Tommy DeCarlo - Dancing In The Moonlight (Album Review)

 

I'm not sure what more people want from Tommy DeCarlo. He has successfully hoisted the Boston legacy on his back and is proudly reproducing the music that captivated fans worldwide back in the late 1970's and into the 80's. On his second foray into the world of new melodic rock, Tommy hits another grand slam with an album chock full of potential radio favorites. The problem for him is, will anybody hear it? Will any American radio stations latch on to this well produced set of legacy extending songs? The answer is likely no. It's up to the music explorers that cull through various streaming platforms to share this with their musical comrades.

The album's title track "Dancing In The Moonlight" sounds like a leftover from Boston's 2nd album "Don't Look Back. Decarlo and his team at Frontiers have mastered that vintage Beantown sound, especially the Tom Sholz aspects. The guitars instantly bring you back to that glorious point of entry, when the world's best debut album was made. And this happens song after song. Unlike Tommy's debut album, this latest work is an unabashed throwback to the Rockman guitar sound and those unforgettable hooks. The guitar break on "Change Our Fate" has that pattented Boston pause before the next onslaught of sonic wonder. It's all good because the songwriting is on par with anything Sholz and the late Brad Delp could come up with. "Beyond Forever" is a ballad that echoes "A Man I'll Never Be" from the mothership's sophomore album. Alessandro Del Vecchio's production is smart and minimalist. There is no attempt to reinvent something that already works perfectly. Some will say this is too derivative. I say this music provides closure and a happy place for those who still want to go there. 

The nostalgia continues on "Life Is Just A Game" where some extistential questions are addressed in that late 70's Boston style featuring an eerily accurate Sholzian guitar solo. "No Surrender" employs a shiny acoustic guitar line underneath DeCarlo's soaring tenor. This is Boston Next Generation. These songs never deviate from the formula which if you ask me is the perfect remedy for the dark fury that permeates mainstream radio culture. "The Game Is On" mentions wheels and engines and other reliable Boston metaphors. It's a tribute to everything we love about this music.  A swirling keyboard intro adorns "The Road Will Lead To You". As you listen you imagine this could have been that missing Boston album that should have been released between "Don't Look Back" and "Third Stage". DeCarlo has the advantage of being a fan with a deep understanding of how the originals came to be.  The guitar work of both David Julian and Martin Jepsen Andersen is both accurate and stunning. 

"In The Hands of Fate" might be the only song on this album that deviates slightly from pure nostalgia. It's a bit more progressive than the others but close enough to not be a sore thumb. "Find The Love" really has a Third Stage groove. Nicholas Papapicco finds his mojo on the cymbals and high hats and no doubt is a fan of that multi-platinum debut record. "Home To You" has an immediate big hook using both acoustic and electric guitars. The vibe is Boston and a dash of Foreigner and gets stronger as the chorus hits you like a home run at Fenway Park. "Spread Your Wings And Fly" starts slow and builds with a chorus of voices in the classic Boston power ballad format. This would be a candidate for my make believe radio station where only the best music is offered. "You and Me" is last call for dancing in Hyannis. Another gold nugget of songwriting goodness. Tommy is reaching for heaven and he's hoping this music doesn't fade away. 

This project is everything a Boston fan could want and more. A remarkable start to finish effort that puts it on par with any of the Boston albums. Nobody in the rock media will tell you this. Nobody in the rock media will even review this or cover it's release. Classic rock stations won't find the testicular fortitude to feature any of these songs next to the classic works that inspired them. The question is: If a Boston song falls in the forest is there anyone there to hear it? For those who seek, they will find the music we all grew up with.

Album Rating 10.0

 

Streetlore - Streetlore (Album Review) Art of Melody Music Italy

Here in the United States we have no idea how much of our old music is being replicated in other countries nowadays. The music of the 70s, 80s and early 90s. There are bands from Europe that love that sound that we ditched back in 1992. Grunge made melody and harmony and big choruses cheesy and a thing to be ridiculed. 

Streetlore assembles the best musicians in Italy to create an epic melodic rock masterpiece. The definitive lineup includes Terry Brock, Jesus Espin, Sue Willets, Dion Bayman, Davide Barbieri, Eric Concas, Stefano Lionetti,  Mario Percudani, Josh Zighetti,  David Geraldino, Satin and Marcello Spera. It's a who's who of melodic Italian rock. It packs a lot of punch yet doesn't sound too much like any one artist from the past. There are influences for sure. 

A great example would be the song "Crossroad" with its exceptional vocals and chorus. The layered background vocals and the classical guitar work set this on it's own path. "Storm" is somewhat like Journey or Night Ranger in tone with some strong keyboard parts and high tenor vocals. The song gets better with each spin. "Friends In Time" sounds like a rock radio hit single. The vocals are clean and the music flows with a punchy guitars and smooth keyboard parts. It's a great rocker with pop tendencies. One of the album's best songs.

