Graham Bonnet Band - Samurai (Radio Single)

In the old days classic rock stations would jump all over music like this. The immortal Graham Bonnet is back with the vocals of a man half his age. "Samurai" is a Deep Purple-esque rocker with big hooks both instrumentally and vocally on the choruses. The guitar work on this song is certainly better than the original which was recorded with The Michael Schenker Group years ago. This is another impressive release from Bonnet and his band. For fans of Rainbow, Deep Purple and the aforementioned MSG, this track is a must have for your music library. The entire album, Live In Toyko, drops on July 12th courtesy of Frontiers Records and is now available to pre-order.

Helix Goes Old School - Which In Today's Rock Climate Is Good News!

Helix is a rock band you may have never heard of. In Canada they are legendary. In the states they peaked in the mid 1980's. You may or may not have heard songs like Heavy Metal Love or Rock You, but the impact of this music was huge in Canada and in certain U.S. markets. The band has kept itself alive with various lineups and have emerged with a brand new album called Old School. For fans of Motley Crue, Alice Cooper, Poison and AC/DC, this music isn't glossy or weighed down with compression or gimmickry. It's full strength rock and roll that hearkens back to both the 70's and 80's. The guitars aren't just in the mix, they are the mix.

The one constant throughout the years has been vocalist and founder Brian Vollmer. Brian has decided to go back to the band's roots with this new album. This is a greasy, sleazy rock album that will appeal to glam rockers and old school heavy metal fans.Produced by longtime Helix bassist Daryl Gray, mixed by Juno award winner Siegfried Meier and mastered by Harry Hess. The lead single "Coming Back With Bigger Guns" might be a metaphor for the quality material and the new partnership with Perris Records. The album is a full plate of rock and roll morsels. "Tie Me Down" is a nice slice of double entendre that will recall some of the classic mid-tempo power ballads of bands like Warrant and Def Leppard. The material on this album was culled from a large store of unused material the band wrote years ago. Harry Hess's meticulous production breathes even more life into these newly unearthed gems.

"Whiskey Bent and Hell Bound" is an absolute classic Helix style rocker with a great guitar break and solo that extends far beyond the formulaic fare that other record labels are mass producing. Helix really never let go of their early 80's hard rock Canadian sound. There is a certain punkishness mixed in with the melodic scales. This is evidenced on "If Tears Could Talk", again with a note bending guitar solo that takes you on a nice little ride. "Your Turn To Cry" is another decent mid-speed rocker with strong choruses and guitars that mingle nicely and then again treat the listener to a big, beefy solo. "Closer" feels like another rock radio hit with punchy riffs, big choruses and another really enjoyable guitar solo. "Games Mother Never Taught You" is a fun, what-rock-used-to-sing-about hard rocking gem with more great choruses and bangin' drums and guitars.

If "Old School" mainstream rock stations still dotted the landscape, this music would fit nicely next to any classic rock band from the 1970's and 80's. Bands like Helix are important to the music scene even today. They are reminders of what rock used to represent. There is grit and excess and an intrinsic sense of melody in this music. It's the kind of album you can crank up loud as you cruise the highway in your Camaro Z-28. Age has not mellowed this fine, underrated band. In all honesty there is a lot of Helix in other bands that have gone on to be more recognizable and famous. But one thing is clear, these guys are still going strong after all these years and this album rocks!

Thierry Condor's City Nights Is Flawless West Coast Ride

Thierry Condor
City Nights 
Niro Music


Thierry Condor lives in Switzerland. His heritage is both French and Italian. And he's spent some formidable time in California absorbing west coast jazzy pop into his DNA. Vocally, Thierry is familiar. In his voice you hear the likes of Barry Gibb, Michael Jackson, Christopher Cross and David Pack. His voice is like an all star cast of sounds from the golden age of groove based pop made from the mid 1970's to the early 80's. This is actually Condor's 5th musical excursion. And with each album, he only perfects his west coast magic more and more.

