Pride of Lions - Lionheart (Album Review)

With each passing day, this kind of music disappears from radio formats that are beginning to move past the valuable relics from the 1970's and 1980's. There are still some radio formats time traveling 40 or even 50 years, whether it be a Motown song or a one hit wonder that has survived to speak to us now. But it's clear the sounds of 2020 are devoid of the soul and well thought out melodies of days gone by. So when an album like Lionheart comes along, with a genius writer, producer and arranger and one of the top vocalists on the melodic rock scene today, it's an extra special event. 

Jim Peterik should be in the rock and roll hall of fame on his own. He's done so much for rock music starting way back in the 1960's with Ides of March. Jim has remained devoted to the sound he created in the band Survivor. Pride of Lions is an organic extension of that vision Peterik pioneered nearly 40 years ago. Whereas some of the other POL albums were only somewhat derivative of the Survivor template, Lionheart fully embraces it. It's as if Peterik has decided to throw the entire kitchen sink at the music establishment hoping it will wake from it's eternal slumber. 

The album's title track is exactly what you need to crank those engines of nostalgia. Vocally the mix between Peterik and the incredible Toby Hitchcock instantly recalls the late great Jimi Jamison. These are songs Jimi should be singing. And maybe he is looking down with his blessing. "We Play For Free" recalls "Jackie Don't Go" from Survivor's underrated "Caught In The Game" album. Peterik rarely composes a melody that lacks a giant hook. Peterik himself is a rather convincing singer and when you combine his talents with those of Hitchcock, these songs just soar. "Heart of The Warrior" completely mirrors 80's Survivor with a good dose of John Parr. The keyboards score points for being so omnipresent and complimentary. Guitarist Mike Aquino channels the early days of great guitar solos on this amazing track. 

"Carry Me Back" arrives like a top 10 single from 1983. The subject matter is total nostalgia with lyrics and musical refrains that feel like you know the track, even though it's brand new. Hitchcock commands the mic with Jim Peterik augmenting his brilliance. "Sleeping With A Memory" will insantly recall Foreigner's "Waiting For A Girl Like You", awash in ascending keyboard notes but then evolving into a mid-tempo track. Again the duet of Hitchcock and Peterik is incredibly effective. "Good Thing Gone" is an uptempo big hook laden melody with haunting lead and backing vocals from Hitchcock with some verses sung by Peterik. This is muscle car music, where both rhythm guitars and keyboards are hammering the melody home. 

"Unfinished Heart" is a spectacular power ballad that mixes Foreigner, Journey and Dennis DeYoung's Styx into something that old time radio would be playing every few hours. "Flagship" begins with a big chorus followed by a cascade of keyboards and guitars. A perfect music bed for the dualing vocals of Hitchcock and Peterik. Again, the power of a great melody and empowering lyrical themes make this continued listening bliss. "Give It Away" is more of a pop-rocker, using some choppy guitar riffs and a compact melody. The bridge on this track is really a work of art. "Rock and Roll Boomtown" is a tale of Hollywood's former music glory. The old west goes bust. The melody is extraordinary, a tad darker with some sparse moments that recall Aerosmith's "Amazing". The timely lyrics will certainly resonate with this album's key demographic. 

"You're Not A Prisoner" is another potential big hit single with a driving rhythm guitar and might be suited for .38 Special fans. A total AOR late night rock radio feel. Love, love this track. "Now" begins as a sparse acoustic track that kicks into gear. It sounds a bit like "Come Again" by the Damn Yankees. But it's got it's own Pride of Lions legs. Aquino unleashes an amazing guitar solo to extend the track out just when you think it's over. I got some goosebumps.

This album is easy to summarize. Big vocals, great guitars, unique soaring melodies, excellent production and fine musicianship. This record will compete to be the best melodic rock record of 2020. An amazing achievement, even from a guy you kind of expect it from. Lionheart comes from the musical heart of a champion - Jim Peterik.

Album Rating 9.9

Helix - Eat Sleep Rock (Album Review)

Eat Sleep Rock is a collection of unreleased songs from the vintage Canadian rock band Helix. A band that influenced a herd of other offspring including Poison, Motley Crue, Def Leppard and Twisted Sister. Born in the 70's, Helix has been at this for about 45 years. Lead vocalist Brian Vollmer is the only original member but the band itself has been largely in tact, on again and off again since the their 1980's hey day. Like every band from that era with a glam rock sound, Helix was destroyed by the 1990's but their fan base persists. This new group of songs is sure to delight fans of their no-nonsense, bluesy, glam rock attack. 

The band even provides a 7 minute history lesson of itself called "The Story of Helix". It's a funny rap spoken over a punkish rhythm guitar, complete with sound effects and nods to their glam rock roots. The album's title track might have been a monster 80's rock radio track. It's your basic rock and roll party anthem. The throwback nature to the record is not just in it's production, but it also permeates the lyrics. Rock is supposed to be about fun and letting loose. There are several other tracks that are radio ready. 

"Wrecking Ball" is a down and dirty shout and holler anthem with a wrecking ball size chorus and hook. There are some dark themes involving psychos, the devil and Frankenstein. These guys came of rock and roll age when Alice Cooper was budding as a crazy storyteller. There is definitely some of that influence here. The lyrics are supported with catchy, well produced melodies. "Even Jesus (Wasn't Loved In His Hometown) juxtaposes the devil and Frankenstein. It sounds like the band is a little miffed at the lack of hometown success. In all honesty this band should have been bigger in all of North America. Needless to say the song has an epic guitar solo and is definitely radio worthy. 

The band proceeds to sing about Bitters and Tequila in two songs that would work at certain adult night spots. In "Gene Simmons Says Rock Is Dead" Brian Vollmer says rock and roll didn't die of old age, it was murdered. A sentiment I concur with. The words of the song echo true and the band even designs a Kiss-like riff to deliver their sermon. 

Helix still wants to party. And let everyone know that there is still a band that does rock the old fashioned way. Overall this is a fun collection of glam-infused rock songs that sound familiar. Many of them were previously released but were hard to find. Helix is keeping rock alive, but they need reinforcements.

(Album Rating 9.3)

Fire Tiger - All The Time (Album Review)

It's safe to say that Fire Tiger is the only band in the world right now making new music that sounds like 80's pop and rock. Sure there are a lot of melodic rock bands in the world. But few of them capture the style and essence of a decade that most everyone is nostalgic for. And while some might say music like this has no place in an industry dominated by music that is designed by computers, I say it's exactly what the world needs right now.

The band's third album, All The Time is another near flawless collection of songs that put the fun, energy and excitement back into a lifeless industry. Lead vocalist Tiffany Alkouri is a genetic throwback to the look, sound and strut of various female singers from the decade of decadence. Most notably Taylor Dayne, Samantha Fox and Kathy Troccoli. The album's lead track "Don't Take Me Home" is a rock radio friendly tune with a tinge of darkness and desperation. "So Many Fishes" is the perfect pop-rock song that would have topped the charts in 1988. There's even a great saxophone solo! It's an instant hit and would work wonders to liven up any boring adult contemporary playlist on the radio today. 

"Magic Brew" is a follow up single to "Fishes" featuring an addictive chorus the bops along like a Cyndi Lauper song with more melodic mojo. The band down shifts to "Undeniable", a moody, haunting ballad with acoustic guitars, big keyboard textures and Tiff's sultry vocals. Stylistically these guys pull off the unthinkable - they cover all of the rock and pop styles that were in vogue more than three decades ago. "Getaway Song" crosses back into a more rock landscape with guitarist Tyler Renga leading the way. But like every Fire Tiger song, it goes back to the melody lines and the songwriting. These songs are so well thought out. 