"Aeglos" is a big majestic power ballad with orchestral touches and superb drumming. And the guitar solo is absolutely stunning. "Only Wounds Remain" has a great mid-tempo groove that has some pleasant chord progressions. The vocals really kick in with multiple voices blending beautifully. "Shelter From The Rain" features a female vocalist. She reminds me a bit of Grace Slick in Starship. The song is brimming with emotion and combines some traditional American flavor with old school 80's melodic rock tendencies. And classical instrumentation prior to another stellar guitar solo. So far this album is pulling out all the stops. Excellent special guests and great songwriting. 

"Weaker Than Before" is another steady, straight forward rocker with catchy hooks and vocals coming at you from all sides. There are many hit singles to choose from. People just need to hear this. "Shadows and Lies" is another female vocal part in the spirit of Bonnie Tyler. The music is delicate and then powerful as the tune goes full speed. There are classical tendencies big time here and throughout this project. "Gone" is a rocker that ends the album and does so with guitars and drums blazing. Another monster hook and chorus. 

All very satisfying and thoroughly professional melodic rock songs. In the end the Italians are laser focused on melodic rock like America was in the 1980s. Their passion for the genre really comes to life on Streetlore. It's a winner from beginning to end with no filler songs. Just well executed melodic bliss.

Album Rating 9.6

Decoy - Without Warning (Album Review) via Perris Records

Decoy is a Swedish-Danish collaboration between two melodic rock veterans. Guitarist Torben Enevoldsen, who helped make Jerome Mazza a household name on the first Pinnacle Point album. And singer Peter Sundell from the band C.O.P. and formerly of Grand Illusion. This new collection of songs also features Pete Steincke on bass and Acacia Avenue's Dennis Hansen on drums. The music on this album really falls into the 80's progressive metal category. There are bits and pieces of bands like TNT and Judas Priest. Sundell's vocal range is fairly impressive. Enevoldsen's guitar work is a cross between Joe Satriani and Tony Hernando. Torben is both melodic and fast which makes this music speed along like a freight train. The album features 11 above average offerings. Decoy is not a pop band, they are a progressive band more than anything else.

"Broken Pride" is a muscular leadoff track with some radio tuning sound effects at the outset. The vocals are double tracked and really fill the speakers. It's a big and somewhat repetitive formula. But for fans of the genre, this is a well produced rock album that will require multiple listens to really get the brunt of it. Dennis Hansen is a force on drums. His work has to keep pace with this material, which doesn't slow down. "In And Out Of Love" and "Fire's Gone" lean a bit to the AOR-hard rock sound but still feel somewhat mystical and progressive. Decoy might be more like TNT than anything else but the guitar work elevates it to something less predictable. 

Other standout tracks include "Never Easy", which slows things down slightly, "Reach Out", with it's smoldering guitar licks and the all out blitz of "Without Warning". I also liked the chord progressions in "We Live, We Learn". This record is a very respectable under-the-radar entry into the world of melodic rock. The musicians and their love for this genre is the driving force behind "Without Warning". 

Album Rating 9.1

Satin - Appetition (Album Review)

Satin is a Scandanavian vocalist who has been on the melodic rock scene since 2014. Here in the states it's almost impossible to get information about some of these up and coming artists from this region of the world. And Satin hasn't released an album in 5 years. But for those who crave singable melodic rock with gigantic hooks and fluent guitar solos, this might be the best album of 2022. What sets this collection apart is the level of quality songwriting and minimalist arrangements. Thus the listener can hear the lush background vocals and the layers of keyboards and guitars. 

Right out of the gate "Going Your Way" grabs your attention with a vocal intro followed by a melody that is upbeat and captivating. "Angels Come, Angels Go" is a classic semi-power ballad with real piano coupled with an echoey vocal effect and complimentary electric guitar fills. This music is like candy compared to some of the darker minor key flavored melodic rock of today's scene. "Waiting For Another Man" has a nice flow to it with interesting chord changes that never borrow from something you've heard before. The guitar solo on this one is particularly impressive.

"Everybody Needs To Be Loved" opens with an enormous hook and never lets up. Satin subscribes to the school of memorable intros, guitar solos and cold fade outs. This would have fit nicely on a rock or top-40 station in 1989. Again, the guitar solo is totally effective. Satin's vocals are friendly and accessible throughout. He doesn't seem to be angry or hold a grudge against the world. This is music for music's sake. "A Dream Coming True" marks off the power ballad box with clean, rich instrumentation. The bass and drums are right up front. And the chorus soars big. The acoustic guitar parts are a bit overzealous which adds to the bigness of the melody. This is Bon Jovi but better! Satin fuses a lite AOR sound with a more robust orchestral influence. It must have taken 5 years to flesh out all these ideas and create these memorable songs.

