Mick Mars is finally out with his first solo track since 1994’s “Bittersuite” and it’s a banger.
Too much of a banger?
In this reviewer’s opinion, the song is recorded for more modern tastes. Chunky, downtuned guitars and distorted, unremarkable lead vocals (by Jacob Bunton) characterize this fast, heavy smoker. Everything sounds very processed in a modern way, for punch and impact. Someone more in tune with this sound would rate it higher.
The best part of the song is, expectedly, the guitar solo, but it’s way too short.
Another reviewer may think differently, but “Loyal to the Lie” lacks a few key ingredients: a distinctive singer, and memorable hooks.
Mick shouldn’t have to repeat his past with his former band, but a memorable song would have been nice. Yes, it’s heavy. But heavy only goes so far.
HELIX – “Brother From A Different Mother” (2022 download single)
In 2021, Helix recorded a new song called “Brother From A Different Mother”, about a good friend of singer Brian Vollmer. It was released in 2022 as a download, complete with “NFT’s” which…I don’t know what you do with that, but the mp3 file can be downloaded and played like any other!
The song “Brother From A Different Mother” is one of the heaviest Helix tunes. Fast as a shark, and heavy as a rock! The chorus is as memorable as any other Helix single, but the guitar playing is stellar. From solo to riffs, the guitar provides the undeniable hooks. There’s a slow breakdown in the middle with piano, and amazing gritty backing vocals by Cheryl Lescom.
Brian’s lyrics are heartfelt and sincere. You can tell this was a friendship he really valued. Let us hope for a physical release, be it a single or an album.
Today Tim’s dropping a special episode of Tim’s Vinyl Confessions: Getting me into Y&T! We were joined by John the Music Nut, and they did some gentle arm twisting. Check out that episode on TVC today.
On my channel, you can watch the unboxing. These are some sweet discs! Have a look for yourself.
This is the second of three Night Ranger albums given to me by Tim Durling, and the second I have reviewed “live” with him. It is also the second, and last album to feature Joel Hoekstra on guitar who was soon off to join Whitesnake, where he remains today.
The title track “High Road” opens with some highbrow keyboards and an immediate melody. There’s a nu-country vibe to the chorus, but Jack Blades keeps it in rock territory. Tim Durling says he hears Damn Yankees, and I get that too, but I do hear that twang. “No the **** you don’t,” says Tim. The Gillis guitar solo is absolutely mental, tickling all my fancies. Great song…even if I’m hearing something that isn’t there. Sounds like summer to me.
Per Tim: “Here’s the problem with “new country” – most of it is just 80s rock with a slight twang – therefore, when a band like Night Ranger that legit came from the 80s makes new music, and it’s not super heavy, it could easily slide into that…and I HATE THIS!” Me too buddy, and that’s probably what I’m hearing.
The opening guitar of “Knock Knock Never Stop” recalls “Poundcake”, but this track could have worked on a certain 1983 by a British band from Sheffield…perhaps it already did! That’s the ballpark we’re in. It’s a popular place. Heavier guitars roll in on the groover “Rollin’ On” which sounds like a Morse/Airey-era Deep Purple classic. Not a sound you hear often, so bring it on.
“Don’t Live Here Anymore” is the first slower tune, but it’s got blues in the vocal and passion in the soul. Amazing vocal, just right in the pocket with grit and heart. Perhaps there’s a Whitesnake vibe here. Coverdale could easily “coverversion” this song. Then suddenly it picks up, and we’re in a Rainbow riff, kicking asses and scorching minds. This wouldn’t be a ballad, but an epic — because suddenly here are the angelic Night Ranger harmonies. If that wasn’t enough…it’s solo time! Epic, just epic, in arrangement, performance, production, mix…head to toe epic. The centerpiece.
A fun guitar riff opens “I’m Coming Home”, and I’m getting light progressive vibes overall. This track rocks in an 80s way, but not simple or straightforward. There’s tension, release, and pounding melodies. Midway, Jack throws down a neat bassline, right before a ripping solo tears your head off.
“X Generation” continues the hammering vibes, but in a modern context. It’s the first song that is failing to connect. Nothing bad about it, just didn’t have the same impact as the previous five tunes. Sounds like a number of bands from the Night Ranger era, making it work in the 2000s. Skid Row with Sollinger on lead vocals, perhaps.