"Silly Thing To Do" feels like a Brit-pop new wave song that would have been made into a remixed 12" vinyl dance single. Think General Public or Style Council. "All The Time" (the album's title track) straddles the pop and rock fence with a massive chorus mixed into an 80's smoothie of guitars, keys and powerhouse lead vocals by Tiff. "Solo Poquito" is a latin influenced dance-pop song that emulates Miami Sound Machine or any number of offshoot artists. Bagpipes are the lead instrument on "Flying Solo" which recalls Big Country but with less pomp and more circumstance. The song still chugs along with a Scandal-like urgency. The pipes work extraodinarily well and give the song extra lift.

"Way To My Heart" combines two band types into one amazing song. First, Ace of Base and secondly, Nena on the guitar riff that follows the intro. To say this song is kinda catchy would be the understatement of the decade. "Side of You" is a slower, sparse arrangement that showcases Tiff's incredible range and power. The lyrics make this a gorgeous love song that truly is time travel. "Spider at Midnight" finishes up the album as another mid-tempo track with a ton of keyboard effects. The melody captures an 80's college radio vibe.

Twelve tracks, no filler, no wasted moments. My only complaint is that these songs are too short. But that complaint is based on the fact that I could listen to each song for a longer period of time and that the music is so good that you don't want it to end. Fire Tiger's best work to date. They have CDs, Vinyl and even cassettes for sale. This is the music you remember brought into a decade thrice removed. If you listened to top 40 radio in the 1980's, you have to hear this band!

Album Rating 9.9

Lionville - Magic Is Alive (Album Review)

Lionville is a band the entire world should know. They should be on your local terrestrial radio station. They are a next-generation band for fans of Toto, Journey and Foreigner. They write amazing, catchy, hook-laden songs. Their vocalist, Lars Safsund, also a member of the Swedish band Work of Art, is one of the finest vocalists on the melodic scene today. The band's new album "Magic Is Alive", is a sonic marvel from start to finish. The soaring lead single "Nothing Without You" is one of the strongest radio ready songs you'll hear this year. Lars and guitarist, composer and band founder Stefano Lionetti, have developed a Mick Jones, Lou Gramm partnership. 

"You're Not Alone" is an airy, melodic harmony rich walk on the Toto side of things. "Runaway" nods to Lars' band Work of Art. And yet these similarities don't obscure the listening experience. For those who want a more consistent version of Work of Art, Lionville may be the perfect ticket. Keyboardist Fabrizio Caria does a nice Jonathan Cain impersonation on the lead in to "Finally You're With Me". American 80's music fans will have a lot to celebrate listening to Lionville in the year 2020. "Every Little Thing (Leads Back To You)" is a driving rocker with Lars delivering a powerful vocal with the rest of the band nailing down the groove. West Coast fans will absolutely love "If You Don't Know Me" with its lighter, slightly smoother arrangement. "Living With The Truth" speaks in the Toto dialect again with a dash of Journey and Khymera. All of these songs contain a high dosage of memorable melodic mojo. Lionetti's guitar playing is understated and most effective on the solos. 

"Reaching For The Sky" opens with a funky west coast riff and plenty of room for Lars' vocal expressions. Caria's keyboards employ a nice horn-sounding effect with bass player Giulio Dagnino holding down the bottom end with his partner in sound, drummer Martino Malicrida. This track has some great soloing on keys, guitar and saxophone. I could have listened to this jam for another 10 minutes. "I'll Never Give My Heart Away" blends the west coast motif with a bit of drama and late night rocking. The hook is enormous and the chorus is also a big payoff for the listener. "Into The Night" echoes a Richard Marx template, slow and contemplative with keys and big slow phrasing featuring both acoustic and electric guitars underneath. "Magic Is Alive" ends the set with an infectious dance-rock groove that would be 12" single ready if this were a different time, like 1987. 

The hooks are all monster. The arrangements are largely free of clutter and overproduction. The tunes are all well written and sung. This is certainly one of the best albums of 2020 thus far. The Magic is in the music. Lionville's best work to date.

Album Rating 9.7

Pinnacle Point - Symphony of Mind (Album Review) Via Escape Music

Nobody could have predicted how well the first Pinnacle Point album, Winds of Change, would be received. That first recording struck a chord with classic rock listeners, especially fans of old school Kansas band music. Three years later, the growth of this band is a leap of Neil Armstrong proportions. Jerome Mazza returns to the microphone along with guitarists Torben Enevoldsen and Tommy Denander. Also on guitar and vocals is Rich Ayala. He's joined on bass guitar by Takeaki Itoh and on drums by Mark Prator. 

The first single, Weight of The World, roars out of the gate like a Deep Purple Highway Star. This might be the perfect song for a movie with a high speed car chase. Mazza's vocal tendencies line up impeccably with his hero Steve Walsh. The lines of imitation and flattery are blurred so much that it seems Walsh just handed him the baton. Like the first Pinnacle Point album, an instrumental track opens the set. It's called Ascent To The Point, and it embodies those orchestrations and chord changes that adorn all of the early Kansas records. The violin work on this album is on par with some of the best stuff ever recorded in the rock genre. Valeria Pozaritskaya is an amazing talent on violin and her work helps drive the sound of the entire project. 

"So Alive" is a brilliant track featuring a variety of keyboard sounds as well as an incredible spacey progged out synth solo that will grab you by the ears. The elegant big majesty of this track will draw comparisons to the orchestral long form album tracks Kansas used to be famous for. And as much as this is prog-rock, it also embodies classical and pop forms as well. "Hero" also combines the classical and progressive with scintillating acoustic guitar work. Mazza's voice and Valeria's violin intertwine into a lush tapestry. "Never Surrender" begins with a searing guitar riff that drops to a low rumble but then bursts open with big progressive power chords. Mazza's voice travels up to the ionosphere. Jerome apparently does this stuff with ease. He's truly a gifted, classically trained vocalist. 

"In The Wake of Hope" brims with the old Kansas musical template, but on steroids. Again the violin is vibrant and is clearly the lead instrument. The lyrical themes on Symphony are mostly inspirational and positive. In our current world with it's large problems, this music will be a welcome escape for many. Of note in this song is the instrumental break featuring classical piano, violin and acoustic guitar. This is headphone paradise. "Shadows of Peace" continues the perfect streak of rich, full bodied lyrical and musical concepts. The tempo changes and angelic vocal harmonies are truly mind blowing. Many of these songs clock in between 5 and 6 minutes and there are no wasted moments. In most cases, you'd want them to go on longer. 

"Beyond" begins with a full pallete of sound colors including piano, synth and violin. Acoustic guitars fall in and eventually lead to more dreamy imagery and vocals from Mazza. This might be his most Steve Walsh-like performance especially on the high notes. The synths return for an epic solo. The tempo changes are stunning. "Nothing At All" opens with a Timpani drum roll followed by a beautiful open soundscape highlighting both classical piano and acoustic guitars. Mazza soars yet again. His range is strong and limitless and effortless. "Prodigal" is a grittier rocker featuring keyboard sounds that play off the drums and guitar blasts. And yes, more stunning violin. For those familiar with the album by Kansas called Monolith, this sounds like a lost track. 

The album's title song (and final one) is truly it's Magnum Opus. A sprawling seven minute tribute to Kansas legend Kerry Livgren. It's more than homage to Kerry, it's an acknowledgement of his brilliance and how he was so far advanced in his thinking. There couldn't be a better tribute and I've heard few songs in recent memory that bring this much passion and integrity to a topic. Mazza and his crew sincerely love the early Kansas records. In their zeal, they have crafted their own classic album that will someday be looked back on as an authentic continuation of what Livgren and Walsh started. No better compliment could be paid to a record in the year 2020. This is some indescribably brilliant music that sits on it's own plain far above the din of the noise below. This is the best melodic rock record I've heard this year.