"Looking At You" is a sugary 80's rocker. The drums establish a great beat and tempo and Satin lays down an almost funky vocal lick. It's part west coast rock with a bit more gusto. Think Toto when they rock out a bit. The guitars and keyboards compete for your headphone attention. The sugar rush is totally welcome. The a cappella ending is classic. "Pearly Gates" establishes another massive hook which has you bobbing and rocking. In fact there is a bop quotient if that is a thing, that runs through the more uptempo songs on Appetition. As I listen to this album I think back to that legendary pop rock band Diesel who had a similar album called "Watts In A Tank". It was song after song of super creative music. And this record has a similar feeling to it. 

"Jenny (I'm Bringing You Down)" starts as a sparse ballad that employs more orchestral effects before transitioning to an upbeat rocker. Satin's vocals adapt nicely to the mood swing. It's a curve ball that ends up being another home run. There's even some Brian May-ish guitar work on the solo. As good as all the songs have been thus far, as a former radio guy, I'd pick "Still Waiting" with it's stellar keyboard flourishes and it's solid rhythm guitar work. It just chugs along like a song trying to push other songs out of the way. The guitar solo outros like guitar solos used to do back in the day. "Fight Again" begins like a  hair metal glam rock track. It then gravitates between pop and metal and again like every song on this record makes a powerful melodic statement. 

Few albums deliver at this level. The melodies are just better. In fact these are 10 perfect songs. No album has gotten a 10 this year until now. Satin has created a melodic rock masterpiece for the ages.

Album Rating 10.0

GRAND - GRAND (Album Review)

GRAND is a new band from Stockholm Sweden. There is so much great music coming from Sweden these days. Mattias Olofsson handles lead vocals and is a pure tenor that can hit any high note he wants to. Jacob Svensson handles both lead and bass guitar as well as keyboards and backing vocals. Anton Martinez Matz plays drums and some bass as well. The sound of this band is pure 80's at the decade's most decadent period. Big syrapy keyboards and flamboyant choruses and instantly catchy hooks. It's a cross between Cutting Crew and Toto. These guys have a hardcore pop side to their music. It's actually really refreshing. It doesn't take more than few listens to be fully vested in this terrific upstart band.

"Caroline" is one of the best songs of 2022. It's lilting intro is followed by a slow but steady climb to a mountain of melody that creates an earworm that won't go away. Svensson's guitar fills and leads are tasteful, classy and loaded with texture. Olofsson soars on vocals to places that are typically reserved for classically trained singers. In a better time where great art was once respected, this song would be all over radio. It's too good to ignore. "Stone Cold" is the perfect 1988 top 40 radio tune with smart chord changes and lyrics that tell the story of non-responsive love. The song has a sweet ending on the chorus. These guys are just different. There's more evidence of their uniqueness on "Make It Grand" with it's Bon Jovi-lite sing-a-long hook while still maintaining the Grand scheme of things. 

"The Price We Pay" is a smooth west coast track that delicately ebbs and flows but with all the sticking power of anything else on this album. "Johnny On The Spot" kicks the rock up a few notches while retaining all of the glossy 80's goodness that makes this such a standout collection. High notes abound as Mattias is on the spot! "Those Were The Days" is a superb mid-tempo song that rides along the Pacific Coast Highway with bands like Toto and Sonic Station. The chorus rings out yet again. This band has no shortage of excellent songwriting moments. And all of the guitar breaks are ear candy. 

"Once In A Blue Moon" is an airy, gliding pop song with lush keyboards and guitar work that rides shotgun with the melody. You could fall in love with any of these songs. "Too Late" alternates between smooth and choppy late night hooks. A bit like Mike and The Mechanics or Mr. Mister. "After We Said Goodbye" begins with an 80's syn-drum. It will make you smile, because there is no mistaking this sound for any other decade. The song itself is a bit meloncholy but then transitions to a more triumphant melody. "Ready When You Are" is a stripped down rocker with more guitars and less keyboards. It's more early 80's than the other tracks but is still very effective in it's approach. It almost sounds Pat Benatar-ish. "Anything For You" is a beautiful ballad in the tradition of Alias or REO Speedwagon. It's a big and satisfying way to wrap up this 11 song album. 

This is such a well written and arranged bunch of songs that you'll be hitting repeat play over and over. The vocal parts are lush and clean. The production is smooth and precise. There aren't records being made like this one anymore. GRAND hits a grand slam with their debut. This is just awesome music that echoes a time when life was better and the world made sense.

