Work of Art Hones Their Melodic Rock Craft Even More on "Exhibits"

I remember listening to the song "Why Do I" many years ago as I slaved away at my cubical in a dead end job. I was tired of the endless grind of music I'd heard a million times and had stumbled onto "Artwork" by this new Swedish band. Americans aren't exposed to anything melodic and new so this was interesting to say the least. Comparisons to Toto were reported in every publication. The band went on to make two more albums that solidified their following.

Their new album "Exhibits" is a much anticipated step in the right direction. My initial reaction to this collection is it's loaded with potential hit singles. Work of Art straddles the west coast, AOR rock fence never falling off into an easy  place to label. The new record is 11 tracks deep and starts off with the so-so uptempo "Misguided Love", which speeds by without the kind of emotional depth or musical anchor that would give it more distinction. Again, not a bad song, but a bit mundane. Next is the lead single, "Be The Believer" which starts nicely. A classic riff that leads into a high speed chase, interrupted by a chorus that downshifts and then up-shifts.
Lars Safsund delivers soaring, precise vocals that almost sound auto-tuned. The band utilizes a lot of vocal overdubbing which gives you the impression that a lot more is going on. I liked the guitar solo and the keyboard break in this song, and overall the track is a winner.

"Another Night" is a well executed Survivor-lite track that thankfully brings the tempo down a bit to great effect. "This Isn't Love" features guest keyboards from the author of the famous Rocky training montage, Vince DiCola. The song is a complete knockout, and has some impassioned moments and DiCola certainly adds a very excellent keyboard solo and all kinds of interesting sounds. It almost moves the song into E.L.P. territory.

"Gotta Get Out" is a well thought out hook, with a great chorus and an artsy guitar solo. Definitely one of the stronger songs from "Exhibits". Next is "Come Home" with it's darker keyboard intro and some grittier guitar lines. The song's muscle and slightly darker vibe makes it a bit of an outcast. Again, not a bad song, but not one of my favorites. "If I Could Fly" sort of mixes the last two songs, at least thematically, adds a strong chorus and builds the energy as it goes along. I like the guitar work and the impassioned vocals. "Destined To Survive" goes big with keyboards and has a busy lush sound. A fairly complete hook, and a memorable song indeed.

"Scars To Prove It" borrows from the John Elefante-Kansas era. Progressive keys, and a tinge of psychedelic guitars. It almost sounds like an outtake from Vinyl Confessions with busier production. "What You Want From Me" leads with a catchy guitar riff that transcends into the Work of Art vocal formula, including a wonderful, memorable, soaring chorus. "Let Me Dream" takes a pleasant step in a slower, more contemplative direction. Think Foreigner, "Waiting For A Girl Like You". They may have saved one of their best songs for last.

A fine way to wrap up a rare melodic rock gem made in the year 2019. Work of Art should be a band that is known to Americans. But sadly most of their fan base is overseas. If I'm grading on a Work of Art curve, which means against their older material, I'd give this album an 8 out of 10. And like all music, this has a chance to grow on me as time goes by.

TexWestus Makes Some Sweet Noise In The West Texas Prairie

I got interested in this genre because I am a huge fan of 90's country and have lamented the bro-country movement that has decimated a once great and proud musical style. I listened to a lot of country in the 90's because of what was happening to rock. It was dark with no light at the end of the tunnel and I believe we are still suffering from that musical shift even today. But country was still versatile, upbeat and easy to sing.

Nashville is now the epicenter for a number of musical formats that are starting to congeal like dross that has melted away from the golden discs of yesteryear. Things are different in West Texas. There is music in them there hills and it's redefining country music again. It's reverberations began over a decade ago, as a response to the nonsense that is now the norm in Nashville. The purveyors in Lone Star country still wear cowboy hats and boots and there are no skinny jeans in sight. In some cases, the guitars have more kick, the fiddles play with a guitar like abandon, and the voices come with red dirt road street credibility and not a shred of auto tune.

There are dozens of artists I could cite. But one duo got my attention for a number of reasons. Both male and female vocals, a variation of electric and acoustic numbers. The playing precise and animated. The songwriting interesting and provocative. The name of this band is Texwestus. Very much like West Texas in a catchy anagram or an accidental slip up after too much Tequila.  The duo is made up of singer and guitarist Corbin Burgett, who apparently loves 80's guitar rock. And Chloe Fowler who's sweet voice contrasts Corbin's husky baritone. The combination of voices and influences make for an atypical roots country experience.