"City Nights" is a silky smooth ride through 13 stellar tracks. "One Night In Monte Carlo" should get some airplay on the few remaining smooth jazz stations stateside. This lush, upbeat song will have you moving your feet and following the story line of exotic love. The glistening production features Claudio Cervino's masterful guitar combined with some wonderful production by Urs Wiesendanger. "Driving To LA" has a modern Little River Band sound to it with more bounce. West coast legend Jay Graydon lends his funky guitar to the mix. This actually happens a lot. People who can't find work here in the states are asked to help on fruitful projects overseas. The title track to the collection slows it down a tad but what is true throughout is the lack of a bad song. There are no clunkers in this collection. Vocals are produced with a syrupy goodness that makes for some perfect ear candy. Headphones only make the experience more enjoyable. Another highlight is "Day By Day" which has a real Al Jarreau meets Bill LaBounty vibe. The album is totally authentic in it's imitation of those who've come before.

Thierry's 18 year old daughter Vanessa guests on "The Same Melody". Her voice sounds wonderful next to dad's. The song is sweet and sentimental. Duets like these don't exist anymore. This will make you think of James Ingram and Patti Austin or something similar. "Full Blown Love Affair" time travels the listener back to 1981. It's funky pop with a gigantic hook. It might even get you to the dance floor. "So Into You" is a breezy mid tempo smooth jazz number. These songs all have an indelible quality. They have the power to stick with you and become recognizable and familiar very quickly. "Only The Lonely" is another standout track taking a more straight forward approach but again will draw you in with the chorus and the punchy drumbeat. The album concludes with dueling smooth jazz guitars coupled with some light horns on"Saint-Tropez". A fitting conclusion to a near flawless recording.

"City Nights" is a west coast pop-jazz-rock masterpiece. Years ago this album would be considered Grammy worthy. These days we can hope it at least gets noticed next to the pile of musical mediocrity that obscures it. This is the west coast album of the year so far.

Thanks to Niro Music for the promo CD and the faith in my reviewing skills!

The Michael Mills Band....We Want More!

Real music in real time! It doesn't get more real than The Michael Mills Band. A funky blues rock band from Huntington Beach California. They've released a 5 song EP called Dream A Dream. Yes the immediate downside is that after you listen to these extremely well produced songs, you crave more. Maybe that was the objective. In any case what you hear in these grooves will restore your faith in the old school ways. This warm up set leads off with "My New Woman" a song with some Gospel background vocals and an instant dance groove. Mills lays down a vocal landing somewhere between Kim Wilson (The Fab T-Birds) and Kenny Wayne Shepherd but with a much more laid back delivery. The song fades on the guitar solo. A crime because I would have paid more for this CD to hear the outtro that might be on some computer. Jesse Godoy is a smooth player with an understated yet confident vibe. His guitar is soulful on all 5 tracks. "Baby I'm Your Man" has hints of the Neville Brothers and a few other soulful legends. Again the guitar solo is tasteful. Also influencing these boys are their California surroundings. Surely this could be part of a west coast playlist. "Dream A Dream" is the get up and dance number that borders on Motown and will put a smile on your face. The rhythm section of bass player Scot Campbell and drummer Ron Ravicchio are rock solid. This band must be a smoking live show. "Tryin' To Forget You Baby" is the slow burner of the set and it highlights Godoy's clear ringing guitar tones. Even though it's more of a torch blues number it never gets bogged down mainly due to the fine production and the way the song moves along. Again, the guitar solo is worth the price of the CD all by itself. "Fade Away" wraps things up with a big horn section playing off the guitars as if last call was just announced. It's a mid tempo gem featuring some great sax. It's tough to judge a band on 5 original songs. But honestly between the production and the compositions, this music is light years ahead of much of what constitutes contemporary blues today. So long as these guys promise more music soon, I'll gladly give this album a perfect 10. To be continued...

Money, Ego, Power, Control and Laziness Destroyed Fleetwood Mac

Where to begin. This is truly a sad state of affairs. It might be all about money. Fleetwood Mac had to tour. And they had to tour NOW! And the tour had to go off without all of the endless preparation and the perfectionism the band had practiced in the past. Most all of it orchestrated by former band leader, Lindsey Buckingham. A bit of a mad scientist genius who in recent months had become adept at giving diplomatic critiques of his former co-workers. Phrases like "fragmented" were used to describe his relationship with ex-girlfriend Stevie Nicks. His general assessment was simply that his old band had "lost perspective". And even though he admitted that a more visceral reaction was part of his grieving process at the beginning, he never stooped to low brow invective.