Album Rating 9.9

Killer Kings - Burn For Love (Album Review)

Killer Kings is a new band featuring guitarist Tristan Avakian, who has over the years been in the orbit of the great Brian May. Vocalist Gregory Lynn Hall is a seasoned AOR rock veteran who was pounding the pavement in Los Angeles back in the 1980s. The name Killer Kings might be a nod to Queen's Killer Queen. Many of the guitar solos will take you back to that classic Brian May style. Hall adds a David Coverdale element to the band. And stylistically it comes off as part Journey, part Whitesnake with a touch of Foreigner and Queen.

An absolute juggernaut of melodic rock greatness. This thing hits like a ton of bricks from the very first rockin' note. If you want the genre to continue, you put this on the radio. Songs one and two are both made for radio singles that instantly solve a 30 year old dilemma. "Burn For Love" with it's Vandenburg acoustic intro and it's sweeping proggy-melodic imprint is a joy for rock fans looking for some meat and a sweet side dish. Gregory Lynn Hall's smoky and seasoned vocal is the perfit fit for these well written melodies. Tristan's guitars will not only fill out those speakers, they will twist, turn and solo with reckless joy. The sound is big and impressionable. 

"I Will Be Stronger" puts the guitar hook right in your face. This is rock radio material if the rock radio era still existed. "Higher" harkens back to the great band Guiffria with a lot of Whitesnake's most accessible top 40 moments. It soars and rocks and feels like an instant radio favorite. The chorus contains enough feeling for one entire album. "In A Different World" mixes in a lot of that Queen guitar sound while the keyboards end up segueing into a wonderful bold lyrical word-guitar cacophony. It's such a forceful song. "Another Night, Another Fight" is a 6 minute opus combining elements of late 70's progressive rock with 80's melodic rock. Like all this material, there is a grandness to it. These are all playable album cuts that you could play on an 80's FM rock station. "Phoenix" is a "killer" battle between guitars, keyboards and vocals. And each instrument comes though without the heavy handed modern production that often plagues newer releases. 

"Two Ships" is a a power ballad that Alias and Mr. Big would have written if they were a couple back in the 80's. The guitars really kick in during the chorus making this more glam than west coast rock. "Losing Me" jumps out of the gate with elements of pop and hard rock and is super convincing in both areas. 

The quality of songwriting is really something to behold on this record. "Do Or Die" is a hard rocking MSG sounding track with vocals, drums and guitars blazing. "The Plains of Yesterday" is another keyboard drenched rocker with more powerhouse vocals and a groovy bass line. "Ain't No End in Sight" is almost a power ballad. It rocks out, but those keyboard parts bring everything back to the glory days of melodic rock.  

In summary, what an amazing album. The powerful singing. The incredible songwriting. Let's not forget Alessandro Del Vecchio who did the production on this one. He really brought out all of those textures from so many influences. This collection will engage you from start to finish and proves that this kind of music can still be creative and relevant. The Killer Kings are Killer.

Album Rating 9.9

Chez Kane - Powerzone (Album Review)

British bombshell Chez Kane returns to the world of melodic rock with her second album, Powerzone. Her self titled debut album was considered to be the best melodic record of 2020 by many commentators and reviewers. This blog and my YouTube channel celebrated that album as a return to form for a genre that, over the years, has nearly faded into obscurity. This new collection of songs avoids the sophomore slump that often happens when expections are set so high.

Returning to the mix is Crazy Lixx mastermind, Danny Rexon. Danny has this uncanny ability to meld the classic hair metal sound of the 80's with classic rock influences from prior decades. It is unapologetic in it's throwback nature. That's what sets this apart from other projects where a more modern approach is taken. 

The album's opening track, the instantly grand "I Just Want You" is almost Jim Steinman in it's big production and whopping chorus. Kane's lead vocals are classy and gritty and of course will take you back to the days of Vixen or Lita Ford. "(The Things We Do) When We're Young And In Love" pulls a bit of mojo from 60's girl groups and melds it with an 80's top 40 vibe. Danny Rexon plays every instrument and is clearly a jack of all trades. It's actually quite remarkable how cohesive and well put together these songs are. It's surprising that Rexon hasn't been asked to replicate this sound for other artists.

"Rock You Up" is a big beat Def Leppard banger with the perfect 80's lyrical footprint.  "Love Gone Wild" is another straight forward runner with Chez singing some precise high notes, a bit like a young Pat Benatar.  And who doesn't love a well placed saxophone (played by Jesse Molloy)? This adds an Eddie Money dimension to things and is a welcome addition to the instrumentation. "Children of Tomorrow Gone" is an epic mix of big synth, driving guitars (plus a killer guitar solo) and another huge, memorable chorus. Chez's confidence can be felt in the way she delivers the goods, track after track. 

