Frontiers

Album of the year? REVIEW: Harem Scarem – Chasing Euphoria (2025 2 CD/DVD)

HAREM SCAREM – Chasing Euphoria (2025 Frontiers 2 CD/DVD)

In 2025 we have seen spectacular new releases from The Darkness and Ghost, but have Harem Scarem topped them all?  Chasing Euphoria could be the album of the year.

Harry Hess (vocals), Pete Lesperance (guitar/bass), Darren Smith (backing & lead vocals), and Creighton Doane (drums) have created a magnificent hard rock masterpiece in Chasing Euphoria, an album that sounds like a brother record to Mood Swings.  A record we’ve been waiting for, for a long time.  The logo and cover art match the Mood Swings era.

While it is a disappointment that Darren doesn’t play any drums on the album, you can’t really tell.  (Bassist Mike Vassos is pictured in the booklet but does not appear on the album, while drummer Creighton Doane plays drums on every song but isn’t depicted inside.)  Joining the band are ex-Honeymoon Suite keyboardist Ray Coburn, and Coney Hatch bassist Andy Curran (on “Better Than the Devil You Know”).  The ten new songs here are among the best written by this band.  The Japanese release includes four bonus acoustic renderings, plus a DVD with two music videos and an exclusive “Making Of” video.  The album was, as usual, self produced by Harry and Pete.

One of Harem Scarem’s trademark sounds is the blend of Harry Hess’ vocals, layered in with Darren and the band.  The opening title track is thick with that sound on the impactful chorus.  Like classic Harem, this one boasts dark but still uplifting melodies with powerful hard rock.  Importantly, Pete’s guitar tone is right in the pocket of what we loved about him back in 1993.  His solo here could have fit on Mood Swings without a blink.

The upbeat “Better Than the Devil You Know” is a brighter song, with softer verses and a regal chorus.  It brings warm feelings and nostalgia of happy days.  Pete’s solo on this song is lyrical and dexterous.  “Better the devil you know, than you angel you see,” advises Harry Hess.

Chunkier riffing characterizes the speedy “Slow Down”, but what I really like about it is the way Pete goes from rhythm guitar to tricky fills, seamlessly.  This rocker is an album highlight, on a record filled with nothing but.  The chorus is surprising when it hits, and catchy as the flu.  Pete’s solo is an album highlight.

Darren Smith makes his only lead vocal on “Gotta Keep Your Head Up”, a mid-tempo groove with impact.  Darren’s voice is a bit raspier than Harry’s, but they blend so well on the choruses.  This is one of those inspirational rock songs about not giving up or backing down.  The subtle backing keyboards really add texture.  Another winner.

The first ballad of the album is “World On Fire”, which would be the side one closer in a vinyl world.  This is a sentimental song very much like early Harem Scarem, possibly fitting best into the Voice of Reason era (1995).  In a near-perfect album, this song ranks near the bottom, which isn’t really a bad thing on an album like this.  The layers of backing vocals plus Pete’s solo adds some meat to the bones.

“In A Bad Way” returns the chunky Pete rhythm guitar to the forefront.  The roaring chorus of “I’m in need of your love in a bad way,” is the song highlight.  Pete’s solo is a little different, and a lot cool.

Softer is “Reliving History”, but it’s not a ballad.  Even when Harem Scarem write a song that is a little more laid back, they manage to inject it with power.  This is a Leppard-like song circa Adrenalize.

The heaviest song is “A Falling Knife”, a fast rocker with Harry giving it all vocally, sometimes breaking into a hoarse rasp, but without ever losing control.  This is probably the only song that has a late-90s Harem Scarem vibe.  It could fit on albums like Karma Cleansing or Big Bang Theory as well as this one.  The lush backing vocals are a Harem Scarem trademark and the backing organ thickens the soup.

“Understand It All” dials the heaviness back a tad, and compensates with great verses and an absolutely killer chorus, dense with those Harem Scarem vocals.  Pete’s guitars balance the rhythm parts with catchy fills in a tasty way, and his solo is killer as ever.

It’s all over before you know it.  “Wasted Years” is the highspeed closer, an album highlight and an absolute smoker.  It has the tension and the melodic power that classic Harem Scarem has always embodied.  One of the best tracks, in an album with nothing but “best tracks”.