Rock band breakups are notoriously loud. But these decibels were mostly fans who threw their hands in the air wondering out loud what could have precipitated this division. Why now? Over what? And who? And while I maintain that Stevie Nicks appears to be the ring leader, it's clear that even Christine McVie was part of the coup. And large bags of Live Nation cash appear to be a big motivator as well. Drummer Mick Fleetwood was overheard complaining about his own personal finances months prior to the ultimatum. The band needed a stadium tour that wouldn't be the usual grind of rehearsals and outtakes. This would be the new loosy goosy Mac. Just wing it. Who wants to hear "Don't Dream It's Over?" And why not throw some girl power at "Black Magic Woman"? It is about a woman, right? And Stevie could be Stevie unfiltered. Like at the rock and roll hall of fame where her speech was interrupted by the space-time continuum. If only we had an eternity or so to hear about all of the people she stepped over to get to her second induction.

Meanwhile, the faithful are still dumbfounded by the lack of concern for their exiled hero. And then without warning, they learn that Lindsey is in a hospital gown posing bravely with his wife. Nothing to see here. As if open heart surgery was an outpatient procedure. And since we know it takes about 2 months to bounce back from a pesky little flew bug, it's quite miraculous that only 4 months later, Buckingham is playing guitar for his daughter's high school graduation. If he were like his former band, this would have been a pay-per-view event with commemorative t-shirts and DVD's. Yet his wife Kristen chose a tasteful twitter photo and a modest explanation.

Buckingham lives in a world now free of pretentiousness. And his former band lives in a world free from that pesky perfectionist. They have barely acknowledged his existence since casting him to the curb. Even though there is likely a healthy percentage of Mac concert goers who are still unaware of the personnel change. You would think though that humanity might trump money at some point. But the last few months were all about breaking the glass ceiling as fans watched the bottom fall out of their favorite band.

None of us can control how others treat their own family. And some of us are having a hard time grappling with the callous way this merry band of party revelers have carried on. But we can take solace in the idea that God and the Universe have at least freed our hero from the shackles of those who undervalued his brilliance and made off with his wears. At least now he can be free to create and live a life far away from the drama that supposedly drove his former band to creative heights.

And while Rumours was the dramatic triumph, it is actually dwarfed by the output that follows. Much of which can be attributed to Buckingham who lifted it, organized it, filtered it and eventually perfected it. His expertise in the studio and at the control board was instrumental at getting this band into the rock and roll hall of fame and for a career that was revived again on "Say You Will".

This should have been a happy ending where all of them walk peacefully into the sunset. But the band leaned on their soap opera pedigree in order to come up with an explanation for what they did. In the end, a combination of money, fame, notoriety, self-fulfillment and ego destroyed one of the great franchises in rock history. Yes all of the old bands will meet their demise at some point. But this one could have died from natural causes.

This writer wishes Lindsey Buckingham a full and complete recovery. I also wish that his former band mates would disband their dreadful cover band so the rest of us can remember them as they once were.

First Signal's Line of Fire Is An Unapologetic 80's Melodic Rock Hook Fest

Harry Hess and Frontiers Music have been at this since 2010. One well oiled melodic rock release after another. And because the music scene is mostly dead, this music sits on the internet, almost completely ignored. A generation ago this would have been a record label's dream. Hess, who's real job is to sing lead vocals for the Canadian band Harem Scarem, moonlights as a vocalist for this Frontiers project band. Industry heavyweights like Eddie Trunk have thrown constant shade at projects like this because "these aren't real bands that tour". Okay, Eddie, point taken. But this is real music that dwarfs most of the new music that does tour.

First Signal's latest project is called "Line of Fire". And it features some of the strongest melodic rock you'll hear in 2019. A format that is mostly dead despite the #rockisnotdead hashtag. And hence this is why much of this music lies dormant, absent of the clicks being generated by auto-tuned pop stars. Hess is a singer you can place even if you've never heard his voice. Somewhere between Joe Elliott and Jeff Scott Soto. His voice is rough and smooth at the same time. And whereas the other FS projects have been good, this time it's hitting on all cylinders.

The album opens with the Bon Jovi-esque "Born To Be A Rebel". The chorus screams of music's victorious past while dragging the listener into the story line. "Marty, the flux capacitor is set to 1988". The hooks resonate with complete musical thoughts. Another thing you'll discover right away are guitars that don't showboat but actually flow smoothly and melodically with the structure of the song. "A Million Miles" is airier and works almost like a pop song. The beginning is lighter and then transcends into a more robust landscape. The melody is sugary sweet and instantly singable.

