Sunday, April 29, 2012

ANDREAS ALEMAN - It's The Journey (2012)

ANDREAS ALEMAN - It's The Journey (2012)


Swedish soulful West Coast singer, songwriter, keyboardist & producer ANDREAS ALEMAN grabbed my attention with his debut CD in 2009.
It became clear right away that this cat meant business with baritone vocals left me wondering if this is what Robbie Dupree or Michael McDonald might have sounded-like today if they were born only 40 years ago.
Bring us up to 2012 and this blue eyed soul disciple of McDonald finds himself right in the middle of an incredible wave of extraordinary music coming out of Sweden and Norway from other artists like Ole Borud, Work Of Art, State Cows, Steffan Gunnarsson and more with his sophomore release entitled "It's The Journey".

Andreas Aleman has triumphantly risen to the occasion with a sophisticated follow-up album that’s sleeker than the first and delivered with pure lean muscle. The songs had such great range and attention to detail.
The production sounds lush with classic keyboards, pocket rhythms, precise bass work, stabbing horns, soaring guitars and amazing musical and vocal arrangements.
The party roars out of the gate with the catchy Donald Fagen-like track “Power” with its soul gospel feel that’ll make you an immediate believer.
The album then segues into the smooth shuffle AOR West Coast groove of “If It’s A Dream” that features classy horn arrangements and insane fretwork from guitarist Mikael Berg Andersson. An absolutely early '80s sounding gem.
“When It Happens” continues the ride with its mid-tempo story about holding out for real love, musically in a Bill Champlin style filled with classic L.A. rhythm guitars, vintage organs and electric pianos.

The pace moves back into high gear with the tasty keyboard and horn intro licks that build into the feel good chorus on “Right Out Loud”. The common thread throughout is the warm, relaxed vocals of Andreas Aleman who weaves an effortless spell over these great compositions.
Other standouts on this fine CD include the beautiful pure West Coast sounds of “Helplessly In Love”, the classic rock vibe of “Real Life Love” and the low down soul celebration in “Keep On Keepin’ Funky”.

Andreas produced and arranged "It's The Journey" and co-wrote 9 of the 10 songs, mostly with principle collaborator Brian Hobbs, an American studio-songwriter stablished in Sweden. Additional songwriters were the great Steffan Gunnarsson, Jonas Andre (Kelly Rowland), the Emmy nominated Ron Boustead and many more.
Backed-up by prime Swedish session musicians, this recording has a superb and organic production, with sounds that recalls the glory of the early eighties.
It's The Journey" is a huge accomplishment in the classic West Coast AOR style, the kind of disc that will get people within earshot to ask you “Who is THIS?”
West Coast AOR audiophiles; you are advised.

01 - Power

02 - If It's A Dream

03 - When It Happens

04 - Right Out Loud

05 - Helplessly In Love

06 - I Knew It Was You

07 - Keep On Keepin' Funky

08 - Real Life Love

09 - Dirty Love

10 - Put Some Trust In Me

Lead & Backing Vocals, Keyboards: Andreas Aleman
Guitars: Mikael Berg Andersson & Andy Pfeiler
Bass: Tom Beimel & Thobias Gabrielsson
Synths: Stefan Gunnarsson
Horns: Patrik Skogh, Wojtek Goral, Staffan Findin
Drums & Percussion: Christer Jansson, Anders Hedlund & M. Wikman
Backing Vocals: Anna Hall, Louise Palmstierna, Pelle Ankarberg, Peter Getz, Anders Von Hofsten, Britta Berstrom, Greta Folkesson and Suzanne Tingwall



LODGIC - Nomadic Sands [remastered] (2012)

LODGIC - Nomadic Sands [remastered] (2012)


LODGIC was an American AOR / Lite Prog group formed in Las Vegas, which was active between 1977 and 1987, consisted of five fine musicians who would later make a name for themselves with other acts like World Trade, Unruly Child, Yes.

Their names? Mike Sherwood, Billy Sherwood, Jimmy Haun, Guy Allison and Gary Starnes.

At the mid of the eighties, their manager inked a recording deal with a major label, and moved the band to L.A. to rehearse at Leeds Studio. It was the kick-start for a collaboration with Toto as Leeds was a stomping ground for both bands.

Jeff Porcaro asked if he could bring some other guys to the rehearsal and all of a sudden Lodgic found itself being produced by David Paich & Steve Porcaro along with Tom Knox, and engineered by experienced Tom Fletcher and Greg Ladanyi.

Released in 1985, "Nomadic Sands" is an exquisite and elaborated AOR album including some lite prog touches, with a sound influenced by '80s Toto, Saga or Yes, while keeping their own musical originality and sophistication.

Listening songs like “Romance”, “Step Back”, “Red Light” or “In The Cards” you will be keep astonished at how the top-notch quality of these compositions has stood the test of time.

“Stand Back” and “Red Light” resonates with an 'Isolation' era Toto feel.

The catchy “Rise & Fall” has a typically eighties drum beat over an otherwise Saga type guitar/ keyboard oriented track, while the laid back title track features some fine arrangements normally not present on AOR albums.

The talented Bill Sherwood provided punchy and crystal-clear bass lines with his equally seasoned bandmates. I like to point out the uniqueness of Mike Sherwood’s baritone, as he was also known for background vocals on Toto’s 'Till The End' and 'Lea'.

Upon the LP’s eventual release, lack of promotion caused the demise of the band. Although the album failed to chart in the U.S., the first single "Lonely Man" was featured in the movie Prince of Bel Air, starring Mark Harmon and Kirstie Alley.

The members established themselves in the studio scene, picked up touring or film scoring gigs while building new relationships. Billy Sherwood & Guy Allison Steiner formed the great band World Trade that was, in Mike Sherwood’s opinion, the extension of the Lodgic sound.

Mike Sherwood and guitarist Jimmy Haun (who by the way had a significant share on the Yes album 'Union') became involved with Jon Anderson, Bill Bruford, Rick Wakeman & Steve Howe around the same time.

In 2011, Lodgic was honored and inducted to the Las Vegas Rock and Roll Hall of fame.

Yesterrock with the help of Universal Music Germany now is re-releasing this sought after AOR gem for the first time on CD, remastered from the original tapes.

If you're a fan of the stylized, smooth, elegant '80s AOR sound with pristine production in the vein of Toto / Saga / Yoso, you can't miss this really fine album.

01 - Romance

02 - Step Back

03 - Lonely Man

04 - Red Light

05 - Rise and Fall

06 - Push So Hard

07 - In the Cards

08 - Nomadic Sands

09 - Linda Sue

10 - Bringing Me Back

Billy Sherwood: Vocals, Bass

Mike Sherwood: Vocals, Keyboards

Guy Allison Steiner: Keyboards, Synths, Vocals

Jimmy Haun: Guitars, Vocals

Gary Starnes: Drums

Lenny Castro: Percussion

Produced with David Paich, Tom Knox and Steve Porcaro

Mixed by Tom Fletcher and Tom Knox

Engineered by Tom Fletcher, Tom Knox and Greg Ladanyi



ETERNAL OF SWEDEN - Chapter I (2012)

ETERNAL OF SWEDEN - Chapter I (2012)


From time to time arrives to my desk some little gems that seems to come from nowhere. This is the case with ETERNAL (OF SWEDEN), a band not much mentioned in the press or known for festival appearances.
However, the band aren't newcomers into the rock scene, since they have released an indie EP in 2009 and played the local clubs and venues, but never crossed the limits of their homeland.
Until now, because their full length debut CD "Chapter I" will arouse much attention for sure.

The style of ETERNAL (OF SWEDEN) is a blend of Euro melodic hard rock and keyboard-oriented melodic metal, with strong influences of the eighties.
Their sound is powerful yet extremely melodic, think Pretty Maids meets Royal Hunt meets Axel Rudi Pell, but the band has a particular way to arrange their songs resulting in a very personal and original product.
Sometimes they remind you '80s MSG, mostly because singer Christer Gards has some hints of Graham Bonnet. The guy is the owner of potent pipes easily reaching high notes with total control, and together with his brother Bosse Gards on guitars are the core force of the band.
But we have here tons of keyboards / synths as well, used in a clever way, and a more than solid rhythm section.

The album opens perfectly with "You Can't Break Us", which after a mysterious keyboard intro explodes into a heavy and melodic stomping melodic hard rocker full of razor guitars and swirling keyboards all over. Killer tune.
"Human" starts with modern synths, and then blistering guitars takes the scene together with pomp keyboards decorating the melody. The chorus is catchy and contagious, with a very good vocal performance.
On "Virus" the band turns more melodic metal in the Allen/Lande way and even as the more commercial Helloween. Again, the vocals here are great and in your face, really in the Graham Bonnet style. "Start Of A New Era" is a solid melodic semi-midtempo rocker with fat guitars and orchestrated keys.
"Scream Higher" is one of my favourites from this album. A commercial melodic hard rocker which sounds like H.E.A.T on steroids and going epic, with chunky arrangements, a catchy chorus line and passionate lead & background vocals.
"Heroes" gets you back to the eighties with its pumping rhythm, followed by the dark, melodic and sometimes metalized "Dead Or Alive".
"Stay The Night" is another winner, maybe the best track in this complete and consistent album. It's a very commercial, very Swedish melodic hard rock song. The chorus is infectious, and the song structure recalls nineties Europe and Pretty Maids. Awesome song.
"Cross The Line" is a keyboard festival, a track with a rapid fire and mounted on a sympho pattern very well rounded.
Closer "The Thing" is great. The beautiful keys of the beginning are crushed by a monster guitar riff and power drums. The refrain on this song is simply perfect, and the guitar solo rocks.