The band has released 2 songs this year thus far. A barn burner called "Can't Slow Us Down", and the folksy and more pensive "Gone" which in another musical dimension might win an award of some kind for songwriting and production. Corbin's harmony vocal adds a layer of intricate drama. Burgett plays his guitar both lightly and heavily as the song evolves through it's heartbreaking tale of lost love. The duo also has an EP from 2018 that maps all kinds of west Texas terrain with heart and soul.

"Somebody Like You" is a rocking, dancing, hollering favorite here. "Fight With You", Shoulda Said Yes" and "Not Coming Home" show a fine singer songwriter style whereas the genre bending "Queen of My Own Heart" is almost reminiscent of an 80's arena rock sound, but with root rock tendencies. "West Texas Wind" could be 90's country, but with less gimmickry and more red dirt mojo.

Even if you don't like this style of music, you have to admire the organic and authentic musical pursuits. These melodies are refined in bars and small concert halls in a part of the world where the only thing that is more cherished than these grooves is the beer that perfectly compliments it. You can never know for sure who is going to be famous. But if the world would just react the way it's supposed to, Texwestus would be a household brand.

Saturday Night With The Bridget Kelly Band In Fort Myers

I don't know what enzyme makes me want to get up on my soap box after seeing a show. I mean, they are just a basic four piece blues band. A sultry female lead singer, a guitarist who could be a major league superstar. A funky rhythm section that is in the pocket all night long. I'm in this place called the Barrel Room. Small. Respectable. Clean. The clientele, many overdressed waterfront dwellers. So much talent in the room, yet so little understanding of it. The live music scene still is the place to witness dues paying musicians who all come with built in humility. I'm not saying the Bridget Kelly Band is the world's greatest blues rock band. But in a slightly altered dimension, where the music industry hadn't destroyed itself, this is the kind of music that could fill in where the old rock dinosaurs left off.

Of course this would require some kind of support system beyond paid radio and indie blues radio shows. A schmuck in his '98 Buick Century should be able to hear this music on the radio that came with his car. A radio station or network of stations would have to spring up across the country. Much like the way Christian stations have sprung up and taken over signals all over the northern hemisphere. And maybe the blues rock channels could be about music and charity, much like the way Bridget and her band give money away selling t-shirts to help eliminate or at least understand autism. As a former disc jockey, something has to give. This generational slide into the abyss began over 25 years ago and with the advent of technology, the music is all sounding like it was hatched in an electronic petri dish.

Watching lead guitarist Tim Fik (who is 60 something years old) jump around the stage and play like any great guitarist (if not better than) I've ever seen, makes me think this will be just our little secret. The neanderthals are out at the local dive bar, enjoying the lost art of music.

For this band, and many like them around the world, they pursue a dream that is no longer a plausible endgame. How can you now become famous wailing on a guitar or singing live a dove? You can't. So you pile your instruments onto a stage in a small, intimate place where a couple dozen or so folks commune for a few hours, guzzling beer or sipping on whiskey. Fame is no longer the prize. The business itself doesn't recognize what they are doing. It's up to fans like you and I to keep the torch burning. That means spending real money on downloads, CD's and other band stuff. It means organizing music outlets, preferably over the air radio stations.

I had a great night listening to a band many ignored as they walked the balmy streets of Fort Myers as the music they played filled the air. The blissfully ignorant don't know they need this music. Most really don't understand it. The entire thing has been systematically deconstructed. Radio playlists reduced to mindless repetition. Chances forsaken because of the relentless focus testing and ad friendly content. Money. The new paradigm controls the purse. And there is no money to be made promoting middle aged musicians who play circles (or just play) around the computer whizzes.

Will there be a comeback? Doubtful. The underground has room for growth but to get converts there must be exposure. And until someone shows up with deep pockets, radio will continue to die. My prayer is that people will once again be inspired by a crazy good guitar player and a sultry lead singer who together create some wonderful rockin' blues.

Sayer and Joyce Deliver Blues Excellence On "Makes You Stronger"

Sayer and Joyce are two very talented musicians from the UK. They recently got added to the growing roster of great artists on the Gulf Coast Music Label. Together they create an almost junior version of the Tedeschi Trucks Band template. Their brand new album, Makes You Stronger, is a near flawless collection of soul infused blues rock. Other than the drumming, all the instruments are performed by Sayer and Joyce.