It’s all over before you know it, but Harem Scarem always give the Japanese releases a little extra.  This release comes with four stripped back acoustic versions:  “Better Than the Devil You Know”, “Slow Burn”, “In A Bad Way” and “Reliving History”.  It has been said that if you want to know if you wrote a good song, play it acoustically and see.  All these songs pass the acoustic test, though the album versions will remain the mainstays.  These acoustic tracks are a nice coda.  They give you a little extra, without compromising quality by including filler songs.  It’s like a comedown after a wild ride, though Pete’s acoustic solos sure have spark.

The Japanese album also includes a brief DVD with videos for “Chasing Euphoria” and “Better The Devil You Know”.  In an interesting twist, Darren Smith mimes the drums in these videos, even though Creighton Doane played them.  Mike Vassos does appear on bass in these videos.  There is also a “Making Of” feature that you will probably watch once.  It’s nice to get these bonuses, but how often will you pop in this DVD?  Rarely, because you need a multi-region player to see it.

Harem Scarem have made a lot of great albums over the years, that have been forgotten and swept under the carpet.  This one deserves a better fate than that.

5/5 stars.  Best album by Harem Scarem in a long time.

REVIEW: Mr. Big – Ten (2024 Canadian CD version)

MR. BIG – Ten (2024 Frontiers)

Pat Torpey was such an important part of Mr. Big.  Drumming, singing, writing: Pat did it all, and that’s why Mr. Big have found him so difficult to replace.  His death from Parkinson’s disease was shattering to the band.  They carried on with Matt Starr for a while, but they needed someone who could sing.  Enter:  Nick D’Virgilio from Spock’s Beard.  Not just a legendary progressive rock drummer, but also a singer in his own right, Nick was an unexpected but appropriate choice for Mr. Big to record their final (?) album Ten.

Though some fans seem unwilling to allow bands to age and change, Mr. Big has done so without missing a beat.  Sure, Eric Martin doesn’t sound 28 years old anymore (because he’s 63), but there is nothing wrong with his voice here.  Just a little rasp, and a little less range.  He has aged better than most 63 year olds you can name in the rock biz.  He is still top notch, first class, and also a key songwriter here, along with Paul Gilbert and Andre Pessis.  Absent from the credits is Billy Sheehan.  That might explain why this album is less bass-y.  Even so, in 2024 Mr. Big have come up with one of their best albums, up there with Hey Man.

The Gilbert-penned first track “Good Luck Trying” has a definite “Manic Depression” vibe.  It’s a blues-rock classic, authentically rocking as if it came from another decade.  It’s like a time machine, and the Hendrix inspiration is undeniable.  A solid start.

Much like Hey Man and “Take Cover”, the best track is the second one.  “I Am You” will be in your head for days.  There’s a subtle acoustic guitar part, which is something of a recurring feature on this album.  “I Am You” boasts a powerful chorus, but with an anthemic meloncholy vibe.  Too bad a lyric sheet is not included, as this one has cool soul-baring words.  Everything about this song is perfect, from impassioned vocals to mighty chorus.  Sometimes it’s worth buying an album for one song.  This is one of those songs, no hyperbole.  It’s just a little different for this band, but it’s also a total pop rock anthem, and one of best Big songs in years.

We get a Zeppelin vibe on “Right Outta Here”, with bluesy verses and exotic choruses.  Anytime you hear chords that we might refer to as “exotic”, Zeppelin comes to mind.  Expect those Middle Eastern melodies on the guitar, and more acoustic backing.  Nick doesn’t necessarily play like John Bonham, but there are the odd big hits that recall him.

In a fun twist, “Sunday Morning Kinda Girl” contains the lyric “big finish”, the name of their current tour.  This song has a hard rock vibe mixed with 60s melodic sensibility.  Definite Beatles vibes in the melodies, though the song is far harder than the Fab Four.  Their green-tinted sixties minds must have been in tune for this song.  Again, acoustic guitars can be heard in the background, but check out Paul’s very Queen-like guitar solo.

There are a few ballads on Ten.  Ballads have been a thing with Mr. Big since the first album, but obviously “To Be With You” made them far more important.  “Who We Are” is an electric ballad, with a bluesy style.  Not as memorable as some past Big ballads, but a good song regardless.  Great chorus here, and superb drum fills.