"Chapter I" is one of the surprises of the year for me, as is the extremely professionalism and talent displayed by Eternal Of Sweden.
This album includes some truly dazzling pieces of melodic hard/metal played with passion and a personal, captivating style. Don't be fooled by the cheap-looking artwork, the music and the punch in this CD are awesome.
Singer Christer Gärds is a revelation, and his brother on the guitars is a killer machine of riffs and melodies. They are the main force in this band, but the real orchestrator here is keyboardist Pontus Lekaregard providing not only loads of wonderful keyboards / synths, he has also handled the production with brilliance.
Don't miss Eternal Of Sweden, a talented Swedish five-piece with a great present and a bright future.
Highly Recommended.

You've seen it first here, at zerodayrockz

01 - You Can't Break Us
02 - Human
03 - Virus
04 - Start Of A New Era
05 - Scream Higher
06 - Heroes
07 - Dead Or Alive
08 - Ray Of Light
09 - Stay The Night
10 - Cross The Line
11 - The Thing

Christer Gards - Vocals
Bosse Gards - Guitars
Anders 'Slabben' Sandstrom - Bass
Pelle Hindén - Drums
Pontus Lekaregard - Keyboards



Wednesday, April 25, 2012

JAY PARMAR - Circle Of Fire (2012)

VANGOUGH - Kingdom Of Ruin (2011)


Guitarist JAY PARMAR returns with his 2nd studio release titled "Circle Of Fire" on Steve Vai’s label Digital Nations.

I never heard his debut, and at first glance thought that I was going to be reviewing an instrumental / shred album. Not at all. Don't get me wrong, the guitar playing and overall music shreds on this CD without a doubt.

However, there is more of a full band collaboration I'm listening to here.

Jay's hard work and networking ability has led him to becoming friends with fellow musicians all of whom contributed to "Circle Of Fire".

We have here Carsten Lizard-Schulz (Evidence One, Paradise Inc), Andreas Novak (House Of Shakira, Mind’s Eye), Pete Newdeck (Eden’s Curse, Tainted Nations), Tim Wallace, Mike Rotella and Legendary guitarist George Lynch, and to be honest, this material sounds like an oiled machine band.

"Circle Of Fire" has a total of 12 fiery songs, all of which preserves a unified feel even though there are different singers throughout the CD.

With three notable vocalists on the album and some very good lead vocals from Jay himself, perhaps the most surprising thing in this department is to listen the excellent session drummer Pete Newdeck handling lead vocals as well, and he really has a talent for singing Hard Rock in a great way!

Let me tell you, electric guitar freaks will love this album, but also the most demanding Melodic Hard Rock fans. I totally dig the catchy hammering riffs, pounding rhythms, lightening slick flashy guitar solos, kick-ass melodies and remember-able vocal harmonies.

This great album opens up with "Walking In Circles" where Newdeck opens things up on the vocal front and on drums, with the multi–talented Parmar laying down the hard edged licks from the off, as well as both the bass and keyboards. This is hard edgy rock at its best and a great way to open the CD.

Newdeck delivers another great vocal on the next track "You’re Not Alone", a rockin' and melodic metalized track with some great riffs from Parmar as he just lights up the fret board.

The great guitar work really shines through on "Test Of Time", as Andreas Novak takes up the mike from this melodic hard rocker, before Mr. Carsten 'Lizard’ Schulz takes up the mike for the stunning "Lost In You".

It's back to the Newdeck for the excellent "Now Your Gone", a slow burner that builds from a simple riff into a crescendo of big licks and powerhouse rhythms in the bridge sections and a towering vocal. This song is a real corker and one of my favourite tracks off the album.

There’s a touch of the old school with the superb "Hell Is The Place’, where it's Schulz delivering what he does best on this one, with guest guitar player Mike Rotella (Blackout) laying down a great solo.

The tempo but not the quality is brought down a touch on the dark edged "Guilty", with Schulz laying those sultry tones on what once would have been labelled a power ballad.

Next it's time for session singer Tim Wallace to add his vocal might to proceedings, as he is unleashed on the massive "Harms Length". A great power driven rocker with Parmar delivering some sublime riffing as well as those thumping bass lines.

Wallace also provides the vocal might on the next track "The Dragon", an old school styled rocker given a modern guitar edginess that really drives this one.

The title track "Circle Of Fire" finds Schulz on the vocal duties again, but it’s the guitar work from Parmar that realy gets this one underway, before Schulz comes in and the pair unite in another great hard rock opus.

For the end, we have a little gem.

There's not a secret that George Lynch has had a major influence on Parmar’s own guitar style, and Jay is proud of it. You can hear it within the context of his rhythm guitar work, but it is more evident in his solos.

His legato phrasing, attack, harmonic squeals and guitar sound pull a lot from Lynch, but make no mistake he is no mere clone, Jay owns his own style and sound.

Well, the Great George himself lays down the intro and main guitar solos to the final track "When Angels Cry", with Parmar himself bringing his own vocal prowess to the mix. This track has so many elements, it's just pure rock alchemy, mixing haunting melodies with classic '80s riff driven Hard Rock heaven.

With an artistry and drive that is never less than absorbing, the new album from talented guitarist Jay Parmar gives a pleasure as immense and deep as the sounds and ability which pours from it.

"Circle Of Fire" brings a fresh and eager breath to classic '80s US melodic hard rock / stadium-rock-arena without the need for indulgences and spurious tricks and charms. The album is honest, well crafted and a feast for any rock favoured ear.

This CD delivers great all-around vocals from everyone involved, the overall production, engineering and musicianship is top-notch and accomplished.

Parmer’s fretwork is immaculate and doesn’t overplay. He gives each tune exactly the right touch with both his colorful rhythm playing and tasty guitar solos.

One of my favorite albums of the nineties is Geore Lynch's 'Sacred Groove'. "Circle Of Fire" goes in the same style, and has the same fire and impact. Don't miss this silently released great album.

Highly Recommended.

You've seen it first here, at zerodayrock 

01 - Walking In Circles (vocals: Pete Newdeck)

02 - You're Not Alone (vocals: Pete Newdeck)

03 - Test Of Time (vocals: Andreas Novak)

04 - Lost In You (vocals: Carsten 'Lizard’ Schulz)

05 - Now Your Gone (vocals: Pete Newdeck)

06 - Hell Is The Place (vocals: Carsten 'Lizard’ Schulz)

07 - Stop Laughing (vocals: Pete Newdeck)

08 - Guilty (vocals: Carsten 'Lizard’ Schulz)

09 - Harms Length (vocals: Tim Wallace)

10 - The Dragon (vocals: Tim Wallace)

11 - Circle Of Fire (vocals: Carsten 'Lizard’ Schulz)

12 - When Angels Cry (featuring George Lynch)

Jay Parmar: guitar, bass, keyboards, vocals on 12

Pete Newdeck: drums, vocals

Carsten Lizard-Schulz: vocals

Andreas Novak: vocals

Tim Wallace: vocals

Mike Rotella: main solo on “Hell Is The Place”

George Lynch: intro/main solo on “When Angels Cry”



Tuesday, April 24, 2012

SHOTGUN EXPRESS - Gypsy Blues (2012)

SHOTGUN EXPRESS - Gypsy Blues (2012)


Founded in 2009, the German, Stuttgart-based hard rockers SHOTGUN EXPRESS are releasing their debut CD "Gypsy Blues" in Europe.

This young quintet plays '80s American bluesy Hard Rock with a potent sound, where the key is Guns 'N Roses meets Skid Row & Cinderella.

The first thing that gratefully impress you is the very good production, managed by themselves. It helps a lot the mix handled by Pelle Saether (Grand Design vocalist) made in Studio Underground, Sweden.

Musically, the band has also learned perfectly the eighties US book on how to write and arrange songs in this style, playing them all with fire and conviction. Diamond Flow is a charismatic singer with all the swagger needed, and the hot twin guitar attack is fully Marshall-valve induced.

The first trio of songs are really striking and catchy as hell. Opener "Shotgun Express" gets you back to Skid Row's '80s gritty days with this freight train hard rocker full of energy.

"From the Gutter" has a similar punch, decorated with cool cowbells and non-politically correct lyrics, while the title track "Gypsy Blues" adds a high dose of hard-blues to the mix. The song features a great guest appearance of Quireboy's Keith Weir contributing with a really nice honky-tonk piano.

"Gentleman" is more modern but not exempt of the Sunset Blvd. kick. Same with "Victory Or Death" and the gang-backing vocals fueled "L.A.M.F.".

"Angel Without Wings" is one of these ballads with a strong acoustic guitar upfront in the mix, with the vocals weaving the melody in the background. Really nice.

For the end, the band takes some risks covering Percy Sledge's classic "When a Man Loves a Woman", obviously with a bluesy approach.

At the end of the day, "Gypsy Blues" is a more than decent debut by Shotgun Express, a band who knows how to write & play classic US bluesy hard rock with style. This is not a minor accomplishment for an Euro band formed by young musicians at the start of their career.

Shotgun Express have the 'fire' and hungry for glory, an excellent vehicle for their well written songs and solid musicianship. The production is truly great for an indie, to be honest, much better than other 'big names' recent releases in this genre.

Very good CD packaging as well, also available on a blue colored vinyl like in the old good days.

If wild, unrestrained, finely written & played US bluesy hard rock ala early Skid Row / G'NR is your thing, don't miss "Gypsy Blues", you'll be pleasantly surprised.