“Only For You Only” is a lovely piano ballad with Jack singing, something akin to what some people expect from Night Ranger. These guys can really sing and that’s what sells it. For some steam, check “Hang On”! Slow and grooving with keyboard accents and a chugging bass, this song is boiling hot. Killer tune, delivering the heaviness without having to go full bore. Solos that burn. Awesome sauce.
Then, the spirit of Eddie Van Halen comes to the house on the intro to “St. Bartholomew”, an absolutely scorching song, at Fahrenheit 451. Once again, the vocals make it uniquely Night Ranger. Other bands may attempt songs of this nature, but few have the combination of chops and vocals that Night Ranger has. Unique dual solo here too with Brad and Joel Hoekstra trading licks.
The “standard” track list shows 10 songs, with “Brothers” being an acoustic closer. Definite Shaw-Blades vibes here. Hippies singing in a field, with a guy playing an electric guitar with the sun blazing behind him…that’s what I see. As per Tim, “and anyone stepping within twenty feet of any of them gets a huge contact high.” They were definitely spinning “Hey Jude” before they wrote this ending.
Then we have the two “bonus tracks”, though we don’t know why! They do sound separate from the album because “Brothers” is an ideal closer. “L.A. No Name” is an acoustic workout, with the two guitarists playing a beautiful classical and Spanish influenced number that could have been a textbook workout for expert students! This is not lightweight, not by any stretch.
The last song is bonus track “Mountain Song” which really shows off Jack’s creativity as a writer of basslines. It has an “Eye of the Tiger” vibe, but far heavier and punchier. Tim: “It’s similar to “Halfway to the Sun” from 1988’s overlooked Man in Motion album.”
A solid 4/5 stars. The first “side” is stronger, but there’s nothing to skip.
Journey began scoring hits when they acquired powerhouse vocalist Steve Perry on Infinity (1978) and Evolution (1979). Why not issue a compilation sourced from the band’s first three Perry-less records, with new cover art that ties into their present? Seems like a no-brainer. And so we have Journey’s first compilation album (and a double length at that) called In The Beginning. Thank you Tim Durling for gifting this copy for the collection and for review.
In The Beginning contains five of the seven tracks from Journey’s self-titled debut. It begins with three. As on the original LP, “Of A Lifetime” opens. The long organ and guitar-drenched opening gives way to a slow and passionate Gregg Rolie lead vocal. Were Iron Maiden influenced by this song when they wrote “Strange World” for their own debut? Probably just coincidence, but it can be heard. The main hook in “Of A Lifetime” was the unmistakable guitar hook. At this early stage, Journey boasted two guitar players: Neal Schon and the late George Tickner. They have to share the spotlight with an absolutely raging Aynsley Dunbar on drums and Rolie tearing it up on the synth. Undervalued bassist Ross Valory also must be mentioned, playing concrete but melodic foundations under the feature players.
George Tickner’s instrumental “Topaz” goes second, starting slow and then taking on a jamming, progressive jazz rock fusion vibe. This complex track is not to be taken lightly. Just absorb every different section as they hit you. Once again, Dunbar is a monster. Third is “Kohoutek”, the memorable Schon/Rolie instrumental that was also track three on the debut album. On vinyl, in both cases, it closed Side One. It’s another challenging track with a cool galloping section. (There’s a reason I’ve heard Dunbar referred to as an octopus – he sounds like he’s playing with eight arms!)
Rolie’s “On A Saturday Night” from album #2, Look Into the Future is a completely different style from the first three progressive sprawls. Under four minutes with a bopping piano, this is just great rock and roll! Tickner was out and the band was reduced to a quartet with Schon as the sole six-stringer. Shades here of where the band would head once they figured out their future direction. Schon’s solo is an example of melodic composition. The Beatles cover “It’s All Too Much” from Look Into the Future follows. It fits this new concise straightforward Journey sound, and it is quite excellent. Rolie was the perfect guy to sing a George Harrison song, and the backwards ending is suitably trippy. The blues “In My Lonely Feeling/Conversations” takes us back to the debut album. This Rolie/Valory composition scorches with passionate fretwork. Not surprisingly, the bass is the foundation. Also from the debut, “Mystery Mountain” closes side one. A short, but jamming track with subtle use of the wah-wah pedal.