“As Good As It Gets” is uptempo acoustic/electric fun.  Like “I Am You”, very different for this band and an easy album highlight.  Once again, the drum work and fills here are stunning.  It’s almost Rush-like.  Paul brings in a very sweet guitar melody, with layers of guitar tracks thickening up the soup.  This song also has one of the few Billy Sheehan bass solos on the album.

The boogie of “What Were You Thinking” has some wicked slide guitar by Paul Gilbert, housed within an uptempo rocker.  Maybe the fastest tune on the album, but it’s not to be compared to old Big like “Addicted to that Rush”.  This is just rock and roll.  The lyrics reference Star Trek with “phasers on stun”, and you just have to love that.  Another possible album highlight.

If there is a weak link, it’s “Courageous”.  It’s a mid-tempo song, but not a ballad.  It has some wonderful guitar, but doesn’t move the Earth.  What does shake the Earth is the opening drum beat on “Up On You”.  A hard rock party rocker, this features the return of the slide!  Just because it’s a hard rock song with slide guitar, there is a slight Motley vibe (circa Dr. Feelgood), but only slight.  Some boogie piano also helps keep things moving, but this is the most 80s rocker on the album.

Closing an album (sort of) with another ballad is daring.  Yet “The Frame” is the softest of them, and a totally appropriate closer.  It’s not “To Be With You”; there is no campfire rock on this album.  There is plenty of music with an emotional weight, and “The Frame” has that and more.  It takes a few listens to sink in, but it’s not really goodbye.  There is a bonus track on all versions of the album.

Some countries got an instrumental track (to be reviewed later), but the bonus track in Canada is different from the one in the US and Japan.  Here we get a blues cover, “8 Days on the Road”.  Easily another album highlight, with someone else (Paul Gilbert?) singing lead on a bluesy drawl.  Brilliant track and playing.  Talk about going out with a bang!  If this really is the end, then “8 Days on the Road” is a brilliant capstone.  It showcases the kind of playing that Mr. Big built their reputation on.

Though Mr. Big albums have been spotty through their career, Ten is among the better records.  It may go down with albums such as Hey Man as a cult classic.

4.5/5 stars

 

Tim’s Vinyl Confessions: Ep. 548: Mr. Big (Ten review) [VIDEO]

Today on Tim’s Vinyl Confessions, we deep dive into the new (final?) Mr. Big album called Ten.  Shockingly, it’s their tenth studio album.  I know, right?  It’s also a few firsts:  the first album with no songwriting from bassist Billy Sheehan, and debut Mr. Big album for new drummer Nick D’Virgilio.  It has been eight long years since their last album, Defying Gravity, which wasn’t bad at all.  Did they top it?  Did they go out on a good note?

My written review will go up tomorrow.

REVIEW: The Defiants – Drive (2023)

THE DEFIANTS – Drive (2023 Frontiers)

Like a top-fuel funnycar, Paul Laine, Bruno Ravel and Rob Marcello made a stunning comeback in 2023 with The Defiants’ new album Drive.  They had a lot to live up to, after the luminous Zokusho in 2019.  Could they come up with another batch of songs, just as strong?  In short, yes.  In long, read on.

Right from the get-go, opener “Hey Life” is a wrecking ball.  Van Romaine on drums absolutely slays this song with ease.  In the first few seconds, you’re hammered by Priest-y riff and blistering guitar fretwork.  “Hey Life” isn’t all flash; it boasts strong melodies and an adrenalized performance by the Defiants.  “Hey life! Get out of my way tonight!” blasts Paul Laine at maximum lung power.  He remains one of the best in the business.

With some anthemic “woah-ohs!”, the second number “Go Big Or Go Home” does exactly what it says on the label.  “Gonna rock this town like we already own it!”  There’s a simple but very effective guitar riff backing this melodic stomper.  Thinking about it, the difference between the Defiants and all the bands that try to do what they do with traditional melodic rock, can’t touch their songs, and a big reason is the strength of the Defiants in writing structurally sound guitar parts.  Every lick, every crunch, every single note needs to be exactly where it is and how it is.  “Go Big Or Go Home” is a prime example.