01 - Shotgun Express

02 - From the Gutter

03 - Gypsy Blues

04 - Gentleman

05 - Angel Without Wings

06 - A Wasted Life

07 - Victory or Death

08 - L.A.M.F.

09 - Suicide

10 - When a Man Loves a Woman

Diamond Flow - Vocals

Johnny Cobra - Guitars, Backing Vocals

Scott Damn - Guitars, Backing Vocals

Robin Robben - Bass, Backing Vocals

Matt Lush - Drums


Keith Weir (The Quireboys) - Piano

Mark Bohr (Saidian) - Keyboards

Marcus Jürgens (Pump) - Backing Vocals



Friday, April 20, 2012

KEE MARCELLO - Redux ; Shine On (2012)

KEE MARCELLO - Redux ; Shine On (2012)


KEE MARCELLO is one of those artists who is able to turn his hand to anything without fear.
He started his career in 1982 with the glam rock band Easy Action recording two albums. In '86 he joined Europe and toured the World three times. His name as a renowned guitarist was established and the time was ripe for the release of an instructional video. One year later came the bluesy-rock project Red Fun.

Then was time for his solo debut album, 1995's “Shine On”. As said, he has played many genres without fear, and in this first effort as solo artist, Kee goes Melodic Rock.
This recording sees Marcello in a more intimate way, delivering a good bunch of tunes with a much mellower approach than in his previous bands. Not in vain the original release cover of this album pictures him sporting a big acoustic guitar.
Now, Kee is releasing a remastered and repackaged version of this CD as "Redux : Shine On", including three bonuses.

Back in the day I liked this album alot, and I like it now.
Includes some truly good laid back Melodic Rock songs, beautifully crafted around organic melodies. Marcello's vocal timbre fits this style nicely, it's warm and affectionate.
We have some rockers too with Kee showing his six-string abilities, not in a flashing way but with a classic style and sound.
The three bonus tracks are outtakes from the "Shine On"s recording sessions, not with the quality standards of the main album tracks, but all are a nice addition to your collection.
Really Good.

You've seen it first here, at zerodayrock

01 - When The Rain Comes Falling
02 - Shine On
03 - Sweet Little Sister
04 - Rough Ride
05 - La Liaison
06 - Tonight Belongs To Us
07 - Credo (I Belive)
08 - The Wind Cries Your Name
09 - River Of Karma
10 - Fine Line
11 - Together Alone
12 - Magic Potion (Outtake) [Redux bonus]
13 - Call Me (Outtake) [Redux bonus]
14 - You're The Most Beautiful (Outtake) [Redux bonus]

Kee Marcello – Lead vocals, Guitars
Johan Lyndström – Guitar
Svante Henryson – Bass
Mats Asplen – Keyboards
Magnus Persson – Drums



THE BURNING CROWS - Never Had It So Good (2012)

THE BURNING CROWS - Never Had It So Good (2012)


In Norwich, UK, there's a young band that is making some noise in the British hard rock scene, regarded by the press and a growing fan base as one of most brilliant classic rock promises.
The four piece THE BURNING CROWS are here to deliver us their debut EP "Never Had It So Good".

"Never Had It So Good" is full of British based classy Rock 'N' Roll, with hints of The Quireboys, eighties UFO and Little Angels. Recorded at the world-famous Rockfield Studios in Wales, the band have secured the expert hands of Nick Brine (The Darkness, Bruce Springsteen, Oasis) to produce and mix.
And with a guest appearance by Keith Weir (The Quireboys, Def Leppard) on keyboards, it seems that some of Rock's biggest names are starting to join the ever growing queue to get behind the band.

Opener "Slow Up Get Down" blasts mercilessly into action, while the penetrating opening chords seemingly pay homage to Aerosmith's 'Walk This Way' in a hard rockin' manner. It's full of gusto, bravado and high tempo energy that will get your foot tapping and head nodding within a minute, with a good chorus, scorching riffs and a break in pace mid-song.
Track two 'You, Me, Tonight' introduces the much loved cowbell to proceedings and is a foot stomping romp with a dynamic riff work that not only gives us some Quireboys / Stones style 'whooing' but also shows us that they aren't a million miles away from a good time Poison track - just done whole heartedly British.

Third track "Time" slows it down and here the Quireboys vibe really kicks in - no surprise that Quireboy Keith Weir guests to play keyboards on this track. You can really imagine Spike and Co. singing this so I'm guessing that can only be a compliment to their songwriting abilities. One of my favourite songs on the EP.
The next one, titled "Going Down" rocks with contagious swagger. Once again, this solidly crafted and hook-laden affair reveals Whippz' voice to be an aptly suited weapon.
Closing track "Best Damn Everything" is the most furious of the lot, as they go a bit more straight ahead hard rock the likes of which UFO or Bad Company might produce, and has everything you want in this type of band with each member stepping up to lay down some great sounds.

There are a lot of bands out there at the moment that are doing this type of rock, but The Burning Crows are above the bar in my opinion.
"Never Had It So Good" has enough fire and heart to convince the most demanding classic rock / hard rock fan delivering five hot to trot rockers full of energy. Production is excellent for this kind of genre, brilliant and organic.
These guys are like a new-age Little Angels and Skin and then some, with a promising future.

You've seen it first here, at zerodayrock

01 - Slow Up, Get Down
02 - You, Me, Tonight
03 - Time
04 - Going Down
05 - Best Damn Everything

Whippz – Vocals & Guitars
Lance Daniels – Guitars & Backing Vocals
Will Lockett – Bass & Backing Vocals
Chris Chapman – Drums & Percussion
Keith Weir (The Quireboys, Def Leppard) – Keyboards



DREAMSCAPE - Everlight (2012)

DREAMSCAPE - Everlight (2012)


Germany always was - and still is - a pile in Prog Metal, giving some outstanding bands in this sub-genre. DREAMSCAPE is one of the most unheard, despite having been founded in the eighties by guitar player Wolfgang Kerinnis.

 "Everlight" is their 6th album after five years in the making, and as their previous, it's a self-produced and self-released recording, as the band wants to have complete control over its every aspect. Additionally, they have crossed for several line-up changes, specially the singer's slot.
Although Francesco Marino was confirmed as official vocalist, Kerinnis decided to record the new album with a multitude of guest singers as well: Arno Menses from Subsignal, the great Oliver Hartmann, the delicate female singer of Beyond The Bridge Dilenya Mar, shouter Mike DiMeo (Masterplan) and many more.

I know Dreamscape since their previous album '5th Season', a really good and interesting CD of technical prog metal with Dream Theater influences. For "Everlight" they have become more accessible, with shorter songs and a sound flirting with traditional prog, and even proggy-AOR in places. Anyway, we still found here ample space reserved for instrumental stretch-outs, yet never sound over-indulgent or contrived. On some tracks, specially in the three instrumentals, the interplay between guitars and keys (including awesome piano parts) are simply breathtaking. The most impressive thing about this band is their ability to be really powerful and agressive, and then suddenly break out the acoustic guitars and bring you way down to some beautiful, majestic power ballads.

On the harder side the best songs are the uptempo and heavy "Restless", the proggy "Fortune And Fate", and the almost melodic hard rocker (with prog-metal middle part) "Breathing Spaces", featuring a very good performance by Olivier Hartmann at the mic. The mellower songs abound as well, being the title track one of the best, offering as well a complex arrangement and a male / female duet. Also remarkable is the dreamy "The Violet Flame Forever", driven by real acoustic pianos and subtle guitars.

"Everlight" is a fine album of (basically) technical Prog Metal that on many places has noticeable nods to much 'lighter' genres.
The music is always interesting, rich in intensity with a super thick sound, yet melodic and ethereal in the calmer parts. It is peppered with catchy moments as well, and the pieces flow from one to another in a fine way.
However, the crowd of vocalists isn't cohesive in all cases. I don't like Mike DiMeo's performance in example. It's not his fault, just the song does not fit his style, sounding forced, even rude on his take.
Anyway, for the most part "Everlight" hits the mark, delivering an outstanding musicianship, good melodies and an acute mix of styles.
Some of the catchy melodies will no doubt attract the melodic hard rock crowd; the restraint they show despite their technical abilities will also be noted by symphonic prog fans; and their crunchiness won't fail to grab the attention of the most demanding metal heads.
Good Stuff.

01. Final Dawn
02. Restless
03. Led Astray
04. Fortune and Fate
05. The Violet Flame Forever
06. A Matter of Time Transforming
07. One
08. The Calm Before the Storm
09. Refugium in Db-Major
10. A Mental Journey
11. Breathing Spaces
12. Everlight

Francesco Marino - vocals
Wolfgang Kerinnis - guitar
David Bertok (Subsignal) - keyboards
Ralf Schwager (Subsignal) - bass
Danilo Batdorf - drums

Arno Menses (Subsignal) - guest vocals
Erik "Ez" Blomkvist (ex Platitude) - guest vocals
Herbie Langhans (Seventh Avenue) - guest vocals
Dilenya Mar (Beyond The Bridge) - guest vocals
Mike DiMeo (Masterplan) - guest vocals
Nando Fernandez (Hangar) - guest vocals
Oliver Hartmann (Harmann, Avantasia) - guest vocals
Roland Stoll (ex Dreamscape) - guest vocals



SHY - Unfinished Business [remaster + bonus] (2012)

SHY - Unfinished Business [remaster + bonus] (2012)


In 2002, after twelve years lead vocalist Tony Mills left the band, nobody would have guessed that premier British AOR act SHY would come up with a superb masterpiece to rival - and indeed exceed in many ways - their classic disc 'Excess All Areas' (1987).
Well, they did it with "Unfinished Business".