"Last of My Broken Hearts" captures a Def Leppard meets Journey vibe in the best way possible. A sparse vocal that is then enveloped in power ballad instrumentation. The hook will browbeat you into submission. "Tonight We Are The Lonely" mixes some modern rock shading with the past and the result is some soaring vocals riding shotgun with a galloping soundscape. The song gets better as it progresses. "Walk Though The Fire" opens with one of the coolest guitar riffs I've heard in a while. This song strongly echoes Foreigner in during their "Inside Information" period or possibly Bad Company during "Holy Water". Vocally, Hess does his best Lou Gramm meets Brian Howe. The result here is one of the strongest songs on "Line of Fire".

"Never Look Back" keeps the "Inside Information" vibe going. Another slice of easily digestible big hook power pop. Any of these songs could be released as singles. The quality of songwriting is evident because it takes little or no time to get into these songs. They overflow with originality. The album's title track is a tad more aggressive and progressive in nature but still fits in well with the other material. The album finally slows down for a classic power ballad showcasing some scintillating acoustic guitars. "Here With You" is reminiscent of Leppard's "Two Steps Behind" but makes it's own indelible stamp. Again, this record is brimming with hit singles.

"Need You Now" mixes Journey and Nelson but also has a late night driving in the rain feel to it. Think the Golden Gate bridge in 1986. "Falling" is more of a rocker that opens fast and maintains speed throughout. Not the strongest song on the album, but strong on any other album. The last track, "The End of The World" finishes strong and has a soaring melody and lyrics open to interpretation. Line of Fire is that rare sweet spot that combines metal, pop and rock into a tapestry that should appeal to music fans everywhere. This is my album of the year...so far....

First Night Is First Class AOR

Honestly I had to look up Tallinn Estonia to see where it is. It happens to be somewhere just south of Finland separated by a narrow strait of ocean. Another melodic rock wonder from halfway around the world. Another debut album filled with hypnotic, well crafted rhythms.

The band is listed as just three men. Reneck Sweet on lead vocals. Mikk Tivas on lead guitar, backing vocals and production. And Kristjan Aasamae on drums and backing vocals. Their self titled debut appears to be an independent labor of love. The results are nothing short of spectacular. The band delivers 14 songs, one of which is an atmospheric appropriately called "intro". This is followed by a song called "First Night" which is also the name of the band. Kind of like "Bad Company" by Bad Company. Other bands have had songs that are thematic to their name and existence. The meat of FN's sound is a canvas of harmonies intermingled with clear pounding drums, a clear thumping bass line and crisp, sprightly guitar lines and leads.

"Breaking My Heart" appears to be the first single being marketed by the band and it has the right mix of mid tempo emotion coupled with pure vocal bliss. The influences aren't obvious on this record but manifest themselves in bits and pieces. You hear a subdued Bon Jovi, the vocal instincts of Def Leppard and the moodiness of Russ Ballard and Golden Earring. The choruses are complete musical thoughts and allow the songs to hold tightly to their catch phrases. "Let Me Show My Love To You" is a heavenly slice of AOR magic that is moody, mystical and edgy as it blends more big harmonies. For those involved in AOR internet radio, this band is going to give you a lot to work with.

"Stop Dragging Me Around" combines catchy guitar hooks and more 80's hairband vocals. "Dangerous" is slightly more straight forward in it's approach but never wavers from the band's core vocal sound. First Night has a melodic payoff in each song. A build up to something that will floor you once you hear the entire hook. "Can't Keep Losing" is a semi-ballad with touches of west coast rock coupled with the band's made in Estonia sound. "That Ain't Love" is a tad darker as it tells a story of frustrated love. Kristjan Aasamae's drum sound on this record is a driving force and gives every track an added punch. "Night Is Calling Me" is a slow burning moonlight cruising tune with another instantly brain friendly melody.

"Going Down" is a song that gathers all the aforementioned musical characteristics and adds a hint of traditional rock. Each song has it's own personality while at the same time establishing the band's lush sound. "Love Is On The Run" continues the perfect streak of songs. Hooks, hooks and more hooks. It's hard to fathom how these guys came up with this many good songs. "Out of The Fire" borders on power pop with more of what you've liked so far if you've been listening since the "Intro". "I'm Loving You", track #13 is as persuasive as any of the other songs on this collection. In fact it's got some great mid-tempo guitar tension that blows up into a killer chorus. This was one of my favorite tracks on the album.