Album Rating 10.0

Bridget Kelly Band - Dark Spaces (Album Review)

The blues underground here in the state of Florida is real. There are numerous bands who could easily stand on the national stage. A band that caught my attention a few years back continues to churn out accessible and meaningful blues rock. That band is the Bridget Kelly Band. Their latest effort is called Dark Spaces. It is yet another chapter in a deepening catalog of sultry, scorching blues rock songs that range from optimistic and fun to dark and thought provoking. Lead vocalist Bridget Kelley seems to get better with age. Her delivery is sultry and smooth, and she really turns up the heat on songs like "Back Seat Love". And the album's title track with it's haunting guitar licks and lyrics that relate to depression or loneliness. Bridget's husband Tim Fik is one of those guitar players you should have heard of. His jangly blues tones often branch out into psychedelic jam band territory. But Tim can also apply a funky groove to those strings. These are musicians who've paid their dues on the live circuit. In fact these tracks have a live-in-the-studio feel to them.

Dark Spaces has plenty of material that will add to an already smoldering live show. "Southern Wind" is an instant favorite featuring an extended southern rock jam that pays homage to bands like the Allmans or Blackberry Smoke. "Your Days Are Numbered" begins with a traditional blues riff and Bridget's snarling lead vocal. A touring band like this benefits greatly in the studio from the constant gigging. Chops are honed and musical parts are nailed with efficiency. Fik unleashes an atomic bomb extended guitar solo on "Days" that will blow way past your expectations. "Free Me" has a made for blues-rock radio feel to it. This band moves seemlessly between blues and more melodic elements. And Tim Fik fashions his solos into their own songs which run through the melody. The band used three different drummers on this record as well as Mark Ambrecht on bass along with Fik who also plays bass on some of the tracks.

"Sky's The Limit" is a danceable blues-rock track with more radio potential. These are all original songs and the material stands on it's own as original and fresh. And even though this is predominantly a blues record, it feels diverse in it's influences. Fans of hard rock will immediately dig all of the extended jams on this record. "In The Spirit (souls in the river)" is a soulful track sung with much passion by Bridget. The lyrics emphasize our connection with the natural world around us. The guitar riff in this song is particularly addictive. "No Use In Tryin'" is a smoldering slow burning blues onslaught. Tim Fik's guitar lights the way for some introspective bluesy lyrics. Fik then unleashes more of his ultraviolet guitar in another amazing solo. "Moments" is more slow or mid-tempo mojo, the perfect music bed for Bridget's sultry story telling. "Things About To Change" is an excellent mid-tempo southern rock flavored blues track filled with lyrics about optimism and grace. This particular track hit me hard with all of what is going on in the world today.

"Someone To Hold On To" immediately reminded me of Buddy Guy or B.B. King in it's demeanor. Add some sultry singing and you've got yet another great BKB original. "Sometimes You Gotta Dance" wraps the whole thing up with some rockin', upbeat grooves. Still flavored with plenty of Tim Fik guitar pyrotechnics.

This is another in a series of raw, well crafted blues rock records. The band keeps it simple, and certainly all these songs will be perfect for the live stage whenever that happens again. The Bridget Kelly Band continues to deliver consistent, original music that will have you thinking or have you dancing, or possibly both at the same time.

Album Rating 9.6

Pinnacle Point and Jerome Mazza Return With Blistering New Single "Weight of The World"

Escape Music has released a brand new single from the band Pinnacle Point. It is the first taste of their new album Symphony of Mind. Jerome Mazza has been called the heir to the Steve Walsh musical estate. His vocals are remarkably similar with a warmer feel. In addition, Mazza and guitarist Torben Enevoldsen have managed to capture a rockin' retro Kansas sound mixed with Deep Purple and Rush. The writing style is progressive and melodic at the same time. Listeners can sing these lyrics and be enveloped by some great vocal harmonies as they rock down the road with their windows down. I am certainly looking forward to the full album which drops on July 17th. Make sure you pre-order a copy.

Pre-Order A Copy

Wild Souls - Queen of My Heart (Album Review)

Hard rock and metal music can be found all over the world these days. Kavala Greece is a beautiful spot on planet earth and it is the home of Wild Souls. Their latest effort is called Queen of My Heart. Melodic hard rock with influences like Extreme, Poison, Van Halen and Whitesnake. The music has a real swagger. A real dose of self confidence.  

George Nikolaou handles lead vocals. Kostas Tsiligiris plays lead guitar. Michael Saraglou plays the drums. Athanasios Kalantzopolous plays guitar and Misconception Bdm plays bass. From the opening notes of "Nothing But Loving You" the band executes their plan perfectly. This feels like Motley Crue, and Van Halen and familiar primal urge territory. The chord changes aren't always predictable. There are melodic guitar fills and hooks that are big without being redundant or predictable. 

A searing guitar and drum attack begins "Night Groove" as the song rocks along like a train picking up speed. Nikolaou's vocals take on different characteristics for different songs. I heard some Gary Cherone here for sure. A synth keyboard and pulsating bass guitar open "Love Ain't No Lie" as if the band were paying homage to Bon Jovi's early hit "Runaway". "Ready To Rock" has some blues-metal overtones while reinstating that primal drum onslaught. 

This is music you crank loud with the top down in your vintage 70's muscle car. "Queen of My Heart" is a Vandenberg-like power ballad with string sounding keyboards and building acoustic and electric guitars. It's also a tune David Coverdale could have written. "Sexecellent" is exactly what you might think it's about. It's got some David Lee Roth swagger and lyrical references and a touch of "Panama" or "Drop Dead Legs" in it. 

The keyboards come back for "I Remember You". The band employs a thoughtful twin-guitar attack and at times some emotive vocal arrangements. These songs have instant appeal without being too derivative of one style. "Set Me Free" has a mono-bluesy intro and outro that echoes early Whitesnake. The body of the track is very reminiscent of "Love Ain't No Stranger" or something close to it. The guitar solo is a beautiful work of art. The retro keyboards are magical. 

One of my favorite tracks from this collection. "Snakebite" has a very Lynch Mob vibe to it as blues and rock collide. "Hold Me Tight" felt like a Stone Fury song with a less pompous vibe. A bit more straight ahead without the drama, but still with plenty of emotion. "Beyond The Stars" is very Blizzard of Oz with some fast guitar work and strong vocals and rocking chord progressions. Not to mention the drums and bass that chug along with abandon. "Street Eagles" opens with an actual eagle screech that then settles into a very moody and atmospheric hard rocking closer with big vocal refrains. 

It's arena rock that is designed to reach the cheap seats. It's all done with an ear for the classic characteristics of many different bands from the past. Each song has it's own unique qualities. This is a band that truly understands the past and is building on it. This is a fine collection of songs for old school fans of hard rock and metal.

Album Rating 9.5

Dennis DeYoung - 26 East Volume 1 (Album Review)

When the rock history books are revised someday, by people who revere decent music, musicians like Dennis DeYoung might finally get their due. DeYoung was banished from the band he made successful more than 20 years ago. He's also never been considered for the rock and roll of fame. He is actually part of a long list of tragic omissions that grows by the day. Dennis really had nothing left to prove. He's been touring as a solo act since he was forced to fight in court for some modicum of ownership of the thing he created. And in recent years, there's been a growing chorus of folks who believe Styx ought to have one last hurrah with the man who did the most to make their continued existence possible.

If it weren't for friend and fellow Chicagoan Jim Peterik, 26 East Volume 1 might have never been a reality. Peterik is another unheralded genius who also deserves Hall of Fame recognition. He was obviously an inspiration and sounding board for Dennis. These songs are both autobiographical and cathartic while dispelling the myth that DeYoung is only a schmaltzy balladeer. This is a diverse collection brimming with creativity, familiarity and the musings of a man who's still asking good questions.