"Unfinished Business" is - and will be - the best album of Shy ever, and one of the best in the entire history of the AOR / Melodic Hard Rock genres. Yes, is that good.
This album have it all: excellent songwriting (in many ways superior to 'Excess...), brilliant melodies, catchy choruses, superb musicianship...
Each track has several layers of rich keyboard tones, supplemented by sometimes killer, sometimes exquisite melodic guitar work, an agile rhythm section and soaring vocal harmonies to die for. This is certainly the best recording that Tony Mills has been involved in.

Apart from all those excellent attributes, the great merit of Shy here resides in their ability to capture the late '80s vibe like no-other.
Describe or choose some tracks from the album just to give you a hint of the music is useless. All are killer-no-fillers exceptional keyboard / guitar driven diamonds of smooth AOR and top class Melodic Rock.

On this Z Records remastered re-issue, we have as bonus two alternate, rawer versions of "Breakaway" & "No Other Way", and an 'enhanced' artwork.
"Unfinished Business" is one of those CD's that makes your album collection richer by any means. This is an eternal AOR / MR gem, and will always be considered as one, no matter how many years will pass.

You've seen it first here, at zerodayrock

01 - Skydiving
02 - Change Of Direction
03 - Breakaway
04 - Mary-Anne
05 - Communicate
06 - Heaven Tonight
07 - Whole Lotta Feelings
08 - Storyline
09 - Can't Stop Lovin' You
10 - No Other Way
11 - Breakaway [Alt. Version] (Bonus Track)
12 - No Other Way [Alt. Version] (Bonus Track)

Tony Mills: Vocals
Steve Harris: Guitar
Roy Davis: Bass
Paddy McKenna: Keyboards
Bob Richards: Drums



SKINTRADE (Matti Alfonzetti) - Past And Present (2012)

SKINTRADE Matti Alfonzetti - Past And Present (2012)


Matti Alfonzetti's Swedish band SKINTRADE was in the first half of the '90s one of the big and upcoming acts on the Scandinavian hard rock scene.
Now they're back with a new tour and CD: "Past And Present".

The group’s self-titled debut was released in 1993 and received overwhelmingly positive response from both media and audience, with the singles "Sick As A Dog" and "One by One" played frequently on radio and TV, including MTV's Headbangers Ball.
Skintrade was honored with a Zeppelin award for 'Best Hard Rock Album' and was nominated for a Swedish Grammis (Grammy equivalent).
Between 1993 and 1995, the band embarked on several tours in Europe and played at some of the biggest festivals such as Sweden Rock, Dynamo Open Air (Holland) or Rock Am Ring (Germany).

However, the band dissolved pretty quick, when the members decided to go separate ways and try different things.
The idea for the Skintrade musicians to collaborate again came about as they got more and more requests from fans asking them to make new music.
During the first rehearsal in May 2011, it became obvious that the band’s chemistry was very much intact, so they decided to record new songs and release them with tracks of the previous album in the form of "Past And Present".

Skintrade plays hard rock with some really original twists, blended as well with a large dose of heavy-funk, resulting in a music that both rocks and swings with a personal and pretty unique style.
Musically they were ahead of their time. Don't trust some comments or reviews that syndicate Skintrade as an alternative or grunge-tingled band. OK, maybe some material from their second album had some of those influences, but leaning in a Soundgarden-like approach or Faith No More with the eccentricity replaced by melodies. But this is hard rock, good and original hard rock.

This band rocks, believe me, and in a great way.
Just to hear Matti Alfonzetti awesome rockin' voice is enough to make the disc worth on purchasing. The twin guitar attack sounds like an oiled rhythmic bulldozer over a pneumatic hammer bass. And the drumming...
I love the hard hitting drums on this recording. This is the way the snare and cymbals should sound in a hard rock band, full of reverb and presence. Listen with headphones, in example, the opening track "One By One" and you'll notice what I'm saying.

The songs taken from the 1993 debut are more commercial, as the hot hard rocker "Soul Sister" featuring a killer chorus, the superfunk heavy "Sick As A Dog", the dirty (explicit lyrics) "Parasite", the bluesy and melodic semi-ballad "Angel Eyes" or the aforementioned "One By One", a groovy hard rocker.
The few picks from the 2nd disc are darker, but also offer an interesting variation. "Motorman" is heavy and compact, "Crucify" has a strong riffage, while "Silence" adds some obscure keyboards and a climatic instrumentation in the middle.

On "Past And Present" we also get three new tracks in the single "Falling To Pieces", "Back The Hell Up" and "Little Baby".
These three represent a new dimension in the band, as they have added a little more melodic hard rockin' bluesy-inspired tone to the music. And of course, this works perfectly since Alfonzetti has a voice just made for this, and sings these new tunes amazingly well.
If there is a full-length new album in the future this is a style that I definitely think they should continue working on. It brings the best out of the band and they could get a lot of new fans without losing any of the older ones.
As said, Skintrade rocks. "Past And Present" rocks. In a very, very good and original way.

Only released in Sweden, and as usual, you've seen it first here, at 0dayrox.

01 - One By One
02 - Soul Sister
03 - Sick As A Dog
04 - Parasite
05 - The Last Thought
06 - War
07 - Freight Train
08 - Fear (Prev. Unreleased)
09 - Angel Eyes
10 - Crucify
11 - Silence
12 - Motorman
13 - Falling To Pieces (New Track)
14 - Back The Hell Up (New Track)
15 - Little Baby (New Track)

Matti Alfonzetti – Vocals, Guitar
Stefan Bergström – Guitar, Backing Vocals
Håkan Calmroth – Bass
Håkan Persson – Drums, Backing Vocals
George Bravo – Guitar, Backing Vocals



KANSAS - In The Spirit Of Things [Remastered SHM-CD] (2012)

KANSAS - In The Spirit Of Things [Remastered] (2012) Limited Edition Japan SHM-CD / UICY-75138
Limited Edition Japan SHM-CD / UICY-75138


"In The Spirit Of Things" was the last KANSAS album recorded in the eighties, and for my melodious ears, one of the best of their entire career.
A year and a half after Kansas disbanded at the end of 1983, former lead singer and keyboardist Steve Walsh returned to revive the group along with original band members Phil Ehart and Rich Williams.
Bass player and vocalist Billy Greer (who had worked with Walsh in the band Streets after he left Kansas in 1981) completed the new line-up with guitarist Steve Morse (Dixie Dregs and later Deep Purple), who added a heavier, rockier sound to the band’s music.
The debut of this new line-up was the rockin' "Power" in 1986.

Their label wanted a commercial sounding follow-up, so for "In The Spirit Of Things" external contributors were brought to the table.
In first place, mighty Canadian Bob Ezrin (Kiss, Alice Cooper, The Babys), who has not only produced but also co-arranged and co-written, helped on many tracks by another white-glove producer; Greg Ladanyi (Toto, Eric Martin, Asia).
Add to this tracks penned by Mark Spiro, Dan Huff (Giant), Bruce Gaitsch (Richard Marx, King of Hearts) and Marc Jordan, and there's no need to tell you that this recording is clearly '80s AOR oriented.

"In The Spirit Of Things" has the crisp, lush, big, typically big-budget '80s sound we all love.
But while 'Power' basically rocked hard in a high tempo throughout, this is a more mellow and reflective affair, balanced with many semi-midtempo AOR tunes, rockers and some ballads. And truly good ones.
The mellow nature of the album is revealed right from the start with the excellent "Ghosts", a slow and beautiful piano-based ballad which explodes at the end, featuring a fantastic vocal performance by Walsh.
But next track is a bombastic AOR-rocker with on-top drums, a swirling guitar and excellent vocal arrangements, complete with a choir.
"Inside Of Me" is one of my favorites, a mid-tempo poppy AOR showcasing Walsh’s strongest vocals in years, as well as showing the band’s ability for razor-sharp execution and catchy choruses.

Then arrives my pick of the album; "One Man, One Heart" was written by Mark Spiro / Dan Huff, so expect a monster AOR song with great atmospherics and a refrain to die for. I bet many classic AOR fans never heard this track. Never is too late. Seriously, one of the Best AOR songs of the '80s, an absolute winner.
They keep the uptempo pace for the moment with "House On Fire". Here the Hammond organ is brought in, and the guitar sounds more like it did on the Power album. A strong rocker with killer dynamics.
"Once in a Lifetime" slow things down with a reflective acoustic guitar, that picks up during the chorus into a melodic rock backbone melody.
With "Stand Beside Me", written by the duo Marc Jordan & Bruce Gaitsch, we have (obviously) a poppy melodic AOR tune. The chorus is simply delicious.
The muscular proggy AOR of "I Counted On Love" is another high point in the album.
"The Preacher" has a good blues / hard rockin' structure with some solid riffs, and the melodies are quite memorable. The choir adds a much needed layer during the chorus.

For the remaining tracks, Kansas has reserved space for a crossover with the 'new' sound of the band with their classic '70s style.
"Rainmaker" is epic and dramatic, with Walsh singing in great form over the choir, telling a haunting story. Heavier proggy instrumentation follows, with an awesome guitar / keyboard work. Terrific track.
"T.O. Witcher" is a terse acoustic short guitar piece, nostalgic and appealing, showing Morse's ability and class with the 6-strings.
The album ends with "Bells Of Saint James", a monster song, incredibly produced and arranged. Morse scratches out a quick solo, the vocals soar and the drumming is terrific. The musicianship show the band in great form and somewhat reminding of their power and majesty of the '70s but with a lush '80s sound. Repeat this track many times in a row, and you will find more and more beauty after each listen. Superb.