Now, if I were a card player, I’d gamble that “19 Summertime” would be a hard rock anthem for the sunniest of seasons.  I would be correct.  There are some tasty 80s keyboard highlights behind that staccato guitar part.  Sounds like a vintage lost Europe song from somewhere between Out Of This World and The Final Countdown.  Therefore, we can pinpoint “19 Summertime” to the summer of 1987.  Then, “What Are You Waiting For” has the same teenage panache that Bon Jovi made his mint with back at the same time.  It’s another awesome, good time anthem that transports you back in rock history.

“Miracle” is the first ballad, and it’s a nice one at that.  It’s not a softy, but fully armed with guitars and keys.  It sounds a lot like Adrenalize era Def Leppard.  Things switch around on a scorcher called “Against the Grain” that has a Bon Jovi vibe via the Crush album, but way harder edged.  Lots of opportunities to pump fists here.  The tough chorus sounds great in the car.  “Against the grain, they say left we go right, someday you gotta realize, it’s the way you gotta live your life.”  Another solid track called “So Good” slows things down to a nocturnal prowl, while retaining all the anthemic melodic qualities.  There’s some shimmery guitar fretwork here and a cool organ backing.

A completely different feel enters the scene on “Love Doesn’t Live Here Anymore”.  A light guitar picking brings in what starts as a softer opening, until the chorus pounds the power once again.  This song is a triumph of songwriting perfection.  The guitar solo here is also a remarkable performance unto itself.  It sounds like a hit from decades past, but also much more than just that.

Another dusky number, “Another Time, Another Place” has a driving beat and understated power.  “The Night To Remember” then turns up the heat!  This is the kind of song that Def Leppard should be writing today, but seems to have forgotten how.  There are many highlights on this album, and they seem to be clustered at the start and end of this album!  “The Night To Remember” is top notch.

Going back to the “don’t get in my way” theme of the album opener, the closer bookends it with “Nothing’s Gonna Stop Me Now”.  It’s a tough little chunky number that kind of sounds like you’ve known it all your life.  The guitar blitzes on this one are exemplary and serves to help close the album on a suitably dramatic note.  Drive has a feeling of a journey, coming back home at the end to the place you began.

Released at the right time in history, Drive would have been a multi-platinum smash remembered in the same breath as Hysteria and Slippery When Wet.  “Another Time, Another Place” indeed.  Truth.

5/5 stars

Unboxing and Admiring the new JOURNEY – FRONTIERS 40th Anniversary Vinyl

REVIEW: The Defiants – Zokusho (2019)

THE DEFIANTS – Zokusho (2019 Frontiers)

The Defiants:  Paul Laine, Bruno Ravel and Rob Marcello.  Call ’em what you like.  A side project of Danger Danger, a power-pop trio, whatever you want.  There’s nothing wrong with any of that.  Just be sure to listen, because in 2019’s Zokusho, the Defiants created one of the best albums of the year.  It is an intensely catchy, varied, well-executed album that sticks to the brain like peanut butter.  The production is slick and pounding.

“Love is the Killer” opens the album in grand fashion.  It’s a big dramatic pop rock song with modern production, but hooks rooted in 80s classic rock.  Huge chorus, which Paul Laine gets to wrap his able pipes around with ease.  A ripping solo takes a little extra time, proving this isn’t simply a pop band, but one of talented players doing what they want.  And even though “Love is the Killer” is a fine opener, it’s not even close to best track on the album.

Heavy mid-tempo “Standing on the Edge” cranks up the tension.  The chorus absolutely kills — unforgettable.  Until this point though, the album’s edges were dark-tinged.  “Hollywood in Headlights” is the first celebratory rock song, perfect for the summer cruising season.  There’s a nice crunchy guitar riff that goes with it.  A catchy, perfectly written rock classic.  But like a sequel, “Fallin’ For You” continues the good time vibes where they left off.  Unlike a sequel, it’s just as good if not better.  It’s faster and even more upbeat, with irresistible singalong vocals, and a stunning solo.

A Def Leppard vibe inhabits “Hold On Tonight”, with that kind of picked Phil Collen guitar hook.  A power ballad with plenty of power indeed.  Leppard’s “Stand Up” but cranked up?  Something like that at least.  But that’s it for sentimentality for the moment.  “Allnighter” is a party rock pounder.  Definitely something of a rallying cry for those about to hit the town.  Still with the hooks though.  I don’t think Paul Laine knows how to write a song without hooks.