"Endless Night" closes out an exhausting workout for lovers of AOR. It's hard to decide what I like most about First Night. Is it the big vocals and harmonies? Is it the breadth and width of all of this material with no filler songs? Is it the uncluttered, beat driven production? Is it the guitar playing and world class soloing on every track? After careful thought, it's probably all of the above! This band has created their own sound and in the process put Tallinn, Estonia on the rock and roll map. So far my album of 2019.

The Little River Band @ Barbara B. Mann Center 2-15-19

The Little River Band continued their 44 year legacy with a crisp yet lucid performance on Friday night at the near sold out Barbara B Mann Center in balmy Fort Myers Florida. The weather has been near perfect, and the band's

set was similar. Elder statesman Wayne Nelson was in fine form as he crooned all the notable hits from a remarkably deep well of selections to choose from. However this isn't your dad's LRB. The band puts a new spin on most of their catalog. This includes longer guitar intros and new arrangements. The band opened with their first FM radio favorite, "It's A Long Way There". From that point they only strayed away briefly from their greatest hits CD. The two surprise tracks were both from the band's last studio album, "Cuts Like A Diamond". The audience responded warmly and enthusiastically to the two non hits. The rest of the 90 minute set was all about the good times and memories this band represents. The supporting cast of musicians in this group are all "A"- list players. All and all a perfect night of music in a beautiful part of the world.

Tug of War Pulls You In With Quality Songwriting and Musicianship

Tug of War Is:
BK Morrison, Lead Vocals.
Tommy Denander: Electric and Acoustic Guitars and Keys.
Brian Anthony, Bass Guitar.
Billy Orrico, Drums.
Guest musicians include Bill Champlin, Chris Ousey and Joe Williams.

Tug of War is an old school AOR project. It's rock that you can listen to from start to finish. It's soulful and melodic. It borrows from things you know as it paves it's own road. Producer, arranger and all around fine musician, Tommy Denander is the mastermind behind the writing and Khalil Turk oversees production with input from BK Morrison who prior to Soulfire was a relatively unknown quantity. But Morrison is a brilliant singer who is a cross between Frankie Miller, Max Carl and Bob Carlisle. His voice and his delivery have a certain been there done that swagger.

"Before I Will Know" is the first single from this collection and is an instant classic, borrowing from The Doobie Brothers, 38 Special and possibly Toto. "Bullet With Your Name On It" is a rocker of the first order with a giant hook and a familiar sounding chorus. Tommy Denander's production skills bring a level of quality here that is absent from many projects with more well known personnel. "Come Home" reminds me of the old west motif often employed by Bad Company. It settles into a late night driving groove. Lyrically it's a plea for love to return home. There are some well placed keyboard flourishes throughout this album. The Denander guitar solos are all epic and complementary, taking the listener on a cosmic journey.

I think I can hear Chris Ousey (Virginia Wolf, Snakecharmer, Heartland) singing harmony vocals on "Confess To Your Demons". It leads off with a great jangly riff from Denander, and showcases the aforementioned bravado of Morrison who sings like a seasoned rock and roller. "Fade To Black" is one of the more edgy rocking tracks on the collection with help from Ousey and Billy Orrico's pounding back beat. Tommy Denander furnishes another one of a kind guitar riff.

"I Won't Surrender" is a mid-tempo rocker with a great chorus. The hit song potential on this record is literally everywhere. "Have Mercy" starts with a strong keyboard part followed by a sparse musical landscape. The lyrics are emotional and spiritual as the character in the song seems to be at the end of his rope. "My Soul Is A Ghost Town" finds Morrison singing a bit like David Coverdale in this slow burner that gets hotter as it moves along. "On The Other Side" is a power pop rocker with strong backing vocals and more excellent songwriting.

"Somewhere In The Night" has a real laid back, west coast vibe. The musical versatility on this project is very impressive. "Walk It Like A Man" features some bright keyboards and nods again to the west coast. The most provocative song is the last track. It's called "Full of Sh*t". The story line draws you in and the hook is gigantic. A breakup song of Biblical proportions. Denander writes a hook that will make you hear the punch line in your consciousness long after the CD door pops open.

This album has so many great songs. There are no throwaways. The production shines and BK Morrison is a force on the mic. The only thing needed is some radio airplay. This is a 5 star hurricane of classic rock with some of the finest production you'll hear on any album anywhere.