Opening (cassette) Side Two, “Spaceman” from Next (album #3) was a melodic single. Journey were honing in on that simple pop rock ballad. “Spaceman” is one of their first. As it did on album, “People” follows “Spaceman”, featuring synth and acoustics. Very psychedelic for Journey. The back to album #2, “Anyway” rocks hard and slow, like a monumental Whitesnake track from the 70s. (Dunbar later joined Coverdale & Co. for 1987.) From the same record, “You’re On Your Own” switches from slow and bluesy verses to a pounding chorus, enabled by Aynsley. There’s a Beatles influence here in “I Want You (She’s So Heavy”).
We’re into the last tracks here, as vinyl listeners would have been flipping to side four for “Look Into the Future”, a brilliant ballad and one of the band’s early best. “Nickel and Dime”, a legendary jam from Next feels like a throwback to the first album and for good reason: it’s a leftover Tickner co-write! And finally, In The Beginning closes with the epic “I’m Gonna Leave You”, the same song that closed the debut Journey. Coupling some killer organ with with a heavy riff, this bluesy rocker also boasts some of Rolie’s best vocalizin’. Legendary!
For those who only know Journey as a lovin’, touchin’, squeezin’ band of crooners and balladeers, this compilation would come as a shock to the system. But a shock can be a good thing. In The Beginning is a great way to get many of the key tracks from the first phase of Journey in one purchase. This stuff doesn’t usually make it onto regular Journey compilations. It’s a good set to own.
Extreme fans never stopped believin’. We’re delighted that people dig the new album Six, but we always knew. Saudades was great. Punchline was great. We have always boasted about what Nuno was capable of, and it’s hard not to love Gary Cherone. This is a band you just want to kick ass, and they do on their sixth (studio) album, shockingly titled Six. There’s no dip in quality – there hasn’t been a dip in quality since their embryonic debut back in 1988. It’s been nothing but peaks since then, though always different from one another. Reviewing Six is less about praising it (which is easy) and more about seeing what Extreme are doing differently this time.
We talk a lot about riffs here, but rarely have Extreme riffs been as direct and heavy as the one on “Rise”. This, by the way, is the song with the solo that seems to have taken the world by storm. The spirit of Van Halen was definitely in the room when Nuno laid it down, and it’s an undeniable highlight of the song. The solo is as impressive and hooky as a song unto itself. Another figure that people are starting to notice is drummer Kevin Figueiredo. It’s hard to stand out when you’re Mike Mangini’s replacement in Extreme, but Kevin kicks it! (Joke intentional – die hard Extreme fans know.) “Rise” could be the heaviest Extreme song to date.
Riffing continues on “#Rebel” (pronounced “hashtag rebel”), another contender for heaviest to date. The riff is definitely a monster, and Nuno augments it with those tasty licks he’s known for. Gary Cherone, meanwhile, sounds to be in better voice than he was back in the 1990s when he joined Van Halen. He doesn’t seem to have to push as hard, no longer going overly gritty when he’s givin’ ‘er. The solo is another marathon workout, and just a pleasure to bang along to from start to finish. Like most great solos, this is a fully composed piece of musical performance.
Third standout riff in a row, “Banshee” is yet another butt-kickin’ banger. It’s not fully pedal to the metal this time, with the verses being a little less loud, allowing Gary to get slinky. Bassist Pat Badger forms a formidable groove with Kevin here, which gives Nuno room to play around. The solo, once again, is thought out like a miniature song within a song.
Finally on track four, we get a breather! A brilliant acoustic song called “Other Side of the Rainbow” is just a thing of beauty. The vocal harmonies of Gary and Nuno gel better here than anywhere else on Six. This is pure pop, as Extreme have occasionally done (and done so well) on albums past. There are elements of Extreme II and Waiting for the Punchline here. It somehow sounds like a lost remnant from the decade of the 90s. One of the best Extreme songs in the entire canon, and a brilliant Queen-like performance from Gary.
Continuing down the acoustic road, the ballad “Small Town Beautiful” definitely recalls the softer moments on Punchline. The blend of vocals here is really special; those trademark harmonies. Things shake up once again on the bass heavy “The Mask”, with co-lead vocals by Nuno Bettencourt, a rare treat. Gary takes over on the choruses, while Nuno takes the verses in an affected voice. “Rip off the mask, I’ll show you who I am!” howls Gary on the menacing chorus.