The highlights are as follows: The funky rocker "Backbone" that almost has a Janis Joplin vibe to it. "My Hard Life" with it's gutsy vocals and straight forward rock approach. The Muscle Shoals influenced "Life Is What Happens" complete with lots of brass and funky guitar licks. "I Get Up Again" with it's driving mid-tempo beat and perfect melodic build up. Ron's guitar precision on "No Galahad" and the infectious blues rocker "Too Much, Too Soon".

This is a very accessible collection of songs that breeze in and out and engage the hearer with stellar playing, singing and songwriting. This is blues for both die hard bluesers and fans of old time rock and soul. Another home run from Gulf Coast Records. Sayer and Joyce makes the roster even better than it was before.

Wayward Sons Are British Rock Royalty Looking For Audio Disciples

Basic rock and roll isn't such a basic commodity anymore. The current generation has been hoodwinked into thinking a computer can make good music. And from a financial standpoint, apparently that makes sense for those record labels who mass produce this garbage. A band like Wayward Sons is a smack to the culture. The pounding beat, the relentless barrage of guitars. The Bon Scott vocal delivery. For the rock and roll enthusiast, this is a jolt of champagne. There is real attitude that accompanies these drum smacking grooves.

There are hints of punk, glam and old school 70's rock. Vocalist Toby Jepson is kind of big deal in his homeland. He brings a certain kind of been there, sung that, gravitas to these 13 lyrically blunt audio explosions. Sam Wood plays his guitar loud and fast while drummer Phil Martini plays hard, loud and fast. Rounding out the rhythm section is bass player Nic Wastell. Keyboard player Dave Kemp adds another layer of sound to an already robust soundscape.

With only two tracks that clock in at over 4 minutes, this album moves along quickly and makes for a satisfying ride. Nothing bogs you down or makes you want to hit fast forward. There are no filler songs. "Any Other Way" leads off with a ferocious beat and vocal that snarls it's way through some rather rebellious lyrics. "As Black As Sin" has a punk-like AC/DC vibe, with guitars and vocals that push out in all directions. "Jokes On You" is a sunnier rocker, again with lyrics making a point. A very catchy track and one that could easily be a single. "Little White Lies" nods to the Beatles and Queen but retains the Wayward style with a punky chorus and some stylish chord variations.

"Feel Good Hit" has the amps shooting sparks, as the band rocks out on all cylinders with lyrics that again might be poking fun at the current music scene, or lack thereof. "Fade Away" is a surprisingly well crafted ballad, maybe something Ian Hunter would devise. It's a classic, memorable dirge and again would be a breakout song if radio decided to make amends with the world. "Have It Your Own Way" combines cynicism with a guitar avalanche. A bold, brazen, glammy slab of molten Marshall. "Long Line of Pretenders" has a catchy hook and combines more glam and pop, and treads new ground in the melody department. The keyboards on this track are vibrant and important to the melody and the completeness of the song.

"(If Only) God Was Real" is a call to morality in a kind of reverse osmosis feedback loop. The music again kicks it back up into turbo hard rock mode. "The Truth Ain't What It Used To Be" had me at the title. The song is propelled by a rocking rhythm guitar and some quirky lyrics that will have you focused on what might happen next. "Punchline" is another lyrical masterpiece, food for thought, ideas to ponder, put to another relentless slab of Deep Purple inspired hard rockin' bliss. "Us Against The World" offers the listener a little hope amidst the mayhem and sarcasm. It's another well crafted song that has both Queen and The Beatles in the rear view.

There's a bonus hidden track called "Totally Screwed" which takes a bit to kick in but acts as a thematic closer to a rather exhausting collection of mind blowing 70's tinged classic hard rock. Wayward Sons are a band that could lead a rock and roll revival. All they need are a few more disciples. Sign me up.

Blockbuster "Losing Gravity" Winning At Every Level!

Big. Pompous. Bombastic. Melodic. Memorable. Fun. Familiar. Loud. Original. These words perfectly describe the brand new album by the Finnish rock band Blockbuster. Their debut album on Frontiers Records entitled "Losing Gravity", proves that there are new note combinations that can be found.

Honestly I wasn't prepared for the level of songwriting and uniqueness of this record. Musically Blockbuster borrows from all the best things. Glam, hard rock, punk, pop, and lite metal all play a significant role in defining this band. Lead guitarist Elias Salo is unapologetic in his love for elongated chords. The band marries this guitar sound with a wall of vocals which include well placed shouts and hollers.