"East of Midnight" opens things by sounding like a dead ringer for something Styx could have recorded in the late 1970's. August Zadra, who is the Tommy Shaw character on stage with Dennis's live band is ever present on this album, doing a better than Tommy version of Shaw. His vocal harmonies, along with almost-Journey front man Kevin Chalfant buoy the vocal textures of 26 East, giving it a luster that should appeal to the intellectually honest folks listening. "East of Midnight" is the perfect melding of prog-Styx and Dennis's nostalgia prone lyrics. Next comes one of the most surprising songs of DeYoung's solo career. Listening to the track, I was thinking how Dennis would have allowed "J.Y." James Young to handle the spoken word intro to the song if Styx was still in tact. DDY is not buying the news media these days. And people from all sides of the political spectrum can embrace his searing commentary. "With All Due Respect" contains a super charged unforgettable chorus along with a dirty guitar riff that sounds part Meat Loaf and part Alice Cooper. The song would likely get a thumbs down from the PMRC, the same idiots that came after Styx in the 1980's for alleged satanic lyrics and backward masking. The salty language is extremely appropriate given the subject matter.

"A Kingdom A Blaze" steps up the societal critique. General observations about politics and the environment, all spot on pertinent. The melody begins quietly and then explodes with DeYoung and Zadra blending their voices into a passionate refrain. The song is like Styx and Pink Floyd combined. "You My Love" is a beautiful ballad that feels very Paul McCartney with elements of early 60's radio fare. DeYoung's voice has held up remarkably well for a guy who is now 73 years old. "Run For The Roses" is a song about what is truly important. Do we seek material success or do we value family and the simple things in life? Kind of a timely song as the world slowly recovers from a pandemic. The chorus contains a large memorable hook followed by an old school guitar solo. "Damn That Dream" is another autobiographical track that examines insecurity and inferiority. Dennis composes yet another very large hook with Zadra providing more Styx-tones with his vocal fills. "Unbroken" has a more adult contemporary vibe that feels as radio ready as anything on this collection. Clearly this record was not just thrown together. DeYoung is still vocally nimble enough to hit low and high notes in the same song, adding real color and tone to these soundscapes. "The Promise of This Land" looks back at what we were all told growing up as Americans. The dream is real. This place is special. This is boomer talk at it's most optimistic. DeYoung believes in the promise, but is it still possible? The musical template alternates between progressive and pop. It's classic Dennis. There is hope that maybe we can rekindle. "To The Good Old Days" is a breathtaking post card featuring Julian Lennon on vocals. DeYoung caught the Beatles bug at a young age and this song likely fulfilled a need he had to pay homage to his heroes. Their voices work wonderfully and it's just great to hear Julian again. The 1990's more or less ended his radio presence after a strong run of albums. A.D. 2020 is a fitting outro. A reprise of the A.D. tracks on Styx's Paradise Theater album, using the same melody.

I am a biased reviewer. This would have to be a really bad album for me not to like it. I am a big fan of DeYoung. I think his former band mates owe him an apology and a larger share of their earnings. They owe the fans a reunion too. The material on 26 East Volume 1 validates the genius that is Dennis DeYoung. The arguments made against Dennis these days come from desperate souls in cyberspace who might be part of the angst and turmoil DeYoung is writing about in some of these songs. If this truly is a swan song, it's a loud, bold one that puts an exclamation point on a career that could have been far more active in recent years. What Dennis does on this album more than anything else is reaffirm the notion that he was the most important part of Styx. And keep in mind this is volume 1. Thankfully more music awaits before Dennis calls it a solo career.

Album Rating 10.0

The Proven Ones - You Ain't Done (Album Review)

What do the Fabulous Thunderbirds, The Rolling Stones and Wilson Pickett have in common? They more or less sound like the Proven Ones if you mix them altogether. Singer Brian Templeton brings a soulful swagger to the mic. A seasoned pro who has spent years honing his vocal chops. Their new record "You Ain't Done" is a gritty throwback to the bluesier elements of classic rock radio. This is not a bogged down blues album though. This is mostly good time rock and roll with a soulful groove. Guitarist Kid Ramos channels all of your favorite old time players. His grooves are both dirty and fun at the same time.

"Get Love" and it's instrumental intro feel like B.B. King or Eric Clapton with lots of horns. The bar has already been raised to a high place if this is your introduction to the band. "Gone To Stay" which was the first single released from the album, is a burning, stomping, ranting sing-a-long with a catchy chorus and and equally memorable horn section. Jimi Bott's drumming has a Charlie Watts feel as he sets the table for "You Ain't Done", the title track to the record. The song is a soulful shuffle augmented by more well placed horns and Anthony Geraci's fine array of keyboard sounds. Ramos and Geraci tag team amazingly well thorough this record. One can envision a live jam of any of these songs that could last long after last call.

"Already Gone" feels very Fab Thunderbirds but with more vocal harmonies. The arrangements and production values on this album will impress you from start to finish. The band duets with Ruthie Foster on "Whom My Soul Loves", a track that could be mistaken for something from the Stax era. "Milinda" keeps the string of close to perfect going with a more laid back approach between all the players. "Nothing Left To Give" feels very Santana, with a more Latin approach, and with plenty of opportunity for Ramos and bass player Willie Campbell to really stretch out and explore some new territory. And there's great percussion which really gives this track it's own vibe. "She'll Never Know" is another less is more soul track with an infectious groove. "I Ain't Good For Nothing" is a tongue and cheek blues number with a New Orleans feel to it. "Fallen" is more of a rocker with fiery guitar leads and Ramos growling his way through it. "Favorite Dress" is the most Stones-like tune with a riff that emulates "Jumpin' Jack Flash" to some extent. The tune expands further from there into a potent blues rocker.

This ends up being an amazing journey of rock, soul and blues. These are all well crafted songs. They are all instant classics. Well written, well produced and ready for consumption. This is the kind of music that used to be the norm rather than the exception. If you are looking to start a party, "You Ain't Done" is the perfect album for such an occasion.

Album rating 9.8

Saints Trade - Time To Be Heroes (Album Review)

Saints Trade is an Italian melodic rock band from Bologna, Italy. Their album is called Time To Be Heroes. The band is living just a few miles from the epicenter of a global pandemic. The title of the album may be mere coincidence or perhaps fate. There are three members of this band listed. They are Santi Libra on vocals, Andrea Sangermano on bass and Claus on guitars. Obviously there is a drummer not listed playing some solid fills on this record. On first listen there is a Quiet Riot meets Toto thing going on. I know those are two bands that typically don't go together. The rock and holler style meets melodic and precise excursions. Fans of heavier stuff and AOR oriented material can kinda hang in for the same song. "Livin' To Rock" opens with a catchy riff coupled with some sprawling keyboards and well placed call and answer vocals. At first listen this could be a number of different bands. Kiss, Van Halen, Journey, Firehouse...These Italians have gleaned from the best.

"Night Children" leans on another big riff and then some fine noodling. Libra's vocals are reliable and carry enough weight to keep the party going. The high harmonies have a Damn Yankees thing going on. "Destiny" is more Toto than Quiet Riot except for the big blasting chorus of vocals. Like a sophisticated metal party without the bleeding nostrils. "Higher" employs a bluesy riff that settles into a chord that feels very Twisted Sister or Survivor. It's a killer music bed to sing over and the band makes the most of it. "Two As One" is a slow building power ballad; something XYZ or Vandenberg could have written. The guitar tone is perfect for the emotion in the song. So far, so good. Oftentimes when I write about bands from Italy there is something lost in the translation. Not so with Saints Trade. They truly get how to do this. "Queen of Love" is a straight ahead rocker that finds a nice little power hook. The band glides over it, but surprisingly they change tempo hard and then revert back to the punkish melodic groove. "Born Hunter" is an instant radio classic, with a ginormous riff and some sweet chord changes along with huge choruses.