Inglorious: Ride To Nowhere, The Great Album Most Americans Won't Hear

Despair, doom and sonic compression and thump. That is the current recipe for success on rock stations here in the good old dysfunctional USA. The music industry made a conscious decision 25 years ago to move away from melodic and blues based rock. The glory days of Grunge eventually waned and gave way to a hybrid sound that incorporates elements of pop. But the dark subject matter and "modern" production has been a mainstay. Bands from various parts of the world that are attempting to reignite the rock and roll flame are mostly screened out from radio playlists. Michigan Zeppelin band Greta Van Fleet have made some inroads but are now on the receiving end of a coordinated onslaught of negativity.

Meanwhile, in the United Kingdom, another bluesy hard rock band has released a gem called "Ride To Nowhere". The band is Inglorious. Their singer is a fellow by the name of Nathan James who has sung with the Trans Siberian Orchestra and has a voice that is part Axl Rose and part David Coverdale. The sound of this group has elements of Led Zeppelin, Bad Company, Guns and Roses and overall is rooted in a hard driving blues-rock tradition. There is no bass thump. No cringe inducing compression. Just good old fashioned rock and roll played thoughtfully and sung by one of the great emerging vocalists of this era.

With this pedigree, they should be radio bound here in the States. However, their first single dropped months ago without any terrestrial airplay. In fact, very little has been said even in mainstream rock publications. Frontiers, the label which distributes this band has done a ferocious job making their constituents aware of this album.

Likely the best ambassador to the listening public are the 11 songs on this collection. They have the ability to cut through the world of auto-tune and fakery. "Where Are You Now" was released as a single early on and opens the album by showcasing the vocals of Nathan James. The music rises and falls with a roller coaster like flair. The guitars, bass and drums are in your face. The melody will stick with you and was a worthy choice to be unveiled first. "Freak Show" is a bluesy, ballsy rocker about trust issues. At certain times on this album it feels like a freight train is coming.

"Never Alone" opens with a crisp acoustic guitar followed by some nice mid tempo electric guitar riffing. James' lyrics have a spiritual component to them which is nice departure from the usual doom rock fare. "Tomorrow" has some heavy Whitesnake-Zeppelin overtones, but this is British hard rock, so no surprise really. The hook is firm enough to give the song it's own distinctions. "Queen" jangles another Zeppish riff as James opines about his favorite gal. The freight train picks up steam on "Liar", a healthy blues rock banger. "Time To Go" is one of the best songs on this collection. It opens with a gun-shot guitar and some fat chords as Nathan James oh-oh's his way into the vocal stratosphere.

 "I Don't Want To Know" could be categorized as a bluesy power ballad. It's a sad tale of lost love or not actually knowing the person you've been with. "While She Sleeps" slowly ignites into another freight train rocker. "Ride To Nowhere" opens with a very catchy soft guitar pattern which then builds into a juggernaut that bobs and weaves between blues and alternative rock. "Glory Days" is a surprising acoustic track that gets very personal with the subject matter.

Regret. Doubt. Remorse. All themes of this mighty project. The singer is intense. He has a gift. The vocal talent, the arrangements, and the songwriting all make for a blissful rock and roll ride to somewhere. This is definitely a shot in the arm for rock enthusiasts and a must have for those of us looking to pad our collection of classic rock sounding artifacts.

Swedish Funk Connection: One of The Coolest Retro Rock Projects I've Ever Heard!

Swedish Funk Connection

is...

Christer Lärk (vocals), 

Peder Jonsson (drums), 

Peter Johansson (keyboards), 

Mats Johansson (gutiars) 

Berra Holmgren (bass).

Courtesy of AOR Heaven Records.

This is a release for the ages. Music like this isn't being made anymore. And if it is, the production is typically wrought with compression and mindless effects. This collection of 10 stellar songs is made for music fans. Fans of a genre that has faded to near extinction. Adult Oriented Rock, or West Coast Rock was birthed in the late 1970's and sputtered out in the middle of the next decade. After that period, some bands continued to make AOR/West Coast while adding more keyboards and employing a few studio tricks. 

Swedish Funk Connection's 1987 picks up where the core of the genre left off. The album title is accurate. The music is an amalgam of funky riffs married with pristine atmospherics. The vocal arrangements jump through the speakers. The musicianship is both lucid and precise at the same time. The first song "This Night Will Last Forever" is a lost art of smooth, clean instrumentation and soaring vocals. The melodic quotient is immediate and isn't contrived or incomplete. The hooks grab with urgency, the singing is rooted in the "climb the heights" tradition. The keyboard solo here is already worth what the CD might cost you on Amazon. Next, a blazing guitar solo, followed by a reprise of the giant hook, along with the call and answer vocal response the song began with. And that's just the first song!