The unusual “Thicker Than Blood” has an industrial tint, but actually is closer to a reflection of Nuno’s 1997 solo album Schizophonic. It absolutely could have come from that album, but it would have been one of the better tracks if it had. The solo here is a wicked little number. They take it down to a heavy grind on “Save Me”, another song with a downtuned 90s flavour, but a searing chorus. It’s two completely different moods, verse and chorus. Quality remains high. Variety continues.
Another soft acoustic number called “Hurricane” sounds like Simon and Garfunkel, and there’s nothing wrong with that. Extreme could do Simon and Garfunkel a hell of a lot better than Disturbed. Nuno takes a rare acoustic solo here. A very special song. Extreme throw another curveball on the effects-heavy “X Out”. We’re reminded, perhaps, of “Evilangelist” from Punchline, but with more of that industrial synthy vibe. There’s an undeniable Stranger Things vibe to the synth line.
A complete 180° will spin your head on “Beautiful Girls”, a light tropical summery number about…shockingly…beautiful girls. It’s just pop, pure and simple, and there’s nothing to feel guilty or shameful about. (There’s only one line I dislike – “California Girls, I wish they all could be” – gimme Canadian girls any time!) Bottom line, Extreme have never been shy about going way outside the box. “Beautiful Girls” represents the furthest they’ve gone since Extreme II back in 1990. The guitar solo is pure Brian May, 100%. There’s no denial, except for that wicked burnout at the end! Some might say, “This sounds like Sugar Ray!” I say, “Sugar Ray could never sing nor play like Extreme do.” Interesting that on an album with Extreme’s heaviest rockers, we also find their their most pop song.
The acoustic guitars remain out for album closer “Here’s To the Losers”, another brilliant tune that goes in another different direction. It has an anthemic shout-along of “Get up! Chin up! Drink up!” (Your beverage of choice, of course!) It’s like a rallying cry and it’s a terrific closer. The key change at the end is really nice.
The sequencing of this album is really interesting. Though the first three songs sell it as a heavy monster, the diversity soon comes into play, and then we run into multiple acoustic songs in a row. It’s unexpected but it works. The Japanese CD has its bonus track of course, and it’s a simple radio edit version of “Rise” that allows the CD to end heavy, if you prefer it that way. The edit version of “Rise” is a full minute shorter, but wasn’t really necessary except to satisfy radio formats. Fortunately the solo is still a main feature of the song.
Extreme Six was expertly produced by Nuno Bettencourt. The man’s talent knows no bounds. In fact Extreme are one of the most talented bands to come from the 80s, end sentence. Six is among their very best albums, which is to say, all of them but the debut. The streak continues. Extreme are the champions.
THE FORREST WILLIAMS DEMOCRACY – “Halos” (2023 single)
I said it last year, and I’ll say it again: Anybody who ever dug Big Wreck (and there are lots of you) should be checking out The Forrest Williams Democracy. Their debut track “In Service of the Greater Good” made us happy last year, but this time we’re smiling ear to ear at the sound of the new song “Halos”! It was hard to pigeonhole the Forrest Williams Democracy last time, but we bandied about words such as “Sabbath” and “Zeppelin”. Not this time. This time I might use words such as “Rush” or “Foo”! Whether these were influences in any way, I have no way of knowing, but it’s not bad company to be compared to.
“Halos” is upbeat and irresistible! There are verses that sound like they could have come from the 80s, but then in crashes a killer chorus with distorted vocals a-la your favourite 90s hits. I find myself listening on repeat, it’s just that good. Vocally and rhythmically, this is an outstanding track. Though it is shorter and more to the point than their previous song, it still has a variety of different sections with different feels. It all works together to make one concise, killer tune that will sound great with the windows down this summer.
As they often do, Ghost have followed last year’s excellent Impera album with an underwhelming covers EP. Fear not, there’s a deluxe version of Impera coming for those who needed more, but in the meantime, the five song EP Phantomime had better tide us over.