As you see, I wrote many words describing "In The Spirit Of Things". Yes, you guessed, it's one of my favorite albums of the '80s.
The truth is that this recording is a pot of gold, with excellent songwriting, musicianship and an out-of-this-world production. Rabid Kansas first-hour fans hate it loudly, but I know this is a guilty pleasure for most of them.
Finally, this great album has received a glorious 24-bit remastering and a proper SHM-CD press which sounds truly great.
A must have for any '80s AOR fan and lovers of the good sounds.

You've seen it first here, at zerodayrock

01 - Ghosts
02 - One Big Sky
03 - Inside Of Me
04 - One Man, One Heart
05 - House On Fire
06 - Once In A Lifetime
07 - Stand Beside Me
08 - I Counted On Love
09 - The Preacher
10 - Rainmaker
11 - T.O. Witcher
12 - Bells Of Saint James

Steve Walsh / lead vocals, keyboards
Billy Greer / bass, backing vocals
Steve Morse / guitar, backing vocals
Rich Williams / acoustic & electric guitars
Phil Ehart / drums

Terry Brock / backing vocals
Stephen Croes / Synclavier
Bob Ezrin / percussion, backing vocals
John Pierce / fretless bass
Ricky Keller / programming
Greg Robert / programming, backing vocals
Christopher Yavelow / Kurzweil
The Southern California Community Choir / backing vocals



METAL SCENT - Homemade (2012)

METAL SCENT - Homemade (2012)


Rock has no boundaries. METAL SCENT hails from Israel, where they have been playing for six years.
“Homemade” is their third album, the first to be published internationally right after the band arrived back to their homeland from a tour in West Europe. There was an initial CD press at the end of 2011, this is the recent with several extra-tracks.

Metal Scent plays an accessible blend of traditional metal / hard rock with several directions, including nods to the most edgy melodic hard rock and a unique Eastern flavor to their sound. Guitarists Yaniv Aboudy and Dror Yakar are the core force of the band's style, both playing in the old school spirit but with a modern sound, providing a crazy guitar attack.
Western drummer Ronny Zee (well known for his venture in Testament), proves here his experience delivering a mammoth performance, and together with bassist Shahar Cohen both are the guiding machine that kept the rhythm section rolling with finesse.
But the first thing that you will notice on the album is the voice of Rami Salmon. The man is an incredible singer with such a wide range, high and low, that will take you to a journey through the '80s till today. His throat is a mix of Johnny Gioeli, a young Geoff Tate and in places, a melodic Ronnie James Dio.

Metal Scent's uniqueness is being expressed as knowing how to combine different directions in music to one hell of rockin' album.
The songs basically rely on a melodic nature with great harmonies as on "Inner Light", a great ballad that gets heavier and developed to a perfect harmony of metal.
"Riders Of The Night" is one of the band's finest songs, the amazing drum work of will blow your mind while the vocals challenged his high note pitch ability. Same with ”All You Want", a high speed driven rocking song that will break your neck with nonstop headbanging.

"Hold On" sounds more commercial with a melodic hard rock vibe but it is bound by roots of evil, and has mean rhythm guitar riffs slipping into a melodic sweeping chorus that will push you to sing along with the band.
"No Other Way" got the acoustic guitars that presents a Rock N' Roll driven rhythm aside to classic metal motives. "Visions" start with a cool oriental guitar licks that enters into a strong heavy dual riff that describes this band in the best of ways.
"Time Has Come" shows the diversity of Metal Scent, a this is a pure Melodic Rock tune (even with some AOR touches) including acoustic guitars and harmonic vocals.

Don't be scared or pushed away by the origin of Metal Scent. The band exhibits a great professional work (much better than many of their Western colleagues), with solid compositions and very good musicianship.
All are talented players, you will notice it as each and every one of them brings his own world to the band's distinctive sound.
This do not means Metal Scent has discovered the wheel, but there's something in their crossing of classic metal, hard rock and melodic hard rock that makes them different and interesting. Maybe the absence of the typical cliches of the Western scene.
Metal Scent could be Israel's hidden treasure. "Homemade" is solid as a rock, with lots of ambition and promise. Don't miss it.

01 - Never Too Late
02 - Hold On
03 - Men Of War
04 - Coast To Coast
05 - Silks Of White
06 - A Spy In The Sky
07 - Inner Light
08 - Desires
09 - Riders Of The Night
10 - All You Want
11 - No Other Way
12 - The Voice
13 - Visions (bonus)
14 - Everybody's Gone (bonus)
15 - Time Has Come (bonus)

Rami Salmon - Vocals
Dror Yakar - Guitars
Yaniv Aboudy - Guitars
Shahar Cohen - Bass
Ronny Zee - Drums



FAIR WARNING - Best And More [2CD] (2012)

FAIR WARNING - Best And More [2CD] (2012)


Celebrating their 20th Anniversary, Germany’s first class Melodic Hard Rockers FAIR WARNING are releasing the double album "Best And More".
It will be available at the nice price of a single CD, packs 32 songs on to two CD’s, including all the Fair Warning classics, some previously unreleased tracks, plus a lavish booklet with exclusive photos.

Being a fan of big, anthemic melodic hard rock for as long as I can remember, I put Fair Warning up amongst the cream of the European bands from the late '80s / early '90s (think Europe, Stage Dolls or Bonfire).
The German four-piece cover all of the bases that appeal to children of eighties rock: arena anthems, power ballads and driving rockers full of guitars, keyboards and striking drums.

There have been a couple of Fair Warning collections already (Early Warnings ’92-95 and Decade of Fair Warning), but nothing quite this large or comprehensive.
Fair Warning are Gods in Japan, have a big fan base in Europe but really never make it big in the US and particularly in UK. "Best And More" is intended to these markets and to potential new listeners of the genre worldwide.
For newcomers, "Best And More" is a solid overview of Fair Warning’s catalog, for longtime fans who already own most of the band’s albums, it's an opportunity to get at a fair price all the hits in one package, plus some rarities: the previously unreleased "Rock *N* Roll" (a cover of Zeppelin's classic) and edited / remixed versions of "Children's Eyes" and "Light In The Dark".

It has to be difficult to come up with a best-of package when the band in question has so many great albums and songs.
Their first four studio albums are such essential melodic rock records that it seems wrong to omit anything from them. Still, as far as song selection goes, "Best and More" does hit all the highlights.
We have a nice mix of studio and live tracks – more importantly the running order makes for a great start to your introduction to Fair Warning – they do not just follow the chronological order of their 10 preceding albums.

While we’re waiting patiently for a new studio album from melodic rock masters Fair Warning, the band has served up a hefty 2-disc greatest hits package.
Single out highlights is unnecessary as both CD's are simply chock full of great tunes and melodies. For someone getting to know the band this is an essential purchase, and for fans it's a cool (and cheap) addition to the collection.
"Best And More" is a great overview of Fair Warning’s catalog, that's it superb Melodic Hard Rock.

CD 1:
01 - Burning Heart
02 - Save Me
03 - All On Your Own
04 - Longing For Love
05 - When Love Fails
06 - Angels Of Heaven
07 - Out On The Run
08 - Don't Give Up
09 - Long Gone
10 - Generation Jedi
11 - Don't Keep Me Waiting
12 - Still I Believe
13 - Heart On The Run
14 - Here Comes The Heartache
15 - I'll Be There
16 - I Fight
17 - The Way You Want It

01 - Rock*N*Roll (Previously Unreleased)
02 - A Little More Love
03 - Come On
04 - The Heart Of Summer
05 - Angel Of Dawn
06 - The Call Of The Heart
07 - Rain Song
08 - Like A Rock
09 - Out Of The Night
10 - Meant To Be
11 - Don't Count On Me
12 - Just Another Perfect Day
13 - Light In The Dark (edit Single Track)
14 - Man On The Moon
15 - Children's Eyes (edit Single Track)

Tommy Heart – Lead & Backing Vocals
Helge Engelke – Guitars, Keyboards, Backing Vocals
Ule W. Ritgen – Bass, Backing Vocals
C.C. Behrens – Drums



ANCARA - Chasing Shadows (2012)

ANCARA - Chasing Shadows (2012)


ANCARA is a band from Finland with a lot of history going on. It was formed back in the mid-80s under the name of Metal Circus before changing its name during the nineties to Resistance, and finally to Ancara in 1996.

"Chasing Shadows" is Ancara's third album, recorded and released in 2009 only in Finland through their own label. Now, after 3 long years of wait, it is presented and distributed worldwide.
This move is the tip of the iceberg for the international presentation of the band, who are in their first European tour right now and has recorded a totally new album in Los Angeles, Hollywood, to be released later this year.

Ancara plays a commercial Melodic Hard Rock with a typical Finnish style and sound. The band has been connected in the past with their compatriots Brother Firetribe, so this gives you a clear idea about the music: rockin' tunes with a nod to the '80s / '90s.
Ancara's strength are self-evident. Good song composition with strong melodies, vocal harmonies and clever hooks are strengthened by skillful musicianship. Mostly the arrangements are creative, a fresh interpretation upon the classic melodic hard rock theme without sacrificing familiarity.
You hear this at the start with "We Paint December", which offers a bit metal edgy guitars with a fine harmonious vocal arrangement.
We have more gritty hard rock in the chords of "Lodestar", only to be tempered by the melodic hook of the chorus.
Then there's simply classic melodic hard rock, with modern touches sometimes but still familiar, in "Far From Grace", the title track "Chasing Shadows", "High Hopes" and the finisher "Farewell". That last song is pure arena-ready rock.
On the balladry side, "Tears With Smile" is moody and dark slow tune with 2005's Finnish Idols finalist AGNES (Pihlava) on a vocal duet.