"Lucky" is track two. Here, the boys show off their funkier side with a groovy Motown guitar intro followed by a keyboard drenched 80's joyride. The vocal blend gives the song more cache and the bridge is a well thought out twist and turn. The solos are impeccable.

"Out of My Way" has a contemporary Heartbreakers feel circa "Learning To Fly". Add some rich vocal textures and slide guitar and you've got what rock radio used to call "a hit". "Stay With Me" borrows from Toto's Seventh One period, but also takes as much from 80's English pop-rock. This marriage is in tact pretty much everywhere on this record. "Too Much Money" is a more guitar drive excursion that hints at Golden Earring and Russ Ballard but still manages to have it's own melodic personality.

"Somewhere Somehow" is reminiscent of Sting's "If I Ever Lose Faith In You" but still is able to travel it's own path of musical wonder. If adult contemporary stations here in the states wanted to have a real playlist, this would be on it. "Life Is Beautiful" finds that Jeff Lynne-Full Moon Fever groove but adds big soaring vocals along with a first class melody. "Love's Such A Beautiful Thing" finds SFC at their funkiest. A big keyboard-horn style intro, which then settles into a late night dance groove peppered with synth and guitar ear candy. 

"Stay Away From The Dark" is a straight ahead rocker with a slightly more dark and serious melody. But the hooks persist and the vocals soar effortlessly into the higher altitudes. The guitar work on this track is gritty. "Million Reasons" is the last song on 1987. The closest thing on the album to a power ballad. The soft instrumentation and the persistently rich vocal arrangement is a perfect way to cool down at the end of this unique and fabulous musical journey. 

It's not an understatement to say 1987 is a summary of how music once was and how it could be again. This album wins on every level. Writing. Production. Genre. Variety. Singing. Playing. It's all there. Swedish Funk Connection shows us how to go back in time while making new melodies for the current age.

Viana Is A Melodic Rock Masterpiece

Viana is: Bryan Cole, Lead and backing vocals, Stefano Viana, lead guitar, Terry Brock, backing vocals, Anna Portalupi, bass guitar, Adam Ernst, drums, Francesco Marras, guitar, Pasquale India, keyboards. Special guest John Roth, lead guitar on some tracks.

Viana is a project band built around Italian guitarist Stefano Viana. This is his second outing and this time American singer Bryan Cole is at the mic. What sets this collection apart from the first outing is the quality of songwriting, the presence of big, catchy choruses, and the world class melodic rock vocals of Bryan Cole. Bryan was recently involved with a band called Steel City and has a great solo album, Sands of Time. Both of those efforts showed great promise. Viana is a vehicle that showcases Bryan's amazing range and great singer instincts. 

The opening track, "Forever Free" sounds like a song Meat Loaf could have sung. Cole's voice soars and the production even recalls Jim Steinman at his best. The last note Bryan sings will send chills down your back as he really captures the spirit of this ode to freedom. This album benefits from smart, uncluttered production from Alessandro Del Vecchio along with Cole and Terry Brock who are responsible for how the vocals sound. 

"In The Name of Love" is an instantly catchy song with a big chorus that adds some Bon Jovi to that Meat Loaf. These are complete musical ideas with hit single potential for radio. "Heart of Stone" features John Roth (Starship) on guitar. Cole's gutsy delivery is augmented by a building hook that bubbles under and then bursts forth on the chorus. The vocal arrangements have a mid-western hair metal mentality without being cheesy or pedantic. "We Can't Choose" continues along on the big memorable chorus train. 

Each song is radio ready and if we lived in a time when music like this was still in vogue, this would be a very deep bench of songs indeed. "Who Do You Think You Are" straddles the edges of west coast AOR and then finds it's rock radio mojo. Pick any song and you'll find a hook large enough to settle into your consciousness. Bryan Cole has a degree of confidence and swagger that reminds me of the late great Jimi Jamison. Are you listening Frankie Sullivan? 