Ghost have diverse taste in covers, as past EPs have demonstrated. This time, they’re taking on 80’s New Wave, 80’s Metal, 70’s Rock, and 90’s Prog. Let’s see how it shapes up. The band are still sounding very much like an 80’s hard rock band on this EP, much as they did on Impera.
Television’s “See No Evil” strikes as an appropriate title to cover. Ghost do a fine job of it, turning it into a Ghost-like hard rock anthem. The opening bassline really jumps out, and strikes as something Duff McKagan may have been inspired by early in his career. Smokin’ guitar solo here. It’ll sound great blasting from the car this summer. But something about Ghost doing covers…why are they never as great as their originals? Papa Emeritus just sounds better singing about Satan, perhaps?
A sped-up “Jesus He Knows Me” is another great title to see on a Ghost record. There’s nothing of Genesis here, really! If you played this for anyone who didn’t know the original song, you’d assume it was a metal original. Lyrically perfect for Ghost, though!
The Strangler’s “Hanging Around” is centred on a big fat organ part that sounds great and beefy on this CD. Very different from the original, but like the previous songs, it’s Ghost-ified by Papa and the Nameless Ghouls. For better or for worse! It is not especially memorable as a cover.
The controversial “Phantom of the Opera” by Iron Maiden is fourth. Why controversial? Maiden vocalist Paul Di’Anno didn’t particular care for it. I disagree with Paul and think it’s the best thing here. If Maiden wrote the song today, with their current affectation towards keyboards, it might sound a little bit more polished like Ghost’s version. Ghost maintain the speed, the riffs, the solos, and all the essential ingredients. It’s just Maiden, but covered by Ghost, and as such it seems to work better than the other tunes.
Finally we have the Mad Max Beyond Thunderdome theme song “We Don’t Need Another Hero” by the late great Tina Turner. An interesting and surprising choice even for Ghost. Jury’s still out on this one. Nerves might still be a little too raw after Tina’s unfortunate passing. The Ghost version was released just before, but now…let’s just say jury’s still out and leave it at that.
George Criston is one heck of a talented singer. Always had a lot of power, and range. However, his heart no longer appears to be with the rock, but with country and gospel. There’s nothing wrong with that, but when Kick Axe needed to reunite and put out a new album, a new singer was required. They didn’t have to look far! Original drummer and brother of bassist Victor Langen, Gary, stepped up to the microphone to sing. And what a voice! The rest of the classic lineup was intact: Victor Langen, Ray Harvey, and Larry & Brian Gillstrom. On the road to rock!
Gary Langen strikes a tone similar to the late great Phil Naro of Talas, especially on the track “Rockin Daze”. More than enough to kick all the axes in the room. Gary also participates in the songwriting on several songs, and providing the slinky tune “Slip Inside My Dream” himself. Not at all like the one-of-a-kind Criston, but still more than capable.
The best track is, by far, the aforementioned “Rockin Daze” surprisingly written by drummer Brian Gillstrom. The cool descending riff, the gritty vocals, and especially the killer chorus, make this one the obvious standout. “The show is over, your rockin’ daze are done!” Not by far! There’s a story in the lyrics, so pay attention, but especially listen to the impassioned vocal and stunning guitar solo work.
While “Rockin Daze” is a high water mark, there aren’t any particularly bad songs. The rest of them are on the same level. Solid, enjoyable, well recorded heavy rock with the expected impressive musicianship. Long bomber “City Lights” is pretty epic. From heavy rockers like “Right Now” to slow, bluesy ballads like “Consolation”, there is a good cross section of songs. At an hour long, and with 14 songs in total, it’s a long ride and perhaps could have been trimmed down to 10 songs. On the other hand there’s an argument for value, especially when it’s a band’s only album in so many years. There are plenty of good songs here, and nothing to make you jump for the “skip” button. It’s a modern rock album, not as “metal” as the golden days. A slight progressive edge, with keyboards and acoustics in strategic locations. Still plenty of guitars, drums, and wicked singing! The lead solo work on this album is top drawer. Don’t expect Vices II, though there’s still a common thread here that confirms it’s the same band.
Nothing lasts forever in rock and roll, and while this lineup of Kick Axe survived five years, in 2008 Gary Langen left and was replaced by Into Infinity singer Daniel Nargang. The band continue to rock and roll, though IV remains their last album.
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