"Hills of Sarajevo" has a different feel to it. More progressive and serious in nature. There are still some epic chord combinations and a wonderful guitar solo. "Twist In The Tail"is an attempt at a dramatic story line. Not sure it works as intended, but it gets points for the attempt. "The Rose" returns to a more straight forward hard rock sound. Not quite as many hooks as the previous material. "Middle of Nowhere" is a hybrid rocker with ballad like tendencies. A bit repetitive. The band is still hitting on all cylinders musically speaking but might be running a bit thin on lyrical ideas. Still a strong record that will make any melodic rock collection better.

Album Rating 8.8

Albert Castiglia - Live At The Funky Biscuit (Album Review)

Albert Castiglia is slowly, but surely becoming a blues legend. In the state of Florida his name is getting fairly close to being a household word. His latest album, Wild and Free should expose Albert to a national audience. The recording is an inferno of blues guitar pyrotechnics. You can feel the sparks flying out. Castiglia is a gritty, soulful singer. His rough and tumble delivery is only matched by his guitar work, which is literally on par with any of the blues guitar greats you can think of. At one point Albert was the lead guitarist in Junior Wells' band. He's only sharpened his craft in recent years.

This live performance showcases a musician at the top of his game. Close to 70 minutes of off the hook blues-rock played to near perfection.  Tracks to crank up loud include "Big Dog", "Hoodoo On Me", "Get Your Ass In The Van" and " I Tried To Tell Ya". Truth is, the entire album rocks from start to finish. This is an artist in his element in a small venue, just tearing it up. This might be the best live album you will hear this year. Special guest Mike Zito duels on guitar with Albert making this an even more memorable event. Most albums start slow and build. This one starts at full throttle and never lets up.

Album rating 9.9

John Blues Boyd - In My Blood (Album Review)

John Blues Boyd has a backstory. And rather than going into detail about it in print, you can actually listen to it on his new album from Gulf Coast Records entitled "In My Blood". The album's title track lyrically sets the stage, "the blues is in my DNA". Born in the 1940's, Boyd has lived the blues in a way that is not a celebration of all that is right with American life. These are struggles that most of us gloss over. Boyd uses it as "inspiration" for these real life memories that are made into authentic, soulful and heartfelt music.

"What My Eyes Have Seen" is a swampy history lesson of struggle and injustice. Boyd preaches like an Old Testament prophet calling out from the wilderness. The arrangements are tastefully assembled. There are soulful horns and a bluesy tribal beat. The guitar work throughout is stellar and complimentary. Kid Andersen and Guy Hale help write, arrange and produce. Their attention to detail and reverence for Boyd himself makes for a contemporary blues album with a traditional feel to it. The keyboards on "I Hear The Blues Somewhere" add a 60's rock dimension to a pure blues composition. Mix in some fine lead guitar work and the appropriate amount of harmonica, and you've got a blues radio classic.

"On The Run" is a re-tell of actual events relating to the civil rights movement of the 1960's. The lyrics will jolt you into a reality that few of us have experienced. The story being juxtaposed by a perky blues arrangement peppered with horns and guitars. Boyd's simple storytelling swagger is a gift for both historians and lovers of old soul. "Her Name Was Dona Mae" is a delightful story about Boyd's wife. Throughout the record there are short interludes called "My Memory, Pt. 1,2,3 and 4". Boyd tells a brief story over some church organ sounds and what might be cricket sound effects. Much like snapshots at various times in John's life.

"Oh California!" is joyful tune about a refugee from Mississippi who escaped the insipid racism that drove him away. "The Singing Roofer" is a swinging autobiographical track that glorifies swinging the hammer in the hot sun. Kid Andersen's arrangements elevate these working class anthems to higher musical terrain. "Forty Nine Years" is a showcase for all the musicians involved, clocking in at over 6 minutes. It's a closing time jazz-infused torch burner. "I Got To Leave My Mark" is blues radio ready. A mid-tempo bouncer featuring some sweet guitar lines and the perfect amount of horns.

Boyd closes the album singing about the hard life that makes this recording a cathartic experience. These aren't just lyrics, they are things that are stuck in Boyd's head. And his willingness to share them with us all makes this more than just a blues album. This is a dark and sometimes joyful history lesson of America's ongoing evolution from injustice to awareness. It's a process that hasn't been fully realized yet.

Album rating 9.4

DeCarlo - Lightning Strikes Twice (Album Review Redux)

Tommy DeCarlo is the current lead singer of Boston. He was one of the greatest replacement singers in rock history. His vocal similarities with the late Brad Delp are remarkable. DeCarlo reinvigorated the Boston brand about 10 years ago and has toured with the band extensively and even recorded a new album with the group. Tommy ends up being more than just a a good sound-alike. He's studied the Boston way. He'd sung their songs backwards and sideways long before he got the gig. And his ability to let the music do the talking is something you'll hear from start to finish on DeCarlo's debut album Lightning Strikes Twice.

Rather than reinventing the wheel, Tommy and his son Tommy Jr, bring the wheel back! Tommy DeCarlo, Jr.'s guitar work is a masterful tribute to all of the fine players from the Boston tradition, including Tom Scholtz himself. And Tommy D has mastered the Boston keyboard sound and has composed some parts that replicate the past in a fresh way. Songwriting is not an easy task. There are only so many note combinations and unused phrases in the universe. Yet Tommy has managed to find 12 new and interesting combinations that will blow you away.

"A Better Day" opens the album with dueling crisp acoustic guitars as TD glides over a soundscape the builds with harmony vocals. The message in the song is simple and optimistic. The inspiration comes directly from the first two Boston albums. But even more so, there is a direct honesty in the lyrics. There aren't any political messages or difficult to grasp concepts. This is "Dancin' in the streets of Hyannis" on steroids. "You Are The Fire" showcases a potent mix of acoustic and electric guitars as Tommy's voice soars. In the old days, especially in the 1980's, you might refer to this as power pop. The guitar tone pays homage to Boston, and the guitar solo is sugary sweet. Not sure why radio here in the states would shun something that would light up their phone lines again, that is if they have a studio line.

"Give Love A Try" has a bass line that reminds me of Foreigner's Juke Box Hero, at least at the outset, but then moves toward more ethereal textures. Again Tommy Jr lays down a masterful solo that parodies David Gilmour a little bit. "Into The Storm" (instrumental) leads into the ginormous hook of "Lightning Strikes Twice". In the old format, you'd play these two tracks together for maximum FM radio joy. This is one of those hooks that is going to stay in your brain long after the song is over. "Still In Love" is a beautiful melodic power ballad that begins with just piano which then progresses into a band effort with electric and acoustic guitars and lush harmonies. "Rock N'Soul" takes a page out of the Foreigner handbook, but in a brand new way. Tommy Jr.'s crisp guitar work is juxtaposed with some terrific saxophone.

"There She Goes" is the should-be #1 rock radio single. A perfect melody, with all of the Boston essentials. If this was released in 1989 it would have done well on both rock and top 40 formats. And the guitar and keyboard solos are both phenomenal. "Stand Up (Play Ball)" sounds like a great Boston B-side, or something that was left off of "Don't Look Back". Tommy and crew have a formula and they stick to it with great discipline. "The One" is another exquisite power ballad that showcases Tommy DeCarlo's smooth vocals. Chicago the band called and said they want their 1984 melody back. "Gotta Go" sounds a bit like Hagar-era Van Halen mixed with Boston and Journey. More thoughtful and interesting keyboards and guitars from both Tommys. "I Think I Fell In Love With You" is another great hybrid song, with quiet and upbeat parts. And great voice blending toward the end of the song.