“U X’d My Heart” is not the finest song title ever composed (it means “You Crossed My Heart”), but the classy ballad defies its title.  Delicate picking followed by crunching guitars create a vital sounding rock ballad.  It’s quickly followed by “It Goes Fast”, with progressive vibes & keys guiding the way to outer space.  Another killer song.

Track nine, “Stay”, goes upbeat again, fast and overflowing with catchy components.  There’s a sudden key change towards the end that’s a little jarring but that’s the worst thing I can say about it.  Following that is a spacey, Journey-like tune intro to a tune called “Alive”.  Once more the hooks are front and center, as the guitar goes Holidays in Eden-era Marillion.  That’s before it explodes in a massive chorus.

The final track is “Drink Up!” and it’s obviously the party rock closer, with just a hint of country twang via Laine.  Pure fun and nothing more.  Nothing wrong with that.

If you like melodic hard rock with punch and plenty of production, the Defiants deliver.  Get some Sokusho.

5/5 stars

 

REVIEW: Dennis DeYoung – 26 East Vol 1 (2020)

DENNIS DeYOUNG – 26 East Vol 1 (2020 Frontiers)

It wasn’t that long ago that Styx re-emerged with their best new album in decades.  Now their original singer Dennis DeYoung has done the same on his own.  They say 26 East (to be released in two separate volumes) is to be his retirement album.  If so, Dennis has gone out on an exceptionally high note.

It’s clear from this release that DeYoung is reclaiming his throne. The final track “2020 A.D.” is a essentially another part of Styx’s “A.D. 1928”, a cornerstone of their progressive monuments.  The three trains on the front cover, with the words “Trade Winds” and the year 1962 refers to the origins of Styx.  The trio is Dennis, Chuck & John Panozza — the founding members.

With 26 East, Dennis has turned up the rock side significantly more, to a vintage Styx-like balance of guitar thrills and concrete keyboards.  His voice has lost very little over the years.  His depth and expressiveness cannot be touched, nor can his sense of melody.  Hooks!  Styx albums were always loaded with hooks.  Dennis has not forgotten how to write them.  Not at all.

The epic tracks contain sentiment, humour, anger and the whole gamut of human emotions.  There are rare political slants to songs like “With All Due Respect”:  “Fake fun, fake facts, hey look new tax!”  DeYoung’s patriotic pride comes out on “The Promise of This Land”, and he incorporates influences from coast to coast.  From church choirs to stage productions, all elements are included.

All the tracks are special, but one of the most chill-inducing is “To the Good Old Days”, a collaboration with Julian Lennon.  And to say the least, it has clear shades of John.  Picking other favourites is more difficult, but it’s hard to ignore the bombast of the opener “East of Midnight”.  For something a little different, “A Kingdom Ablaze” has Floydian guitar twangs that really feed the soul.  “Run For the Roses” is a pure epic Styx high-water mark, which when chased by rocker “Damn the Dream” is only that much sweeter.  “Unbroken” offers upbeat feelings that would have fit in on Styx’s 1990 album Edge of the Century.  There are no weak tracks and nothing to skip.  Dennis and co-writer Jim Peterik have really put together an incredible album worthy of its place in the catalogue.

One of the best albums of 2020 in any genre.

5/5 stars

REVIEW: Whitesnake – Flesh & Blood (2019 deluxe)

WHITESNAKE – Flesh & Blood (2019 Frontiers CD/DVD deluxe edition)

What’s the year again?  You’ll want to check, because David Coverdale just released the best Whitesnake album since the 1980s.  Swollen with fresh song ideas, this ‘Snake has more bite.  Maybe it’s the unleashing of Reb Beach or the new contributions of Joel Hoekstra.  Whatever the cause, Flesh & Blood is sheer nirvana for fans of classic hard rock and technical guitar playing.  The album is evidence that this could be the best lineup David’s had since Steve Vai.  For guitar geeks, there are lead break credits for each song, a-la Judas Priest.