"Powerzone" is a breathless rocker with a pounding beat and a swirling guitar solo that goes off on some really nice tangents. "I'm Ready (For Your Love)" is a sassy track that has a bluesy thing going on. Maybe like Alannah Myles on steroids but with all of the Aqua Net that makes this album stand out. "Nationwide" is the poised to be a hit single. It talks about how Chez is not yet an international superstar, but how she thinks she's doing alright. And quite clearly she is. It's another big hook with a clarion call to watch out, she's going nationwide. The message is perfect. The song is perfect. You go Chez! "Streets of Gold" has a working class vibe like Bad Company's "Shooting Star" or maybe "Livin' On A Prayer" by Bon Jovi. It's basically an old school storyteller ballad. It's awesome. "Guilty of Love"ends the album as an 8 minute opus with an extended guitar break at the end and with all the rock radio mojo of 1988. And it competes for best song on the record, thus maybe saving the best for last. 

Rexon and Kane have delivered a melodic rock masterpiece. There are no songs that let you down. There is nothing that would make you skip to the next song. This fills a void that needs filling. The music industry is so stale and predictable. But this record gives me hope that Chez Kane and Danny Rexon can revive a musical style that could even impact radio here in the United States. If the Frontiers label wanted to make waves, they would call radio stations right now, and get this thing on the air. For the rest of us gold miners, here it is. The best example of melodic rock for 2022.

Album Rating 9.9

House of Lords - Saints and Sinners (Album Review)

House of Lords is a band that emerged in the late 1980's and is probably best known for their cover of Traffic's "Can't Find My Way Home". But the band has had a long career, composing melodic and progressive rock for fans of bands like Asia, Whitesnake, Deep Purple and Ten. As familiar as these guys sound, they manage to occupy their own musical space. Band leader James Christian is a thoughtful songwriter who paints his musical landscapes with deep shades of color, while at the same time being laser focused on memorable melodies and choruses. 

The band's latest effort is called Saints and Sinners. In all I'd say the band has moved in a more progressive direction. Keyboardist Mark Mangold has infused Christian's musical ideas with a classical feel. The result is a very unique and meaningful project.

The album opens with a more straight forward rocker, "Saints and Sinners" which really has a Ten vibe. Religious themes abound by lyrics framed with ideas like grace and resurrection. Jimi Bell's guitar work adds a cosmic punch to an already big production. As with all great melodic rock bands, the guitar solos on every song reverberate with intentionality and do more than just compliment the songs. 

"House of The Lord" is one very memorable song. A galloping, edgy guitar riff pounds along and then recedes to a more pop-metal musicscape with Christian's lead vocal delicately soaring to the mountain tops. Mangold does his best Keith Emerson imitation, and you've got yourself a chart single for creative radio formats. "Take It All" is another worthy radio single with big, bold urgency. Three songs in, and you realize that these are well written songs. "Road Warrior" has a hint of "Foreplay" by Boston in its intro but then becomes something more raw and progressive. "Mistress of The Dark" is a song Ozzy could have recorded with more compression. The keyboards steal the show again as they create a memorable groove along with a locked in rythmn section. This is late night driving music in the vein of Golden Earring or Planet P Project.

"Avalanche" is a pure piano ballad which showcases James Christian as an arranger and a singer. The results are pretty impressive. Think Saigon Kick, "Love Is On The Way". "Roll Like Thunder" has a Def Leppard vibe with an abundance of vocal harmonies and qualifies as one of the best tracks on the record. "Razzle Dazzle" is part Led Zeppelin and part Deep Purple with a hint of Queen. The references abound on this project and it's all a good thing. "Dreamin' It All" starts with Johan Koleborg punishing the drum kit and then transitioning to a straight up big melodic rock song with a relentless guitar riff. "Takin' My Heart Back" is another superb rocker that is both melodic and progressive and has one of the best guitar solos on the album. "Angels Fallen" starts rough and then settles into a sweet groove held together by the powerful guitar and keyboard interchanges. The chorus seems to get bigger and more intense as the song reaches its conclusion. It's as if you've concluded your musical workout with one last sprint to the finish. 

In conclusion, this is one serious melodic and somewhat progressive rock band with thoughtful lyrics and a knack for painting big musical portraits. It gets better and better with each listen. Hopefully there is an audience that will appreciate the depth and creativity that went into "Saints and Sinners". One of the best albums of 2022. 

 Album Rating 9.8

Sunstorm - Brothers In Arms (Album Review)

Sunstorm could also be called the "Italian melodic rock connection". The Italians and the Euros in general have a certain way of doing melodic rock. Mostly a project band, Sunstorm has gone though many different incarnations. In the early days, Dennis Ward produced the band and the sound was more like Journey or Asia. Original lead singer Joe Lynn Turner allegedly did not want to continue doing these projects for Frontiers Music. Rather than retiring the brand, the label decided to recruit Lords of Black singer Ronnie Romero who ironically has performed with Turner's old band Rainbow. 