Ancara's "Chasing Shadows" offers a fresh and entertaining interpretation of Eighties & Nineties melodic hard rock, with strong, solid compositions.
There's a welcomed diversity to the songs influenced by many acts but each standing with its own integrity. Brother Firetribe and H.E.A.T comes to mind, of course not yet with their high quality standards.
I hear little doubts in some vocal parts and in how some arrangements are rounded, but keeping in mind that these songs where recorded & produced by themselves, this is a minor point. I'm sure these issues were corrected in the forthcoming album, as with an expertise producer this band has a tremendous potential.
If you like the sound & style of the present European Melodic Rock (specially Scandinavian) scene, you need to check "Chasing Shadows" pronto.

01 - We Paint December
02 - Far From Grace
03 - Chasing Shadows
04 - High Hopes
05 - Liar
06 - Lodestar
07 - Tears With Smile (ft. Agnes Pihlava)
08 - Not Quite Sober
09 - Nicole
10 - Wait
11 - Farewell

Sammy Salminen - Vocals
Juha "Juice" Wahlsten - Guitars, Backing Vocals
Tuomas Keskine - Guitars
Mika Rajala - Bass
Timo Rajala - Drums
Agnes - guest Vocals



ADLER'S APPETITE - Alive EP (2012)

ADLER'S APPETITE - Alive EP (2012)
Studio recording, not live


Guns N' Roses legend Steven Adler's substance abuse problems have been well documented lately, notably from his appearances on VH-1's Celebrity Rehab and in his own autobiography My Appetite For Destruction.
Fortunately, his battles against his personal demons have been successful enough that he's been able to finally create new music.

His band ADLER'S APPETITE is currently in the studio preparing their first full length album. In the meantime, some singles have been released to the public during the last 18 months.
These songs happened to be combined into a rare exclusive EP to European markets, but now, since April 2, the EP is available worldwide on iTunes.
Additionally, in April 10 ADLER'S APPETITE has released separately a brand new single; "The One That You Hated".

Although it should be noted that the band's rather volatile line-up has already switched lead singers, AA's foundation (Adler with his cohorts Chip Z'nuff and Michael Thomas) is still present here.
The main title track "Alive" isn't a live recording at all. The song is an uptempo hard rocker with a cowbell straight out of GNR's 'Nightrain' leads things off.
It's a crunchy and lyrically optimistic tune about Adler being thankful for still being here despite his self-medicated crazy lifestyle. It sets the tone of what their original songs will sound like and it's as good as anything put out by ex-Guns alumni. Really good.
"Stardog" follows next, a rockin' track with gang backing vocals and tons of percussion by Adler. I have always considered Steven not only the best G 'N R drummer ever, but also the best percussionist of the American Hard Rock scene.

"Fading" is a strong rock ballad with a singalong chorus and melodic guitars. The piano and some acoustics are welcomed, making this song sound as SLAUGHTER with best vocals. Very good tune.
Then we have the instrumental version of "Alive" where we can appreciate how tight the band sounds. The guitars are more upfront in the mix, as well 'that' magical cowbell. Love it.
As bonus, the fresh single released just three days ago: "The One That You Hated". The song is a powerful hard rocker with razor guitars and a chorus that will stick in your head. This is a sonically kick-ass track, yet very polished and melodic.

If this EP and new single are any indication, Steven Adler finally is getting his act together with a solid band behind him.
The songwriting is typically late '80s, as well the musicianship and sound.
What I really like about these songs is the way they were played and produced, with the mind put in the eighties, some kind of an 'Appetite For Destruction sound' but more polished.
ADLER'S APPETITE is on the right direction, can't wait for the full length CD.
Really Good.

You've seen it first here, at zerodayrock

01 - Alive
02 - Stardog
03 - Fading
04 - Alive (instrumental version)
05 - The One That You Hated [new single]

Patrick Stone - Vocals
Steven Adler - Drums, Percussion, Backing Vocals
Michael Thomas (Beautiful Creatures, Tuff) - Guitars, Backing Vocals
Lonny Paul - Guitars
Chip Z'Nuff (Enuff Z'Nuff) - Bass, Backing Vocals



SILENCE - City Days (2012)

SILENCE - City Days (2012)


French musician Bruno Levesque is not much known outside Melodic Rock / AOR music circles, but he has been working in his project / band SILENCE since the late nineties.
It started as an instrumental affair (2 CD's), but during the last decade Levesque has delivered a very good triad of full-band albums.

Now, Silence is ready to release not 1, but 2 albums simultaneously; "City Nights" and "City Days".
While Levesque had been recording with a variety of vocalists in the previous discs, a new chapter opened with the arrival of Benjamin Venet (from the Belgian band Jayhawkers) in 2008's last album 'Open Road'.
Now firmly established as stable member in Silence, Venet has noticeably evolved on this new recording. Not only did he co-write most the songs on offer, he performs them with an enviable ease and freshness.
His vocals range from a sweet timbre to a slightly raspy tone resembling a young Jon Bon Jovi, which perfectly fit Levesque's sonic universe. The chemistry between them jumps to the speakers and sparks on every song, on both CD's.
The excellent "City Nights" was already presented here in this blog, now let's take a look on "City Days", no less good than the other, believe me.

First track "Beggar's Day" is a poppy melodic rock, light musically during the verses, but with a strong upbeat break on the modern chorus.
"Father" is one of the winners on this CD. An extremely melodious rocker featuring an unconcealed Euro style much in the vein of Last Autumn's Dream. Venet vocals reminds me Mikael Erlandsson indeed, while Levesque delivers a memorable melodic orchestration.
The midtempo "Footprints" has 'that' special AOR feel which made the Scottish band Strangeways famous. A lovely laid back tune for sure.
"Brand New Start" is musically pretty urban, with a moody melody driven both by acoustic / electric guitars and a subtle organ in the background. An interesting track, different from the rest of the material, which adds a welcomed variation.

Now we have another highlight. A song with a female name presumes a ballad, and "Jenny" is exactly that, in a midtempo pace. The melody is simple yet enchanting, with a vocal performance and an overall sound of Fred Hendrix's (Terra Nova, Aquila) factory. This tune is the best representation of this "City Days" CD; laid back Melodic Rock. And a good one.
"Guardian Angel" is a track penned by Mark Spiro, who has approved Silence's version with joy. Thier version is uptempo and catchy in a Nelson mould, with a passionate performance by Venet. His vocalization here truly elevates the song.
I love "The End Of The Day". Some people may find this song too simple, but it's a marvelous Melodic Rock tune with great harmony vocals and an organic instrumentation, warm and comfortable. This is pure Melodic Rock guys.
The gentle "Lift Me Up" features a female (not listed) singer duet with Venet, a good song in any average album, but not in the high quality bar set by this CD. Anyway, again, offers variation adding some strings and a little sax arrangement.

The more uptempo pace returns with "Daydreaming", another song between my favs as sounds as Nelson (I am a big fan) with superb harmony vocals and two short but great guitar solos.
"Business" adds more variation to the disc. Starts slowly, but then explodes into a melodic rocker with a potent riff. A track with a Tommy Denander style, in fact he is playing here. The second part of the song features a dark speech and furious drums. Another really good, interesting track.
Last one, "Waiting For Dawn (Lullaby)" is obviously, a ballad. Acoustically driven with some pianos, Venet delivers his best Jon Bon Jovi impersonation here, and in very good way. Why this guy is not in major band is a total mystery.

I am completely in love with "City Days" and the other CD simultaneously released ('City Nights') by Silence, one of the most organic, sweet, harmonic, pure Melodic Rock collection of songs appeared in many, many years.
With these albums, Silence has marked a clear difference with rest of bands in this genre: Emotion. All the songs on both CD's will lodge in you blue collar Melodic Rock heart, meticulously arranged and handmade produced with love.
Great songs, great musical melodies, great vocal harmonies: all are here.
I'm sold.
Highly Recommended.

You've seen it first here, at zerodayrock

1 - Beggar's Day
2 - Father
3 - Footprints
4 - Brand New Start
5 - Jenny
6 - Guardian Angel *
7 - The End Of The Day
8 - Lift Me Up
9 - Daydreaming
10 - Business
11 - Waiting For Dawn (Lullaby)

Ben Venet: Lead & Backing Vocals, Guitar
Bruno Levesque: Guitars, Keyboards, Bass, Drums
Tommy Denander: add. Guitar, Keyboards
Mark Spiro: Songwriting* on 6



SILENCE - City Nights (2012)

SILENCE - City Nights (2012)


French musician Bruno Levesque is not much known outside Melodic Rock / AOR music circles, but he has been working in his project / band SILENCE since the late nineties.
It started as an instrumental affair (2 CD's), but during the last decade Levesque has delivered a very good triad of full-band albums.

Now, Silence is ready to release not 1, but 2 albums simultaneously; "City Nights" and "City Days".
While Levesque had been recording with a variety of vocalists in the previous discs, a new chapter opened with the arrival of Benjamin Venet (from the Belgian band Jayhawkers) in 2008's last album 'Open Road'.
Now firmly established as stable member in Silence, Venet has noticeably evolved on this new recording. Not only did he co-write most the songs on offer, he performs them with an enviable ease and freshness.
His vocals range from a sweet timbre to a slightly raspy tone resembling a young Jon Bon Jovi, which perfectly fit Levesque's sonic universe. The chemistry between them jumps to the speakers and sparks on every song, on both CD's.
"City Nights" comprises the most rockin' tracks of the new material, while "City Days" (which will be presented here on these pages soon) waters on a more melodic and light stuff.