“Good to See You Again” is an ideal opener and you could hear it working that way live.  David then assures you it’s “Gonna Be Alright”, on a slick number with a darker vibe and major hooks — almost more 90s Queensryche than Whitesnake, but with a good time in mind.  “Shut Up & Kiss Me”, the lead single, shows that David isn’t afraid to get sleazy even in his senior years.  It’s good time party rock, expertly delivered.  A clear choice for single.

Going heavy, “Hey You (You Make Me Rock)” grooves like the ‘Snake you remember.  The soloing here will make you wet your pants.  “But it’s not John Sykes!” scream the unbelievers.  Well, check out “Always & Forever” for a hint of that Thin Lizzy regality.  It’ll bring you back to the days of Jailbreak but with David instead of Phillip.  Then comes the first ballad: “When I Think of You (Color Me Blue)”  Reminiscent of “The Deeper the Love”?  There are many who love ballads — more power to ’em!  This is a good one.  Things get greasier on “Trouble is Your Middle Name”.  Pedal to the metal — not sure where David is getting the fuel from, but it’s potent.

Halfway through now, it’s the title track “Flesh & Blood” sounding a lot like Slip of the Tongue era ‘Snake.  Think something like “Slow Poke Music”.  It leads perfectly into “Well I Never”, soulful but dark and heavy.  Amazing stuff.  Another ballad, “Heart of Stone”, brings to mind the glory of Coverdale-Page.  This is heavy stuff for a ballad, loaded with integrity and delivered expertly by the master.  Then it’s the bluesy boogie of “Get Up”, a song clearly designed to get asses shaking, and air guitars a-picking.  One more ballad:  “After All” is pleasantly acoustic, and an
appropriate respite from electric shreddery.

The final song of the main 13 track songlist is an epic:  “Sands of Time”.  David explored Arabic sounds before on “Judgement Day”, and this is another foray into the exotic.  Something about those scales automatically make a song huge in scope.  “Sands of Time” is really impressive, and Reb & Joel compliment it with the perfect solos.

There are two bonus tracks on the deluxe CD.  The first is a callback to early Whitesnake.  “Can’t Do Right for Doing Wrong” sounds like the kind of blues David was playing in the 1970s.  It’s sheer delight hearing him revert to pure bluesy ‘Snake.  Lastly it’s “If I Can’t Have You”, a good if unremarkable song after all this epic madness.

Is that all?  Of course not; David Coverdale is known for giving value to the fans.  There’s a DVD with different mixes and videos too.  This disc sounds huge.  The bass — woah!  First:  “Shut Up & Kiss Me”, the video “classic Jag” version.  Because David is driving the Jaguar from “Here I Go Again”, obviously.  It’s Whitesnake on a small stage, in a club, up close and personal.  Unsurprisingly the “Club Mix” of the same is just the video without the Jag.

Three remixes are presented in hi-res.  “Shut Up & Kiss Me” is the “video mix”; nice to have a clean audio version of that.  To hear the differences will require further investigation (clapping at the end aside).  An impressive “X-tended mix” of “Gonna Be Alright” is pretty cool.  Last is a “radio mix” of “Sands of Time”, which is strangely longer than the album version.  Unusual for a radio mix.  All the remixes are slightly longer.

Japanese customers got one exclusive bonus track, an “Unzipped” mix of “After All”.  It doesn’t have any of the other bonuses.  That CD is in the mail and when it arrives we’ll review it too.

Finally, the DVD contains a 15 minute “behind the scenes” of the making of the album.  David reveals that The Purple Album was intended to be his last.  The passion returned and he followed it.  Sounds like beautiful women are still inspiring to him.  As far as the album goes, you’ll notice the background vocals are quite thick.  David says that all the Whitesnake members…all but Tommy Aldridge anyway…are capable lead vocalists in their own right.  All six band members get their chance to speak.

This is an album you’ll be enjoying all summer.  Dig it.