All of these songs possess radio potential. This would be a multi-platinum album if it were released in 1987. In 2020 it streams for free and radio is mostly silent because as I've said a thousand times on here, there is no support system for excellent music like this anymore. Tommy DeCarlo has harnessed the Boston legacy and moves it forward dramatically. And he did this without even a tiny acknowledgment from the music industry. It goes without saying that if you like Boston or Foreigner or even Journey, this album is for you. In fact, at this point it's the best melodic rock release of 2020.

Album Rating 10.0

Steel City - Mach II (Album Review)

They say rock is dead. I would argue that it's on life support. And bands like Steel City are the medics that have been called in to help save the patient. Their new album Mach II is a glorious and bombastic throwback to the glory days of mainstream rock radio. The band's DNA contains strands of Warrant, Winger, Deep Purple, Van Halen, Skid Row and Extreme to name just a few. The big choruses and fat original guitar riffs are like being led to an uncharted dessert island of bikini clad women. This is a joyful rediscovery of what makes rock great. Vocalist Roy Cathey is a cross between Sebastian Back and the late Jani Lane. He's got incredible range and can do stuff that the auto-tune crowd can't even do with the auto-tune. Guitarist Mike Floros is a gifted player and stretches out on almost every track. BJ Zamba is an absolute beast on the drums. Bass player Jason Cornwell holds down the bottom end with fast and furious playing. And keyboardist Tony Stahl is a master of the synth and the organ.  Now before you drop the needle, or close the lid on your CD player, grab an ice cold beer and hunker down for some glam-infused melodic rock.

"Hearts On Fire" is perfect 80's formula with Kiss like choruses and Rainbow like guitar and keyboard excursions. It's an instant hit song and technically the lead single from Mach II. Zamba's drum intro on "Dead Men" levels into a rocker with some melodic-pop mojo. Cathey's vocals have a touch of Dio swagger. The choruses again echo around as if custom made for a large stadium. "Steel Your Heart" opens with high tech synth that gives way to some tasty guitar work from Floros and the cranium occupying chorus of "Steel Your". There is a bit of dramatic tension in these chord progressions. Cathey and the band compliment these rock radio rhythms with sugary vocal offsets. The blend is a fusion of pop and harder melodic rock at it's finest.

Bass player Jason Cornwell is front and center for the punchy intro to "Wasted Time". A slower but very powerful hook that rises and falls. This sounds like a Bon Jovi track recorded by Deep Purple. A super high point on this record for me. This is what mainstream rock used to sound like. Floros unleashes a guitar solo that rivals many of the brand name players you grew up listening to. The keyboard break at the end could have gone on for another 2 minutes or so and I would have cheered. "I Cry" sounds like something Vixen would have recorded if they were guys. There is a street smart authenticity to these tracks. Even though melody is not in vogue these days, to do this song after song is not easy. "A Little Love" opens with another hit single sounding monster hook. The chorus is a lush sleet storm of voices and Floros grinds his guitar into a frenzy on the solo.

"Still Close To My Heart" recalls White Lion at their best. An acoustic guitar intro that segues into full speaker vocal textures. The vocal arrangements on this record deserve an award. Cornwell's bass is again front and center on "Give It Back". Floros does his best Eddie Van Halen at the outset as Cathey channels David Lee Roth, except Cathey can actually sing. There is a nice bluesy bent to "Give It Back". This is the kind of writing DLR would approve of. Floros unloads a solo that you can feel in the cheap seats. "Spotlight" is a tight, more concise rocker. Cathey's vocal goes into a gnarly Axl Rose Mr. Brownstone voice for select verses. It's as if an 80's rock buffet is being served up. "Prayer For Love" is a brief piano-synth instrumental showcasing Tony Stahl and would make a great rock radio warm up for the album's last stand - the amazing "Down To One". Cathey injects some tangible emotion into his vocal part and Floros switches up his guitar tone to be more sharp and searing. The mix really makes the song soar. The guitar work and drumming at the end is a stellar way to close.

The summary here is that very few new melodic rock albums make me listen repeatedly. When I finished this record, I put it on again and again. This band throws everything they have at the 1980's and that includes the kitchen sink. They make it work because they know how to properly dress these songs in the right musical garb. They also write very good songs. For the fan who wants to go back while still moving forward, Steel City's Mach II is the Delorean you've been waiting for.

Album Rating 9.7

Deltaphonic - The Funk, The Soul and The Holy Groove (Album Review)

Like yours truly, the funky soul band, Deltaphonic is fed up with the music industry. Their new single "Liars", from their third album The Funk, The Soul and The Holy Groove, is a hard rebuke of the current method of making it in the music biz. Those lyrics and the impressive groove behind them instantly gave this band credibility with me. The Louisiana based band is fronted by two core members, Andrew T. Weekes and Paul Provosty. Weekes writes and sings and plays guitar, whereas Provosty plays lead guitar. The band then farms out the other parts to the best musicians including Trenton O'Neal and Ciaran Brennan who both add drums to the mix. The result is an incredible combination of styles and sounds that defy convention. The lyrics are honest tales of hard times on the street. It's not like Weekes is in a room banging out lyrics for songs. He's likely walking the streets with ideas in his head that easily translate to these real life stories.

"New Mexican Rockstar" is a slow, smooth R&B track (think Cupid) with various roots influences. The guitars come at you with a warm subtlety. "See Red" falls in with old rock radio swagger. Airing more on the side of blues, this would be something Lenny Kravitz would steal. "Starlit" shifts to a more west coast late night groove. The production on this record is truly first rate. The lyrics to these songs are not for the simpleton. "The Denouement" is a superb jazzy ballad, complete with strings and a fine keyboard solo. "Bad People" is a bluesy, laid back, mid tempo track that builds as it goes along. The band practices a lost art form - minimalism. Where less is more. You may hear a touch of Little Feat or The Radiators here, but the band's identity is firmly in tact. The guitar solo is worth the price of the entire album.

"Don't Have To Be Good" let's you find out what Led Zeppelin might sound like if they played R&B. It's an uptempo jam with a riff Jimmy Page has in his closet somewhere. Imagine a rock station playing this song? I can. "Ghosts" is one of the more accessible tracks for straight up rock fans. After establishing a groove and then a tempo, the band lays down a wonderful vocal soundscape that feels R&B and rock at the same time. The more you listen to these guys, the more you realize that there is a lot going on. And that categories don't really explain what they do. "If It Don't Bleed" employs a great blues hook but still exudes rock and soul. This style shifting is hard to do while maintaining a level of cogency. But these guys do it on every song. "Mississippi" shakes and stirs all of the aforementioned attributes but adds maybe a southern rock jam band element.

Hearing this music is like being washed up on the banks of Lake Ponchtartrain with a sack of stolen loot. This album captures the spirit of the region and proclaims it with joy. You feel the struggle within the lyrics, but you still feel the presence of a force that carries all of these songs to special places. This is a band that feels comfortable taking musical chances. And they truly pull it off. The Funk, The Soul and The Holy Groove is the Holy Trinity of Delta based music. Put on a set of headphones and prepare for greatness.

Album Rating 9.6

Roomful of Blues - In A Roomful of Blues (Album Review)

This is the blues. It has many other ingredients. Funk, soul, Zydeco, Jazz, and Rock. But under this big tent known as The Roomful of Blues, you will discover what real music sounds like with all of it's stylistic shadings. A band like this is no longer a band but an institution with roots dating back to 1967. You can sample many of their albums from the 1980's until now and there's no question that these boys from Rhode Island have made an eternal mark on the music scene. Roomful is best served live but when you hear these new studio tracks, you will feel as though the band is right there in the room with you. It would not be an understatement to say this could be their best album to date. If anything there is more consistency to these tracks. And in the year 2020, this kind of music hits you like an oxygen tank filled with feel good grooves and authenticity. Who knew old time rock and roll could be counter-cultural? But there is no question that Roomful of Blues is like a musical oasis from the sterile computerized world of bland.