The results after two albums is pretty impressive. Some believe that Sunstorm isn't Sunstorm without JLT. The problem with that sentiment, is that Sunstorm was always like Steely Dan. A studio band with different musicians and an in-house team of players devoted to making progressive melodic rock. On the band's latest effort "Brothers In Arms", Sunstorm takes steps both forward and backward. Embracing the earlier melodic AOR sound, while retaining some of the more harder rocking themes of the last few albums. A lot of the band's identity rests with Alessandro Del Vecchio who gets a lot of flack for being over-exposed and derivative of other bands and projects he's involved with. It's easy to be a critic when you have a bias and don't understand what is happening in the "world" of melodic rock. Which isn't really a world these days. Del Vecchio has taken melodic rock and hoisted it on his back. How he writes so much material and how he has this much energy should be the focus of the critics. 

Maybe Frontiers should scale back their output. The problem is they are one of maybe 3 or 4 record labels that are keeping this genre afloat. So when another melodic rock project band drops, the onlookers scoff even though the music is the relevant part. The question should be, is this music any good? The answer on "Brothers In Arms" is YES! 

The band's title track single is illustrative of the world before us. Del Vecchio is plugged in. He's not overtly political. He tends to want peace and unity in a world that is at war with itself. The music echoes a Deep Purple-Rainbow-Michael Schenker vibe. It's all there. The progressive keyboard fills. And new guitarist Luca Princiotta, who bends notes like a guitar warrior on the front lines. And how can you argue with Romero as the choice to lead this faction of non-compliant rock and roll dissidents? 

"Games We Play" channels Rainbow and Purple even more with robust guitar work and atmospherics that rock music has mostly abandoned. The video for the song is MTV quality or better. Frontiers actually spends some money on marketing which shows their dedication. Team Alessandro delivers another subdued yet captivating rocker on "I'll Keep Holding On" which somehow straddles rock radio and the top 40 world of 1982. Think "Street of Dreams" by Rainbow. For those who are tired of this guy's work, you really need to look inward and ask yourselves, who is better right now? The answer is nobody. 

"I Will Remember" sets up a nice groove with an MSG feel and Romero impressively transcending the ordinary vocal. "No Turning Back" duels between a fierce guitar riff and the old school keyboard sounds that Del Vecchio has been dabbling in as of late. The song is almost pomp but the barrage of organic matter makes it more Deep Purple on steroids than anything else. 

Acoustic guitars! They show up on "Back My Dreams" which recalls Vandenberg in the old days. Romero can channel any of these references with ease. The song is surprising real and important in the scheme of a mostly rampaging album.You might find yourself hitting repeat on this track. "Taste of Heaven" is another crossover beauty. It straddles melodic and progressive elements and again showcases Romero who by this point on the album has become a force of nature. Del Vecchio leans on the Hammond and you've got something really album rock and beautiful. 

"Lost In The Shadows Of Love" cleans the Deep Purple out of the rock and roll laundry. It's somewhat more generic but the keyboard and guitar parts are attention grabbers. "Hold The Night" is one of the best tracks on this record. The riff stands like a flare on the side of the road where all elements of this band set up shop and make some joyful noise. I love the keyboard sounds on this one. "Miracle" contains a big keyboard-guitar intro blast that has already won you over for the rest of the song. The headphones are fried at this point. But you still have to get through "Living Out of Fear". Lyrically the song is important in the days we live in. Musically a fitting uptempo ending to a really powerful and persuasive melodic rock album. 

For those who dismiss Alessandro and this record label, you really need to start listening to the music itself. And do it more than once. You will discover cutting edge, 21st century melodic rock with total reverence for what came before. This Sunstorm cannot be stopped.

Album Rating 9.6

Hydra Revitalizes The Toto Sound On "Point Break"

 

A new melodic rock band from Sweden. Again? Yes. Hydra's debut album Point Break is a melodic rock masterpiece from start to finish. The band is a cross between the breezy, earthy sound of bands like Toto, and the high energy of bands like Europe and Foreigner. The project is the brainchild of songwriter and multi-tasker Henrik Hedstrom who has been writing music in mass quantities for many years. Hedstrom was encouraged by drummer, producer Daniel Flores (Find Me, First Signal) to put his songs to good use. The result is a brilliant collection of sweet melodic rock.  Overall the band leans harder toward Toto than anything else, and the name of the band might be a tribute to Toto's Hydra era. "Stop The Madness" is a turbo charged proggy opener that is much different from the rest of the material. The lyrics are custom made for what the world has gone through over the past couple of years and might be a clarion call to leave humanity alone and get on with fixing the problems we face. 