The arena is already packed out on track one, "Out In The City", with all of the aforementioned effects and a guitar solo that kicks some large buttocks. The production is remarkably clean. This only makes the ride more audible and enjoyable. "Gone By The Morning" is a two pronged guitar attack helped along by lead vocalist Aarni Metsapelto who also mans a guitar. Original riffs, addictive leads and complete musical thoughts. "Flammable" leans a tad toward punk as drummer Jaako Metsapelto is all over the kit, driving, crashing and leading the other boys through another tasty melodic rock nugget. "Back From The Shadows" is another jump and shout anthem, that features an infectious bass line from Joonas Arrpe who is juxtaposed by another string breaking electric guitar solo.

"Losing Gravity" finds the band in mid-tempo acoustic guitar bliss. The level of pop proficiency here is Abba-like. This might be the best new song I've heard this year. And check out that extended guitar solo. Lots of depth and emotion there. The seat belt sign lights up again for the rockin' "Sweet Mary Jane". Is this a girl or some substance bringing your soul down to the depths of depravity? The chord changes are fascinating and rival Angus Young's best ideas. "Somebody To Shock" continues the perfect string of melodic greatness with more sweet choruses and catchy refrains. It might take another band a whole career to come up with this many good songs.

"Walking Like A Dog" borrows a bit from Smashmouth's "Walking On The Sun". It's not that the chords are all that similar, it's more the structure of the song, and the chunks of audio candy that create a mild deja vu experience. "Move" was the first track I was able to hear from this album and it's got hit single written all over it. Probably because of the solo vocal parts, the giant hook and the glam infused chorus. There are na-na-na-na-na-nas and even a Queen lyrical reference. We've arrived on planet perfect album.

"Would You Do It Again" has a fuzzy guitar tone that opens up and gets bigger as the song builds. Stylistically taking from new wave and punk but still mainstream and melodic. "Bulletproof" is track 11. And the band hasn't lost a step. The opening riff is a cross between "Candy-O" by The Cars and something by Led Zeppelin. And that might be an apt way to summarize all of the mysterious mayhem on "Losing Gravity". You could be a Kiss fan and love this. You could be a Thin Lizzy fan or a Def Leppard fan or prone to the pop rockers of the 80's.

Blockbuster is my favorite album of 2019 thus far. There are 11 potential hit singles. There are 11 very catchy, original songs in a world where people are starting to think all of the good note combinations have been used up. Not so. Blockbuster has raised the bar for this current generation. It would not be out of place to say this is on par with what Boston did on their debut album. They obviously picked their band name correctly. This is a Blockbuster.

Blockbuster Will Make You Move On This One

Every so often a riff comes along that gets your attention and then sticks in your brain and is hard to shake out. Honestly when I first heard this song it didn't register how original it was. My subconsciousness had stored it away. I stumbled upon it a second time, thanks to the record label, Frontiers, who are often a persistent bunch when it comes to promotions. I will eventually have to review the whole album from this new band from Finland. For now, we relish in one of the most addictive guitar riffs of 2019. The sound is part glam rock, part hard rock, part 1970's, part 1980's, and part modern rock. The production is lean enough for the rock purists, while busy enough to engage today's radio audience. What is hard to ignore is the original hook, one that truly doesn't remind me of another song. Which in and of itself, is a massive achievement. And lastly, this is one damn fun song. Play it loud and play it often. It's guaranteed to get stuck in your cranium.

Huey Lewis Is Back With "Your Love Is Killing Me"

As a huge fan of this band, I have to temper my bias with an honest assessment. This is the band's first new original material since their highly overlooked Plan B album from 2001. This is a more stripped down News with bluesy instrumentation and some great horns. Huey still sounds like Huey which is to say his voice hasn't changed so much that he is hard to recognize. I say that because many older singers hardly remember their younger selves. The song itself is catchy and like much of what this band does, is instantaneously memorable and fun. The guitar and harmonica work is excellent and the production values are pure and uncluttered. All and all a wonderful addition to the Huey canon. A new album is on the way soon. And this is a nice preview.

Beyond Imagination Is Authentic West Coast Magic

In recent years, producer, arranger, guitarist, and west coast icon Jay Graydon has lent his talents out to a growing number of Swedish quality rock bands that have parroted the music once made here in the states. The latest band to catch Graydon's ears is a Malmo based band called Beyond Imagination. Graydon lends his guitar work to an incredible slice of 1981 called "Say Is This Love". The tune also features some robust saxophone and Viktor Johansson's smooth vocals.