"City Nights" rocks, but in the melodic sense of the word. This a pure Melodic Rock album, with a sound and style that reminds you the best Stage Dolls, Strangeways and why not, the melodious late eighties Bon Jovi.
Opener "Drifting Away" is a lovely sweet melodic rocker with a great guitar riff, an effective dubbed octave vocalization during the verses and a chorus to die for. Add to this a fantastic and tuneful guitar solo and you have one of the songs of the year. Awesome track!
Next, "Ghosts" really surprises me. I've been following Silence's discography since the beginning, and this track visits a new territory for this fine band. The song is a marching rockin' tune with a modern approach, with electronics and hi-techie mix, much in the way of recent Stage Dolls or Swedes' Aquila.

I am a sucker for songs as follower "Taste Of The Past", a smooth, adorable midtempo AOR tune not heard since the best years of Strangeways. Love it.
High quality melodies continue on the keyboard drenched "Crashing Down", the Terra Nova-like "Memory Of Blue Eyes" and the breathtaking waves of "Promised Land".
"Someday" is a perfect breezy poppy semi-ballad with carefully crafted vocal parts and pristine guitars. Venet sounds particularly great here. What a great song.
And there's more. The uptempo "Insomnia" rocks with a sensational atmosphere and clever guitars, a track with an inventive structure and electronics (the good ones) which adds even more distinctiveness to this, at this point, superb Melodic Rock album.
The rest of the songs display high doses of quality as well. The modern day Bon Jovi-like ballad "Promised Land" sounds thousands better and emotive than anything released by the New Jersey's recently.
The melodic rocker "Just One Kiss" - composed by Frédéric Slama (AOR project) - carries a contagious chorus, "Out Of The Dream" has a 'Swedish' melodic line in the vein of the good Bad Habit, while the lights in the air acoustic ballad "(Goodbye To) The Good Old Days" ends the CD complete with strings, pianos and clean electric guitars.

I think it's enough.
I am completely in love with "City Nights", one of the most organic, sweet, harmonic, pure Melodic Rock albums in many, many years.
With this album, Silence has marked a clear difference with rest of bands in this genre: Emotion. All the songs on "City Nights" will lodge in you blue collar Melodic Rock heart, meticulously arranged and handmade produced with love.
Great songs, great musical melodies, great vocal harmonies: all are here.
I'm sold.
Highly, Highly Recommended.

You've seen it first here, at zerodayrock

01 - Drifting Away
02 - Ghosts
03 - Taste Of The Past
04 - Crashing Down
05 - Memory Of Blue Eyes
06 - Someday
07 - Insomnia
08 - Promised Land
09 - Just One Kiss *
10 - Out Of The Dream
11 - (Goodbye To) The Good Old Days

Ben Venet: Lead & Backing Vocals, Guitar
Bruno Levesque: Guitars, Keyboards, Bass, Drums
Tommy Denander: add. Guitar, Keyboards
Frédéric Slama (AOR): Songwriting* on 9



RPWL - Beyond Man And Time (2012)

RPWL - Beyond Man And Time (2012)


In spite of their less-than-catchy name, Germans RPWL have been one of the most impressive and underrated modern prog bands out there in recent years.
Not only have RPWL often refuted that they are a 'Progressive Rock' act, but a few years back they actually went as far as to record the wonderfully tongue in cheek track 'This Is Not A Prog Song' to emphasize the point, albeit in a none to serious manner.
However with their new studio effort (the fifth), "Beyond Man And Time", RPWL have finally taken the plunge and recorded a concept album, with lengthy musical meanderings and beautiful soundscapes with classy melodies.

So let's get one thing straight right from the off. This is Prog. Admittedly Prog with a strong fixation on melody and more readily accessible than much caught under this genre umbrella, but it is Prog and no doubt about it.
More importantly than any genre tagging triviality, RPWL have slowly built a reputation as an act capable of writing beguiling, slightly melancholic songs that contain the unmistakable, understated vocals of Yogi Lang, the singing guitar work of Kalle Wallner, punchy drumming from Marc Turiaux and sumptuous keyboard swathes courtesy of Markus Jehle.

The concept behind "Beyond Man And Time" is one loosely based on Nietzsche's opus magnum 'Thus Spoke Zarathustra', which includes the line '6,000 feet beyond man and time'. The main protagonist of that book takes a lengthy journey which allows him to meet numerous characters who give an insight into ways of thinking.
Musically the album finds RPWL expanding upon the themes and ideas which have served them so well throughout their releases, with atmospheric passages fighting for supremacy with more focused and song based sections that allow easy accessibility to the songs.
Almost always compared to Pink Floyd, this new album still finds those latter day Gilmour era trademarks strongly in effect (mainly through the guitar tone and the way the notes are held for lengthy periods of time), as are references towards Hogarth era Marillion and some Genesis.
However in truth after four ever improving albums, RPWL have created a sound identifiable as their own and with "Beyond Man And Time", they have also hit their stride in quite remarkable fashion.

The album opens with the track "Transformed", a short instrumental with mysterious keyboard sounds, percussion and some Indian sitar, followed by the strongly Genesis - Peter Gabriel inflected "We Are What We Are".
Both tracks illustrates perfectly why this band is so irresistible. The slow, atmospherically sparse arrangement builds into a synth, vocal and clicking percussion motif, before a jagged guitar and bass line kick in. However the burst of melodic light that cascades from the speakers for what forms a loose chorus is a simply glorious and masterfully handled release of pressure.
"Unchain The Mind" begins life in a similar manner, but with more of leaning towards latter day Marillion. Subtle keyboard layers soothe as a steely guitar line adds an air of foreboding.
Add to that the introspective chugalong of "The Shadow", the Rush and Genesis-isms of "The Ugliest Man In The World" and the sprawling and fittingly epic sixteen minutes of "The Fisherman", and RPWL really have created an album of an incredible depth.

"Beyond Man And Time" is a fascinating prog album full of refinements.
You can hear many influences, but the melodies and songwriting are strong enough to make RPWL stand out on their own as a distinct band and sound.
It is great to hear a band in prog that can pull off memorable, beautiful melodies in their music while staying true to the ambitious nine minute format. Although Floydian guitars and Yogi Lang's warm, mellow vocals are the staple for RPWL's style, there is a thick electronic presence here that gives the music an interesting complimentary layer for the excellent production.
"Beyond Man And Time" is brimful of atmospheric and melodic moments, straight compositions, smooth vocals, playful keys and guitar - finally I won't miss to mention the very solid rhythm branch.
This is arguably RPWL's best album to date - and so far one of the best in Prog this year - a near masterpiece that showcases their brooding, modern sound, with intelligent songwriting and captivating classic melodies.

1. Transformed
2. We Are What We Are [The Keeper]
3. Beyond Man And Time [The Blind]
4. Unchain The Earth [The Scientist]
5. The Ugliest Man In The World [The Ugly]
6. The Road Of Creation [The Creator]
7. Somewhere In Between [The Dream Of Saying Yes]
8. The Shadow
9. The Wise In The Desert
10. The Fisherman
11. The Noon [The Eternal Moment Of Return]

- Yogi Lang / vocals, keyboards
- Kalle Wallner / guitars
- Markus Jehle / keyboards
- Werner Taus / bass
- Marc Turiaux / drums

RPWL - Beyond Man And Time (2012) back



DEE SNIDER - Cabaret / I Get A Kick Out Of You (2012)

DEE SNIDER - Cabaret   I Get A Kick Out Of You (2012)


DEE SNIDER, the unmistakable front-man of Twisted Sister, will release his new solo CD 'Dee Does Broadway' on May 8th.
The album features Dee's powerful voice and theatrical persona as he exudes his rock 'n' roll take on several Broadway musical classics, such as Chicago, Cabaret, Priscilla Queen of the Desert, Anything Goes and Sweeney Todd.

The album one-plus years in the making enlisted producers Bob Kulick and Brett Chassen (whom Dee worked with on the metalized Frank Sinatra tribute called Sin-atra) and also features orchestrations and playing by the renowned Broadway composer/arranger Doug Katsaros and the bass playing of one of rock's prolific players, the legendary Rudy Sarzo.
Also, several special guest stars, including Broadway and television icon Bebe Neuwirth, Cyndi Lauper, Clay Aiken of American Idol and Dee's oldest son Jesse Blaze Snider among others.

Dee Snider: "I'm taking Broadway show tunes and I'm making them rock. It's sort of a 'Twisted Christmas' taken to Broadway. But there are some pretty metallic moments there, with fat bass, drums, electric guitars".

The advanced single is a cover of "Cabaret" main song.
Dee definitely has the pipes for this song. He can belt it better than I thought he would be able to. The problem is... this isn't a tune composed to be 'metalized'. Dee adds some sax and brass to make it flowing but the electric instruments, specially the guitar, sounds weird to my ears here.
However, on the other song leaked, "I Get a Kick Out of You" written by Cole Porter in 1934 (yes) for the Broadway musical Anything Goes (and the movie of the same name) works much better. The orchestrations added to the mix somehow glue with the pounding rhythm section and guitar solos, while Snider's vocal part reminds me his earlier '80s work with Twisted Sister.

Check them and decide yourself...

01 - Cabaret (3:54)
02 - I Get A Kick Out Of You (4:18)



MURDER BAY - Never Was An Angel (2012)

MURDER BAY - Never Was An Angel (2012)


For the last two decades, the San Francisco based band MURDER BAY demos circulated hungrily amongst Melodic Hard Rock collectors.
Praised as being one of best acts from the crowded unsigned '80s rock era, and after a seemingly endless wait, Murder Bay's long lost recordings are finally delivered to us on CD as "Never Was An Angel".