"Live Free of Die" lyrically dovetails with the theme of the record. Each song is a tale of some kind of liberation. The melody echoes a recent song by Johnny Gioeli called "Drive". "Do You Remember" is a powerful duet with veteran Terry Brock. If you were looking for a killer power ballad, this is it. John Roth lays down a classy guitar solo on this tear jerker. "Friday Night" will take you back to roller rink life in the late 1980's. The melody is familiar and new at the same time. I could swear I've heard it before or at least parts of it. "I Wanna Tell You" has a great opening guitar riff which settles into some nice rhythmic playing along with Bryan Cole's big vocals. Another hit single in the making. The album closes with "We Will Never Say Goodbye", a great mid-tempo rocker that thematically looks to the past and the future at the same time. It's a fine way to close out this impressive roster of songs.

For melodic rock fans, very few albums compete at this level. There are typically drawbacks or quirks that might make the listening experience trigger A.D.D. or conjure up musical deja-vu. Viana reaches up to the sky to find new musical landscapes that feel like an old well traveled road. Bryan Cole continues his evolution as a singer. And Stefano Viana has found a team of stellar musicians who have made the name Viana synonymous with melodic rock greatness. This album is a great way to start off the new year. A solid 5 out of 5 stars.

Sunstorm Hits A High Note on "The Road To Hell"

Joe Lynn Turner is a legendary vocalist who's had a storied career and is most famous for his work with Rainbow, Deep Purple and Ywngie Malmsteen. He has now recorded 5 albums under the Sunstorm moniker for Frontiers Music at the request of label president Serafino Perugino. The latest work, The Road To Hell, was a bit obscured by the fact that Joe Lynn Turner suffered a heart attack almost at the exact moment the album was released. If you missed out on this album, you missed a lot. Thankfully Joe has made a nice recovery.

First of all, this album sounds better if you have good speakers and you crank it up some. The production has some compression but it's airy enough for the drums and guitars to really come through. Turner is a beast on vocals. He sings with raw emotion and his tone and delivery are perfect for this type of melodic rock. Furthermore, all of Turner's influences are present. Deep Purple, Rainbow, Malmsteen and his past solo works all factor in to the big, lush sound of Sunstorm.

The album's first track "Only The Good Survive" is an almost perfunctory rocker and might seem ordinary compared to some of the other songs. But the message in the lyrics and Turner's powerhouse reading of it make for lead single material. Guitarist Simone Mularoni is a cross between Neal Schon and Richie Blackmore. House band leader Alessandro Del Vecchio adds the right amount of Hammond B3 and other keys when needed.

The title track, "The Road To Hell" has an Ozzy Osbourne vibe to it, with thumping drums and guitars and with Turner's echoed vocals proclaiming "touch the bottom if you really want to live". The song is about overcoming struggles and JLT pulls off a killer vocal. The word has it that Joe did some songwriting for this project and the results speak for themselves. Mularoni does some expert soloing - the kind that elevate the rest of the song and make you look forward to what is next.

All 11 tracks on this record are excellent. I will focus on some of the highlights so as to not make this review go on forever. "On The Edge" with the line "blood runs cold" might be the sequel to the last Sunstorm record's theme of being on The Edge of Tomorrow. Turner puts much of his storytelling energy into being worried about the future. And most sane people would agree with him. "My Eyes On You" is a progressive-meets melodic track mixing modern melodic rock with elements of Journey and Rainbow. "Everywhere" sounds like it could have been a lost track from Journey's Eclipse album with Turner singing in power ballad mode. The track morphs into a hard rocking slow tempo ton of bricks. "State of The Heart" is the most Rainbow song on the album and even has one or two guitar chord moments where you can hear Rainbow's "Street of Dreams". But the similarities are barely noticeable in the larger scheme of things. "Calling" keeps the apocalypse going with Turner pleading through his lyrics for the world to hear.

"Still Fighting" ends the album on an up note both lyrically and with the more optimistic sounding melody. Drummer Edo Sala is super solid through the entire record with no downside. Bass player Nik Mazzucconi holds down the bottom end and is produced in a way that gives the rhythm section a deep resonance.

Sunstorm may be just a cool name or a melodic rock concept, but listening to this will make you feel like you were actually in a musical storm of some kind. These songs were all created with a lot of attention to detail. The songwriting fits perfectly with the production and instrumentation. Joe Lynn Turner is able to plead his case for humanity through these 11 masterful hard rocking songs. These songs will echo in your consciousness long after you've put the CD back in it's case. This is a powerful testimony to a veteran rocker who's found a great production team who understands his legacy and the present age. This album gets 5 big stars.