"What Can I Do" opens this collection like a freight train carrying box cars filled with '57 Chevy's. Your ears will marvel at the stand up bass, and the searing guitar work. Horns will blast you from your screen induced trance on "You Move Me". Rather than reinventing the wheel, Roomful of Blues will help you rediscover it. The band has even recorded a song about themselves called "In A Roomful of Blues". A whimsical historical reading of a career of more than a half century, drenched in horns and amazing guitar parts. Chris Vachon's guitar work comprises some of your most familiar blues players. You might hear Eric Clapton or Stevie Ray Vaughan or even Robert Cray. Vachon is a master tradesman who lays it down with the best of them. Vocalist Phil Pemberton sings with a funky swagger and some old school machismo. You'll love the swampy "Watch Your Back" and the prescient "Phone Zombies".

There is a mixed bag of sarcasm and seriousness in most of these songs. Ten of which are written by the band. You'll swing to "She's Too Much" with it's dance floor cadence and those perfectly placed horn parts along with sax and trumpet solos. You'll Zydeco your way onto the dance floor for the Cajun baked "Have You Heard". No need to travel the world when you can put on this album. This isn't just world music, it's around the world music. You'll get a dose of late night blues on "Carcinoma Blues" where the band stretches out as they discuss an actual cancer patient. After all this is the blues. With that said, the guitar work on this track and the horn section is pure ear therapy. "Too Much Boogie" will take your mind off of the cancer patient and will persuade your toes to tap on your way back out to the dance floor. It's modern day big band blues.

Other fine tracks include the funky soul of "Let The Sleeping Dog Lie" and the punky blues of "We'd Have A Love Sublime".  There's even a jazzy ballad in the middle of the album called "She Quit Me Again" which will give you a breather in-between dance numbers. This is old school rock with nods to all the great styles that led to the birth of rock and roll. This music might not appeal to people who've been conditioned by electronic devices and the 24 hour news cycle. As I write this the world is enveloped in the Coronavirus. But I can't think of a better musical anecdote to a world in chaos than Roomful of Blues. These kind of rock and roll pathogens can cure what ails the soul.

Album rating 9.7

Grand Design - V (Album Review)

Grand Design is: Pelle Saether, lead vocals, Dennis Vestman, guitar and backing vocals, Stefan Westerlund, bass guitar and backing vocals, Joakin Jonsson, drums and backing vocals and Dan Svanbom, lead guitar and backing vocals. The band hails from Vesteras Sweden and cites Def Leppard as their main influence. And without a doubt, the plagiarism is real. And it's not at all a bad thing. Saether's lead vocals are very different than Joe Elliott's. What's astonishing is how the band creates new musical landscapes that capture the essence of Leppard. There are a few other elements present as well. The smooth bouncy rhythms mirror 80's synth rock with extra helpings of Vestman and Svanbom's guitars. The tribute here might be more to the sound that Mutt Lange pioneered. The swath of lead and background vocals drench the ears with infectious vocal parts. Pelle's tenor adds another dimension to this as the band can write higher scales than Def Leppard could.

The lead single, "Right Away" is an arena rock powerhouse with an immense chorus that is instantly in your consciousness. The guitars thrash along like a 70's muscle car careening down a dark road. This is rock and roll! At this point you might want to fasten your seat belt. Svanbom's lead guitar work rivals your finest guitar slingers from the 1980's. "I Won't Cry Over U Tonight" begins with a tense keyboard intro that morphs into a rumbling rocker peppered with incredible guitar leads and vocal bursts. The lush, powerful harmonies are only slightly eclipsed by the guitars and that pounding, relentless beat provided by Joakin Jonsson. There is no logical reason for American radio to ignore this, but We know that they will. There is a combination of substance and reckless fun and indulgence that goes against everything that radio is right now.

"Strandead (Trapped In A Heartbreak Zone) is a gut-wrenching mid-tempo melody with larger helpings of choruses and relentless guitars and drums. Methinks Joe Elliott and company may want to pilfer one of these gems. It's as if Def Leppard was injected with youth and energy hormones. "Wat Are U Waiting For" (misspelling is on purpose) is another great mid-tempo rocker featuring another sumptuous chorus and a bed of synthesizers that give the guitars a nice launching point. "Shame On U" opens with a monster riff and powerhouse chorus which sets the stage for a fast and furious rocker with plenty of Leppard spots. "Take Me To Yer Heaven" crosses over into "Animal" territory in some of it's most obvious characteristics but easily finds an extraordinary original groove - certainly radio single ready!

"I Dunno Wat To Say" has a fire that was likely inspired by Pyromania as it sounds like a lost track. Saether's high note intro is something to behold. The band does a very formidable cover of Scandal's "The Warrior", glamming it up with a bevy of guitars and keyboard effects. Typically I wince when band's do covers that are already great songs. The concern is, what if they ruin it? They don't. In fact their take is a complete joy ride, including a slightly more adventurous guitar solo as compared to the original. Finally, there is "Guilty of Luv In The First Degree", with it's firecracker start and ginormous drowning in vocals soundscape. And so 11 songs later you still don't have a bad track.

You will come away from this album with a kind of joy that only happens after listening to feel good music that rocks while at the same time awakening some neurons that were once conditioned for this style of music. This isn't a rip off of Def Leppard as much as it is a celebration and rebirth of a great style. There is no downside to this record. This is good time rock and roll with a fine attention to detail. This might end up being your favorite melodic rock album of 2020. You'd get no argument from me.

Album rating 9.8

FM - Synchronized (Album Review)

FM is Steve Overland, guitars and lead vocals. Merv Goldsworthy, bass guitar. Pete Jupp, drums. Jem Davis, keyboards and Jim Kirkpatrick lead guitar. If you live in the United States, this band has mostly managed to stay under the radar for more than three decades even though they achieved modest success here opening up for Meat Loaf, Tina Turner and Foreigner. In recent years the band has created some very impressive melodic rock. The kind other bands can't seem to make anymore. Their newest effort, Synchonized, is more of their contagious form or rock. The comparisons to various 80's outfits are what writers typically write when they talk about FM. But this is a band that was invented in the 1980's, so people ought to be comparing more bands to them than comparing FM to other bands. With that little pet peeve out of the way, this album is another breathtaking foray into the singable melodic strains of real rock done the old fashioned way. Vocalist Steve Overland is a legend in Europe and his vocals haven't really changed over the past 36 years. His distinctive tenor is the perfect vehicle for these well crafted songs.

The album's title track roars into gear with a great guitar and keyboard intro that meets the body of the song head on. The production is crisp and clean with no overwrought vocal effects or gimmicks. In the 80's there might even be a dance remix of "Synchronized". "Superstar" is next and it's another straight forward up-tempo melodic rocker. The band alternates keyboard sounds, using Hammond B's and fatter synth sounds depending on the track. "Best of Times" is a tad more rootsy with it's acoustic guitar coupled with Overland's very Paul Rodgers take. Jim Kirkpatrick does some great soloing. It's an epic song and one of my favorites on this record. "Ghosts of You and I" is a sad descriptive tale of lost love. It's a mid-tempo ballad delivered with lots of emotion, keyboards and soaring guitars.