The Murder Bay songs were recorded in 1990 and magazine's such as Metal Edge took notice and the Bay's were included in the 'Bands On The Rise' section. Within a few short months, the band would be showcasing for one of the major labels. The changes the label demanded of the band during negotiations didn't sit well and Murder Bay turned down the offer. And soon the grunge arrived...
The high praise for Murder Bay was in fact warranted, as drummer John Link eventually teamed up with Cry Wolf and the band themselves managed to secure the production talents of Eric Valentine (who is working on the current Slash album) and Rob Beaton (Guns 'N Roses) on seven tracks here, before each garnered success in their own right.
So it's obvious that many people saw the potential in these San Francisco rockers -- and now we music fans can experience it as well.

This is polished melodic hard rock at its best, with soaring vocals, cool driving riffs and melodic hooks, all there coinciding with a punchy rhythm section that brings flashes of the good old '80s days.
Opening the disc with "Land Of Plenty" is a stroke of genius as this full-throttle rocker sets the tone of the album with one of Murder Bay's best tracks -- the song represents everything that made the '80s hard rock scene so memorable... heavy grooves, an infectious chorus and lightning-fast guitar leads.
Thankfully, as Murder Bay go on to prove during this release, they aren't a one trick pony.
For instance, "Outta Line" is straight out of the Danger Danger playbook, the title track is a moody slab of rock ala Exteme that explores several tempo changes, while "Long Time Comin`" drives hard rock attitudes straight into your spine.

The sex groove of "Ultraglide" reminds you of days when the Electric Boys used to be dirty and catchy, the guys bring things up a notch on "What’s Good For You" with a quality melodic chorus and tight guitars once more, and "Keep Me In Mind" delivers great hard grooves complete with cowbell.
When they decide to slow it down, they go all blues rock on us and provide the brilliant track "Simple Man". White Lion's Mike Tramp can only wish he could write a blues ballad as heartfelt.
The last tune "Song?" is a terrific Van Halen style riff fest with a cool little rhythm, awesome drumming and killer guitar solos.

Murder Bay had it all: great songs, superb musicianship and a clear focus in how a band in this genre should sound.
"Never Was An Angel" proves that Murder Bay was one of the most professional but never signed bands of the '80s hard rock / hair movement.
Their music here is catchy and groovy, with hints of Warrant, White Lion, Van Halen and Extreme, and the quality on many of the songs are on par with the biggest hits of the aforementioned acts. The production is remarkable, with crispy harmonics and powerful output.
"Never Was An Angel" has an excellent packaging as well, with very good artwork and an extensive booklet full of photos and liner notes.
If you fancy the real deal and the great sound of the late '80s / early '90s, have a go at Murder Bay as they're truly good at what they do: timeless hard rock music that will never die.

01 - Land Of Plenty
02 - Honey Child
03 - Outta Line
04 - Ultraglide
05 - Simple Man
06 - Dirty Work
07 - Never Was An Angel
08 - What's Good For You
09 - Long Time Comin'
10 - Keep Me In Mind
11 - Got No Business
12 - Around Again
13 - Song?

Paul Trombetta - vocals
Michael Karafilis - guitar and vocals
Bobby Reid - bass and vocals
John Link - drums and vocals

MURDER BAY - Never Was An Angel (2012) back



HOLLYWOOD BURNOUTS - Excess All Areas (2012)

HOLLYWOOD BURNOUTS - Excess All Areas (2012)


Last year Germany’s HOLLYWOOD BURNOUTS made a fine first impression with the release of their self-titled 4 track EP, and now they're ready for the full length debut "Excess All Areas".

The band’s mission is to bring back the excitement of '80s rock music in both sound and vision and to achieve their goal they’ve armed themselves with a bunch of straight-forward hard rock songs and plenty of leather, eyeliner and big hairs.
Music of this ilk is best experienced in live situation where you can pump your fist and shout along to the songs and that’s probably why Hollywood Burnouts have chosen to keep things simple with little or no overdubs and easy to remember lyrics and song structures. And that works just fine for me.

“Hands Of Rock” kicks things of in just the right way and is the perfect choice as opening tune. An invitation to come join the party which I accepted with both hands. Musically and lyrically it’s a mix of both Crüe and Kiss in the mid eighties.
“Tonight” is one of the 2 tracks from the aforementioned EP that have made it onto the new CD. This is a melodic anthem in the vein of Swedes' Reckless Love, with a contagious chorus and good guitars. The other track “Gimme, Gimme, Gimme” is a groovy, dirty rocker.
“Wild Side” is Hollywood Burnouts at their most heavy sounding not unlike Sweden’s Hardcore Superstar with a touch of Crashdiët. A hook-filled full-on rocker with a pounding rhythm and scorching duel guitar work. A definite first highlight of the album.

Up next is something quite different with “A Part Of My Heart” as it features just acoustic guitar, piano, mouth harp and some emotion filled vocals of mister Nazzty.
On “I Wanna Ride” the band express their love for riding the 'iron horse of chrome' very much like Poison did on 'Ride The Wind'. A good semi-midtempo rocker with a killer solo stuck in the middle and the second track that deserves an extra mention.
Up next is “Kings Of Sin” that nicely blends elements of Poison and Kiss which is followed by the hard rocker “8 Lives Gone” and the fairy tale “Fake Baby”, that while not being downright bad tunes fail to make an impression.
“Wild At Heart” picks up the tempo a bit and has a some of the blues running through it. The nice acoustic ballad “Remember Me” brings the album to a close but not untill you have first exposed your hearing to a tune that will no doubt work superbly in a live situation, the infectious “Everybody Needs A Hero”.

"Excess All Areas" is an earpleasing hard rock album with simple but mostly instantly enjoyable tunes.
Clearly Hollywood Burnouts are influenced by '80s American acts like Motley, Kiss, Guns, Black 'N' Blue and alikes. The feel of their music is pretty consistent with the imagery of the band; all here smells eighties by miles away… the music, the song titles and the way they are dressed up.
As players they're effective and the vocals fit this style really well, all helped by a solid production. However, they need to improve the 'hook' factor.
There is still some fine tuning to be done here and there by Hollywood Burnouts, but keeping in mind that this still a young act and that they will no doubt get better and better with each gig they play, they are worth keeping your eye on.

01 - Hands Of Rock
02 - Tonight
03 - Wild Side
04 - A Part Of My Heart
05 - Gimme, Gimme, Gimme
06 - I Wanna Ride
07 - Kings Of Sin
08 - 8 Lives Gone
09 - Fake Baby
10 - Wild At Heart
11 - Everybody Needs A Hero
12 - Remember Me

HOLLYWOOD BURNOUTS - Excess All Areas (2012) back tray

Mike Nazzty - lead & backing vocals, guitar
Chrizzy Roxx - guitar, backing vocals
Vito Crash - bass, backing vocals
Nikki Sin - drums, backing vocals



RATTLESHAKE - Rattleshake (2012)

RATTLESHAKE - Rattleshake (2012)


RATTLESHAKE was a San Fransisco Bay Area band with their eyes on the hair metal prize that emerged on the scene when unfortunately it was too late for any band with some kind of showmanship to make an impact, and suffered the Wrath of Seattle.

In 1989, they got into the Bay View Studios, Richmond, to record part of their material, produced by Rob Beaton (Guns 'N Roses, Sammy Hagar, Santana). But all these takes remained unreleased until now.
"Rattleshake" includes seven straight '80s melodic hard rock tunes with big, gang styled backing vocals, the right amount of hooks, a rhythmic back bone that pushes the band express forward, and some serious axe slinging from the duo of Freseman and Longo. Singer Don McBee has a raspy style sounding not unlike a mix between Jeff Keith (Tesla), Drew Hannah (Wildside) and Steven DeLong (Sweet FA).

So expect to hear in "Rattleshake" the classic elements and sound of the late eighties, very well composed, performed and produced.
"Shootin’ Whiskey" leads the album and is a steroid fueled, high octane hard rockin' party tune complete with cowbell. They remind me the greats Roxy Blue here.
Up next are the Tesla flavoured "Gypsy Queen" featuring addictive choruses, while on "Take Me Down" a bluesy swagger presents itself and leads the guys into Great White territory.
"Mudbone Delight" continues on the bluesy trail but only as foundation, as sonically is a whiskey soaked rocker with acoustics ala Cinderella. One of the best tracks on the CD.
The band crank it up a little more with the seductive and bouncy "Jump On Me" before settling into the laid back atmosphere of the ballad "Never Say Goodbye" that ticks all the boxes of what a great '80s styled love song should have.
The fun "Rattleshake Boogie" closes the whole affair down with a catchy rhythm and a guitar festival.

Unlike many of their colleagues, the guys in Rattleshake remain modest about their travels on the rock ’n roll path to fame & glory, admitting that the band never came close to making it into the big league.
But if they had been given the chance to spread their music to a wider audience back in the day I’m sure many of you would gladly haver parted with your hard earned cash to purchase a copy of this CD.
And if you’re reading this there is no reason why you shouldn’t do the exact same thing now that it’s out after more than 20 years.
Enjoyable collection of songs and fine representative of that history.

01 - Shootin' Whiskey
02 - Gypsy Queen
03 - Take Me Down
04 - Mudbone Delight
05 - Jump On Me
06 - Never Say Goodbye
07 - Rattleshake Boogie

Don McBee: Lead Vocals
Mark Freseman: Guitar & Backing Vocals
Ralph Longo: Guitar & Backing Vocals
Bryan Lujan: Bass & Backing Vocals
Steve Fletcher: Drums & Vocals



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