever Needed Someone So Bad,” etc). It’s a great song if you ask me, even if not very surprising either musically or lyrically. The biggest surprise comes in the form of “Disintegrate.” Following the style of “Switch 422” (right down to the fact that it follows a ballad), this short instrumental number is HUGE. A wave of guitar sounds drive this cool ditty with a smashing riff that will numb your senses – in the good way, with no side effects. “Guilty” is nothing if not a second take of “Hysteria.” It’s right down awesome to have a song like this come out in ’99, yet it’s a bit too similar to their past hit for comfort. One wonders whether this is truly what the band felt like recording, or if it’s a half-hearted attempt to regain the fans (and mass success) who were quite disappointed with the modern approach of Slang (which, IMO, is one of their strongest efforts to date). “Day After Day” is similar to “Paper Sun” in its darkish qualities. This slow burning rocker brings out a mix of Pyromania and Slang that works perfectly. This is a more artistically viable approach than the obvious rehashing that takes place on the previous song. “Kings of Oblivion” closes the disc on a weak note. The song is driving and powerful, yet it pales in comparison to the rest of Euphoria. Almost High N’ Dry-ish, this rocker failed to capture my attention, mainly because of it’s sub-par and rather monotonous chorus. ----Released in 1999 by Mercury Records | Tracklist: Demolition Man, Promises, Back in Your Face, Goodbye, All Night, Paper Sun, It’s Only Love, 21st Century Sha La La La Girl, To Be Alive, Disintegrate, Guilty, Day After Day, Kings of Oblivion |
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