4.5/5 stars

REVIEW: Quiet Riot – Road Rage (2017 Japanese version)

QUIET RIOT – Road Rage (2017 Frontiers Japanese version)

We’ve always been honest but truthful Quiet Riot fans here at LeBrain HQ.  We’ve been banging our heads for almost 35 years now, and they included some ups and some downs.  The death of Kevin DuBrow was heartbreaking.  Some of our Quiet Riot reviews haven’t been the most popular, but we have always maintained an open mind.  Frankie Banali’s resurrected Quiet Riot with no original members left a bad taste in the mouth, especially after management attempted to re-write the band’s history on Wikipedia.  Pages were edited to indicate that the Metal Health album was Quiet Riot’s debut, seemingly in order to qualify Banali as an original member.  Ugly and undignified; but music talks and bullshit walks.  Quiet Riot’s first post-DuBrow always was 2014’s 10, with Love/Hate singer Jizzy Pearl taking over as the band’s sixth lead singer.  It wasn’t that good and it’s conceivable that the band know it.  No physical edition was ever released, and you can’t even buy a download anymore.

So, it’s delightful to be able to say that the new 2017 Quiet Riot album called Road Rage is…not bad at all!  Actually quite good!

It’s even been rocky since 10.  Jizzy Pearl left amicably, to be replaced by ex-Steven Adler singer Seann Nichols.  They recorded a new album, even released one full song online…and then suddenly Nichols was out!  American Idol alumnus James Durbin was hired in short order, and re-wrote and re-recorded the entire album.

Skeptics, be silent.  Our fair and balanced take on Quiet Riot in the past should speak volumes for the review you are about to read.  It would be far easier to mock Quiet Riot for their choice of a TV show contestant as a frontman, but it would be grossly inaccurate.

Durbin’s youthful enthusiasm will either win you over, or leave you complaining that he’s “not enough like DuBrow” and it “doesn’t sound like Quiet Riot”.  Here’s the truth — that’s good.  We’ve endured one soundalike singer after another.  Durbin has a fresh spin, and there’s little question the guy is just pleased as hell to be fronting this band!  he gives it all on “Can’t Get Enough”, a new uptempo Quiet Riot party tune.  Co-writer Neil Citron must have written the riff with a classic Quiet Riot vibe in mind.

Then it’s down weird street a little bit with the Indian-flavoured intro to “Get Away”.  It takes a moment, but once you realize “Hey, this isn’t the same old Quiet Riot”, you will be able to realize that “Get Away” is a damn good song.  It’s actually quite melodic rock, but with a Zeppelin groove.  Then it’s the pro-weed “Roll This Joint”, which has a seriously decent Zep vibe too.  The lyrics are pretty cheesey (“I’m with Cheech and Chong and Willie and Marley!”) but you gotta cut Durbin some slack.  He’s young and it’ll connect with some of that crowd.

The thing is, you just can’t dislike Durbin.  He wins you over, especially on the lead single “Freak Flag”.  This is the most Quiet Riot sounding track of the disc, but with Durbin it’s no carbon copy.  “Freak Flag” kicks ass and you can imagine it working great live.  Same with “Wasted”.  That chorus (“Take a shot!”) grows fast.  Even the ballad “The Road” doesn’t suck.  Through the 11 tracks, it’s clear who the star on this album is.  The new frontman rose to the challenge.  In the back, Frankie Banali’s providing the Quiet Riot backbeat; the linkage between past and present.  Guitarist Alex Grossi also turns in a worthy performance, and Chuck Wright (bass) has a co-write on the slippy-slidey “Still Wild”.  Despite the circumstances in the making of the album, Quiet Riot sound more focused than they have in decades.

Frankie’s revival of Quiet Riot has been going seven years straight, through five singers before getting James Durbin on board.  Only the singer has changed; Grossi and Wright have stood by through thick and thin.  No matter what, Quiet Riot will continue.  Fans should be advise that the first album with Durbin has turned out great, and let’s hope this is a long-term lineup.  He’s got the necessary range to sing vintage DuBrow, but in his own voice.  And that voice is growing quite compelling.  Not every song is killer, but the majority of the album gets the job done.  Enough to justify putting your money down.

The Japanese version of Road Rage has an exclusive bonus track.  It is an acoustic version of “Make A Way”, one of the heavy album tracks.  This isn’t a crappy remix, but an entirely new recording of the song in acoustic arrangement.  It’s different enough that it actually seems like a new song.  Bonus track:  win!*  

As Durbin sings, “Take a shot!”  Give Road Rage a road test.  Just don’t “Knock ‘Em Down”, or you will have to “Get Away”.  The quality of this album in terms of sound and songs gives the new Quiet Riot a level of credibility they didn’t have before.  Easily their best album since 1993’s Terrified or even before.  Let your “Freak Flag” fly, James Durbin!