"Bringing Down The Moon" follows down the path of light AOR beauty. The lush, smart production and the instantly radio ready groove is highly representative of what this album is all about. "No Lullaby" is a pristine 80's light rock masterpiece with more perfect harmonies and textures. Andi Kravljaca handles all vocals like a Joseph Williams in training. His voice is a perfect vehicle for these soaring songs. "Stay Awhile" has a bouncy fluent tempo along with crisp acoustic guitars and precise electric fills. The strength of these songs is remarkable. Most bands will do well to have one song of this caliber on an album. The guitar solos from Hedstrom are all packed with tasteful emotion. Flores adds the right dose of keyboard textures and you have a throwback sound that is fresh and enduring.

"Angela" continues the streak of captivating headphone bliss. "Forever My Love" is another light rock ballad with a great vocal blend that is both classy and memorable. "Never Be The Same" mixes a level of proggyness with the steady AOR template. There's just no shortage of great melody or vocal prowess on this album. "Doors of Love" settles into another tasty mellow groove. There is no filler on this record. It's either great or very great. "The Most Wanted", another terrific song, deep into this collection, continues the succession of nearly flawless songwriting. These songs are catchy, vibrant and well put together.

"Suspicious" is another lush soft rock song with a building chorus and powerhouse vocals. "Too Say Goodbye" is a beautiful duet between Kravljaca and female vocalist Elana Valente. Both relatively unknown quantities. But both amazing singers. I can't say enough about Hydra. Let's hope that this is more than just a project band. Any of these songs could be big hit singles on the radio. A near perfect album.

Album Rating 9.8

Lonerider Gives Classic Rock Fans Something To Listen To In 2022

What happens when you combine the vocal talents of Steve Overland, the guitar skills of Steve Morris, and original Bad Company drummer Simon Kirke? You get a project that is a radio ready feast of blues tinged rock and roll in the style of Kirke's band. Lonerider is a modern day classic rock band. Morris and bassist Chris Childs delilver on the lost art of FM radio instrumentation. Overland channels Paul Rodgers so much that at times you think you are listening to Paul. But Lonerider doesn't just get the sound right, they deliver the songs. Yes this is derivative. And my response is, so what? There is such a shortage in both material and production value these days, that this is like finding an unchartered classic rock island. 

"Fantasyland" which might fool fans into thinking it's "Rock and Roll Fantasy" or "Electricland" (both former FM Radio staples for Bad Company) is a stunning lead off track and would be bound for rock radio chart success if something like that wasn't prevented by the dominant radio-media class. "Cross The Border" flexes some guitar muscle from Morris who understands the tone and chords of a once great 70's rock band. Overland channels the vibe and we have an instant classic. I played this for a friend who then asked me if Bad Company had a new album out. Keep in mind, the mothership of rock and roll hall of fame omission has been telling its fans that a new record is in the works for like 20 years now. This is the 2nd offering from Lonerider. So the wait is over. The fact that Kirke is involved and playing solidly on drums is an obvious admission that this might be as close as you're going to get to a new album by the original Shooting Stars. 

"Undefeatable" spews dust, dirt and grease right out of the speakers as Morris and Overland compete for who can be more in your face. The lyrics are maybe an ode to Mike Tyson or some other punch thrower. Tell the A&R guy that's the single. "Harder Love" betrays it's title with acoustic guitars and would fit nicely as an album track on Rock and Roll Fantasy or Burnin' Sky. The guitar solo is a mystical drive on the pacific coast highway. This is all so familiar and new at the same time. They say imitation is the sincerest form of flattery. This album contains a ton of flattery.

"When You Got Nothing" opens with Overland singing "yeah, yeah, yeah" in a way I thought only Paul Rodgers was capable of. The song then twists, turns and burns it's way into your highway driving playlist. The band nods at the Brian Howe era of the franchise on "Anyway The Wind Blows" which is a song either singer could have handled. It's a beautiful and very memorable power ballad with both acoustic and electric guitar parts. Steve Overland's vocal sounds both sympathetic with the storyline and true to the mission of this album, which is to not reinvent the wheel, but to recreate it. 

"Prayer For The Lonely" is the most bluesy track on the record which will be a treat for British blues rock fans and for those who have really good stereo equipment. "Yesterday's News" is radio ready rock single material. An instant hook with Morris doing the dirty work on guitar and Kirke maximizing his output on the drum kit. But it can't be understated as to how damn close Overland gets to Paul Rodgers during this entire set. 

"Badlands" has the word "Bad" in it so it has to be good. Morris finds a great guitar hook and repeats it as Overland tells a story about a bad-land that he belongs in. Yes a pilfer from Bad Company (the song) but who cares? The music kicks and the lyrics fit right into the old outlaw mentality the mothership band espoused for the better part of their existence. "Wild River" rounds out this collection as a slightly more radio ready rocker that embodies everything this band does well. It rocks. It's got lyrics. It sings. It dances. It fills the speakers with irresistable old time fresh blood grooves. Lonerider is a contender for throwback of the year. And a good throwback is all that is needed to make noise in this often bland and redundant musical landscape. 