FM is such a well oiled machine. "Broken" continues the perfect set with more melodic greatness and superb guitar work. "Change For The Better" is another potential hit single with it's classic guitar intro, followed by a light and friendly melody that feels instantly familiar. A big organ sound starts "End of Days". The guitars subtly slip in before they crescendo and then settle into a pulsating groove. No two tracks are alike on this album. The band goes full Gospel on "Pray" with it's funky, soulful beat and big guitar riff. Tons of delicious guitar work here as the band finds a tight groove. "Walk Through The Fire" is a distant cousin of Mr. Mister's "Broken Wings". The band uses a similar build up and payoff, where the keys and bass are exposed. A great template to use for maximum emotional pull.

"Hell or High Water" sounds like something Lou Gramm did from "Long Hard Look". Giant guitar riffs and hooks with Overland doing his best to pull down those notes Lou used to sing in his sleep. "Angels Cried" is a lush, bluesy power ballad showcasing Overland and his Paul Rodgers side again. This track is stuffed with great choruses and hooks and would be a monster hit if radio was radio again. "Ready For Me" closes things out on a super high note. This time more on the uptempo all in one vein. One of the best songs on the record with guitars and keys dueling it out.

If a band was able to compose a couple of these songs and make them sound this good it would be a major achievement. FM has managed to craft 12 amazing melodic rock songs with hints of blues, soul and pop. So far this is the best album I've listened to in 2020. Yes I have biases. I enjoy a more stripped down approach to production and I am far more enthusiastic when the songwriting isn't mundane or derivative of everything else being churned out of various places in Europe. I can't envision a more complete and instantly lovable record than this one. FM proves why they continue to be the gold standard in this genre.

Album rating 9.9

Synchronized will be released April 10th via Frontiers Music

One Desire - Midnight Empire (Album Review)

Finland is now ground zero along with Sweden for some of the finest melodic rock being made. The regional flavor of this music is slightly more modern compared to your 80's record library. But the changes are sophisticated and are part of an overall evolution of sound. When it comes to the Finnish band One Desire, they stormed the gates in 2017 with their self titled debut album via Frontiers Records. The music video for the song "Hurt" has gone over 2 million views on YouTube with 3 million more streams on Spotify. All that with zero radio airplay here in the United States where new melodic rock has no support system. One could even conclude that there is a blackout or some kind of weird moratorium on decent melodic music.

One Desire is: Andre Linman (lead vocals, guitars), Jimmy Westerlund (lead guitars, backing and occasional lead vocals), Jonas Kuhlberg (bass guitar) and Ossi Sivula (drums). Whether you like the sound of this band or not, you'd be hard to find a group that plays this tightly. They are a well oiled machine hitting on all cylinders. The lead single from their sophomore album Midnight Empire is called "After You're Gone". Lyrically this is a band that wears their hearts on their sleeves. You can hear the angst and lament as Linman delivers his crystal clear vocal above a wall of acoustic and electric guitars. Linman has limitless range and can evoke emotion which in turn drives these lyrical themes to higher ground. "Shadowman" turns the melodic rock paradigm on it's head with a modern dark urgency vocally and with many musical ingredients, including a guitar solo that sounds exactly like something Neal Schon might play. "Down and Dirty" combines pop and progressive elements for a unique softer romp into new terrain. The modern elements in One Desire are less telegraphed and far more evolutionary than other bands in this genre. This is truly an evolution that doesn't offend those who embrace the past.

"Godsent Extasy" plays more to the 80's model but has many flavors and colors that make this an uptempo hybrid of many different forms. In any event, the guitar solo rocks. "Through The Fire" is a stunning acoustic guitar ballad that completely jumps out of the album in a unique way. As if the band suddenly realized Extreme or Mr. Big, but with bigger, loftier progressions. "Heroes" builds majestically into a progressive rocker with piercing guitar leads and a deluge of vocal textures. This would be MY single if I were picking them. "RIO" is a soft rock slow burner that gradually builds into full blown an original sounding power ballad that feels very retro, but with new melodic textures. This ends up being one of the best written songs on the record.

"Battlefield of Love" starts acoustic but then goes big. Big keyboards, guitars and vocals. Borrowing from modern rock and late 80's synth based pop and rock. "Killer Queen" is a relentless rocker with desperate lyrics and modern rock soundscapes that compliment the story line. "Only When I Breathe" is a bit of a showstopper. Linman finds a sweet spot vocally with the rest of the band providing emotional support and passion.

There is a lot to digest here. The album combines a powerful mix of melodic rock, modern rock and pop. The album has a high level of confidence where the playing, writing and arranging is at a level that few artists will get to. This is the music that should have arrived decades ago as the natural next step after the 1980's. It's 30 years in the making, but here it is. The potent mix of acoustic and electric guitars make this a real ear candy sensation. But it's the consistently great singing, songwriting and somewhat bombastic production that make One Desire the "one" album to seek out this year for new melodic rock fans.

Album Rating 9.1

Peter H. Nilsson - Little American Dream (album review redux)

Peter H. Nilsson is not known to American audiences even though he released his debut album, Little American Dream almost 2 years ago. His follow up album is on the way, and I'll definitely be reviewing it here. In fact, Peter's new track, "Can't Come Down" is now streaming alongside the other 9 tracks on Little American Dream. The new song carries a thoughtful metaphor about being in a risky place on a high wire. Nilsson is the guitarist and co-writer of this excellent material along with Nashville singer Chris Biano. Chris has a smooth, soulful delivery. The music itself echoes bands like Breathe, Foreigner, Go West and Icehouse. This is a heavier west coast groove. It's not hard rock, but there is enough going on to make fans of a harder sound take notice.  Other session musicians include Patrick Adiels on bass guitar and drummer Jason Meekins. This music sounds incredibly familiar, even though you've never heard it before. No, these aren't recycled riffs and hooks, but new music that is accessible to the ears. The vocals and guitars create the soundtrack for late night driving.  Nilsson and Biano have created their own sound. The record's title track intros with a catchy synth riff that allows Biano a nice launching pad for his sincere warnings about chasing the American dream too hard. The moody undercurrent sets the stage for one of the most consistent rock albums in years.

"Me and You" is a lengthy hypnotic rocker, with an instantly singable chorus and the clever use of the word "hey" as part of the vocal call and answer parts. One of the lyrics is jealous of something new, me and you. "Timeless" is another spellbinding arrangement with romantic lyrics. There is a heavy dose of class inside these grooves. These men are thoughtful arrangers and writers. The choruses all pack a memorable punch. Honestly any of these songs could be radio singles. Each track has an above average, longer than normal guitar solo. Peter is able to stretch out on guitar and Chris Biano's vocal phrasing mirrors the rumble of the guitar. "Love Is Worth Fighting For"is one of the lengthier tracks on the album, and it contains some very satisfying hooks along with more sonic beauty with Biano and Nilsson mounting a two pronged attack. Peter's work on guitar is not flashy, but it is very satisfying. You might compare it to David Gilmour or Phil Manzanera (Roxy Music).

"Haunted" is a perfect song for the moodiness of this record. It's metaphorical ghost is an ex-lover who can't be forgotten. And the music matches the subject matter perfectly. "Am I Dreaming", "Magic" and "Rumours" lean a little harder toward pop, but still manage to be full fledged mid-tempo rock songs featuring ear-friendly guitar tones from Nilsson and Biano's ethereal vocals. These songs would be singles on other albums where there wasn't this much consistently good material. On this album every song is it's own independent island of greatness. This is also a record you won't tire of. It's polished, but arranged in such a way that allows you to find new things the more you listen.

Peter H. Nilsson has created a modern melodic rock masterpiece with the support of other high caliber musicians. This work goes largely under the radar in many parts of the world. But this is the one time the internet helps a musician receive deserved exposure. This was my favorite album of 2019 and with a new song added to the playlist, it's even more of a treat now.

Album rating 9.9