3.75/5 stars

*  Former singer Seann Nichols made a comment in an interview that implied the version of Road Rage with his vocals was released in Japan; this is unfortunately not the case.  If you have any Seann Nichols versions of the Road Rage songs, please contact us here.  We are dying to review them in contrast to the final album!

 

 

REVIEW: Mr. Big – Defying Gravity (2017 deluxe edition)

MR. BIG – Defying Gravity (2017 Frontiers CD/DVD edition)

I can still remember, very clearly, my thoughts about “To Be With You” when it finally became a hit in 1992.

“It’s a deserved hit,” I thought, “But that’s the end of Mr. Big having any chance of being seen as a serious band by the general public.”

Serious indeed.  Eric Martin had a previous career as a blue-eyed soul singer.  Paul Gilbert was in shred band Racer X with future Judas Priest drummer Scott Travis.  Pat Torpey was a well-known drummer for appearing on several shred rock albums, like Impelliteri.  And Billy Sheehan, of course, is generally listed as one of the top bassists of all time, with a period at the end.  These guys were not slouches.  But they did form a commercial rock band, and suffered the consequences that most commercial rock bands did in the 1990s.  They faded to obscurity.  Everywhere but Japan, where they continued to thrive as rock heroes.

It’s gratifying that 25 years later in 2017, Mr. Big have an album out that’s as good as any of their first four.  They even reunited with their original producer Kevin Elson.  But it’s all not peaches and cream.  Pat Torpey suffered a setback in 2014 when he was diagnosed with Parkinson’s disease.

Undaunted, Torpey still worked with his loyal bandmates on Defying Gravity.  Just as before, he participated in shaping the songs, even though he was unable to play on them.  Ace Frehley’s drummer Matt Starr* has taken over live and recording duties, while Torpey wrote and produced the drum parts.  In the accompanying DVD, it’s very gratifying to see the band adapt seamlessly to this new reality.  They even have fun with it in the music videos, as Starr and Torpey play together and switch instruments.  Check out the lead single and title track for a great example of making it work.

Speaking of the lead single/video…holy shit, what a hook! Gilbert’s tricky and exotic timing and note choices are somehow bent and twisted into a pop song! It’s that schooled approach that makes certain Mr. Big songs completely unlike whatever is on the radio, but just as catchy.

All the songs have spark, and the solo work is untouchable.  Bluesy and funky hard rock is the basis of “Open Your Eyes”.  The second single (“Everybody Needs a Little Trouble”) stomps out a heavy blues rock beat.  On to “Damn I’m In Love Again”, Mr. Big take a drive into the country.  “Nothing Bad ‘Bout Feelin’ Good” is a hybrid, using the acoustics in a heavier way.  There are plenty more hit-quality highlights:  “Forever & Back”, and “She’s All Coming Back to Me Now”.  For the fans:  “Nothing At All”, the heavy rockin’ “1992” (a brilliant look back at the glory days), and “Be Kind” which is just a jaw dropping example of what these guys can do with just their voices, instruments and a song!

For a deeper understanding of this album, check out the deluxe edition with bonus DVD.**  Not only will you get all the music videos, but also behind the scenes segments on set, and the EPK (“electronic press kit”).  Finally there is a track by track analysis of every song featuring each member, and more behind the scenes footage.  This is where you’ll find the most insight.  Influences abound from the expected to the  unexpected.  From doo-wop to Christina Aguilera?  Why not.  The one with the beat cribbed from Aguilera is actually one of the heaviest and solo-dense tracks (“Mean to Me”).

Defying Gravity isn’t really a surprise, because Mr. Big have put out plenty of good albums over the recent years.  Perhaps it’s a bit more inspired.  It certainly has potential to be on a few “top ten of 2017” lists this year.

4/5 stars

* Matt Starr may in fact be a Klingon.  In the Original Series, Klingons looked much like humans, without their trademark head ridges.  What gives away Starr’s possible Klingon status is his dead ringer of a Klingon moustache and beard.

Matt Starr is the one with the drum head.

** I know what you’re thinkin’. “LeBrain, why didn’t you buy the Japanese edition with a bonus track?” This time out the only bonus track is a radio edit of “Defying Gravity” which, cost considered, I can live without.