Album Rating 9.8

Nazareth - Surviving The Law (Frontiers Music SRL)

Nazareth is a moniker that is still alive. A new singer, Carl Sentance arrived in 2018, and a great band was rebooted. Fast forward a few years, and this current lineup has created a very unlikely album. A modern twist to the bluesy, hard rock of the their 70's heyday has emerged. Nobody will compare this Naz to the old Naz. But when the material is good, it's good and there is no denying that Surviving The Law is a relentless blitzkrieg. 

The opening salvo is a tour-de-force, blow the doors off the car beat down of the narrative we currently live in. "Strange Days" is a world autobiography. It's nice to see rock musicians being countercultural and rebellious. Original bass player Pete Agnew is a beast on this project and gives it more credibility. The band in general is concise and hungry. Guitarist Jimmy Murrison alternates between blues and acid psychodelic lickery. Vocalist and newcomer Carl Sentance is a pure, loud rock singer. The more you listen to this record, the more it will stick in your head. 

"You Gotta Pass It Around" is about love but it could be about any such lovable substance. Sentance is a convincing singer as he straddles the upper altitudes without much effort. Like all good old school records, there are great guitar solos and fills and this album is laden with a great full spectrum mix of ear candy gravitating from speaker to speaker. 

There are some AC/DC-like riffs coupled with the odd turn as if Sweet or Motley Crue were steering the musical progressions. "Waiting For The End of The World" is another gritty, almost garage band work-up. The songwriting is catchy and there is enough air in these songs to make them breathe. You hear big chord progressions and prominent background vocals. The band has written 14 songs that all lean heavily on 70's rock and blues. This is not a generic melodic rock or heavy record. It has it's own personality and will satisfy the hook-lovers and the hard rockers all at the same time. Nazareth will never get the credit they deserve in annals of rock history. But this album will likely go over big with fans of this legendary band and for people who are looking for the real thing.

Album Rating 9.7

City of Lights - Before The Sun Sets (Frontiers Music SRL)

Manos Fatsis is not a household name in the world of music as of yet. But this project should put him on the map in a big way. The Italian singer is a dead ringer for the likes of Coverdale, Dio and Guiffria. His vocal swagger is something to really behold and digest on this new project band assembled by UK songwriter and guitarist Neil Austin. 

These songs are instant melodic rock classics. The production is rich yet clean with crunching riffs, catchy big choruses and powerhouse drumming. The quality of this project can't be understated.

The musical highlights include Racing On The Redline, Hearts On Fire, Dying Light and the scintillating title track. There are twelve tracks and a total of close to 54 minutes of melodic rock gold. There isn't a duffer in the bunch. There are a number of guest lead guitar players who add amazing flair and fluency on every solo. This is my favorite new album of 2022 thus far. Grab it before the sun sets.

Album Rating 9.7

Giant - Shifting Time (Via Frontiers Music SRL)

Giant is a band that has been off and on for over 3 decades. Their debut album Last of The Runaways was a classic 80's melodic rock collection featuring the long lost top 40 power balled, I'll See You In My Dreams. The band's next album Time To Burn ended up being one of last albums of it's kind to be released on any major record label. The shift away from bands like Giant was in full swing, and the album got lost in the shuffle. 

The rebirth of Giant in 2022 was fostered by Frontiers Music and their team of writers, singers and producers. The results here are rather impressive. Vocalist Kent Hilli (Perfect Plan, Restless Spirits, Solo) makes his presence felt. The swirling instrumental title track leads into the guitar power of "Let Our Love Win". Right away this feels like Giant with swagger. Hilli is a really impressive singer even if this isn't your dad's version of the band. Founding members David Huff and Mike Brignardello are present to lend authenticity to the project along with guitarist Dann Huff who shows up for "Never Die Young", which is another rocked up track showcasing Hilli and the powerhouse arrangements that will have real rock fans cheering. 

These end up being really good songs that get better as you repeat them. "Don't Say A Word" continues the streak, followed by "My Breath Away" and the big choruses of "Highway of Love". This is an album filled with radio ready material. And yes, there is a classic Giant power ballad in the instantly moving "It's Not Over". "The Price of Love" is another slow to medium track filled with drama and a great build up. "Standing Tall" is a slightly bluesy slice of swagger showcasing Kent Hilli's vocal chops. "Anna Lee" is another pristine power ballad with a great chorus and meaningful lyrics. "I Don't Wanna Lose You" features great guitar riffage from Starship's John Roth who is the main guitarist on this project.

 "I Walk Alone" is a great mid-tempo power ballad that finishes this collection the way it started. This is sincerely a nice return to form for a band many thought would likely never make music again. Kudos to everyone involved with the new Giant. It should be as big as the band's name. 

RMO Rating 9.6