"Traces of Laughter" is a tad more muscular but alternates between pure AOR and West Coast. What's very apparent is B.I. can write and arrange songs with powerful, captivating hooks. They use effective keyboard flourishes to augment some already very convincing music. "I Can't Find Enough Reasons" is perfect for those rainy nights both musically and lyrically. Andreas Baro plays the sax with smooth jazz bravado. Emanuel Nyman mans the drum kit and is an anchor to the rhythm and overall feel of this album. He and Baro do double time as players and producers.

"Inside Your Eyes" is reminiscent of a Chicago (the band) power ballad, with a bigger drum beat and romantic lyrics about true love. Tim Carlstedt lays down a note perfect guitar solo. The band shifts gears for "Driving Along The Coast". The guitar tone is rocked up, and the band strays mercilessly into old fashioned AOR. "Change The Way" has a gigantic guitar hook intro, followed by a more jazzy vocal arrangement. The horns are used effectively throughout this collection. You just know the band was influenced by the aforementioned Chicago and maybe Earth Wind and Fire.

 "I Want To Be Love" begins with more memorable power chords and then ascends to a loftier melody and harmony vocals. The chorus is strong and is filled with 80's top 40 enzymes. The synth based "Courage At Heart" hints at new wave pop bands from 35 years ago. Think Naked Eyes, A-ha and Cutting Crew. B.I. has still managed to keep things original though. There is no blatant plagiarism, just nods to style.

"Love of My Youth" is a slow, smoke filled room number that takes a light stab at Michael Franks or even Tony Bennett. This diversity is what makes this debut album a real joy to listen to. "Stay With Me Tonight" sounds like a lost Al Jarreau track with a tropical vibe. The concluding "Spirit of Freedom" is an instrumental track that echoes the best of smooth jazz from the likes of Fattburger or Spyro Gyra. What's a little different is the overall structure of the song which is much in the pop vein of things.

Beyond Imagination's debut record is clearly a tribute to the world's once great melodic past. All done with an incredible attention to detail. The Swedes continue to be pioneers in this format that was once only reserved for the experts in southern California. This is one big fat treat for your ears. Slap on the some headphones and use your imagination!

Will Jacobs and Marcos Coll Are Making Some Sweet Noise

Taking Our Time is a brand new album by blues rock duo Will Jacobs and Marcos Coll. Coll plays the harmonica. Jacobs plays guitar and sings. Like many American born and bred musicians, they set off to make a living in Europe. Their new album will make fans of traditional Chicago blues very happy. But this music should also appeal to the rock traditionalist as well.

The highlights include the funky opener, "It Ain't Safe". Jacobs makes his guitar talk in different tones throughout this project. "Goin' To Berlin" is a more traditional number with Coll's harmonica blaring alongside a thumping, familiar guitar riff. But guitar fans will enjoy the instrumental jam that ensues. "What You Doin'" returns to the funkiness of the opening track.

Vocally, Jacobs is a cross between Robert Cray and Lenny Kravitz. The simplicity of the arrangements and the live music feel make these songs very memorable. The band rocks out a busy instrumental called "C.J.'s Bounce". "Stranded" returns to some hardcore Chicago style with some stellar harmonica. Jacobs brings the funk back on "Hey Baby", which is really one of the more fun and memorable tracks on this collection. "Blues Cazorla Boogie" is a Chicago blues and swing hybrid. The dance floor is open and these two blues masters do not disappoint.

"One Too Many Times" is another classic blues riff and a familiar tale of being kicked to the curb. The boys then swarm in with their respective instruments and make a decent ruckus. "Goin' To Berlin" (recorded live) is the album's closing track. It's more of a front porch burner and it shows that these gentleman can bring it live. All and all a tasty little collection of catchy blues nuggets and certainly a worthy addition to your collection of blues staples.

Age of Reflection's "A New Dawn" is Old School 80's Melodic Rock With A Modern Twist

Age of Reflection is another Swedish band with it's roots firmly planted in the 1980's. Lead vocalist Lars Nygren's vocals add a layer of emotion to a very solid and polished sound. Nygren has something unique in his vocal delivery that separates him from other singers. Maybe it's a touch of Paul Stanley in his prime mixed with the late Jani Lane from Warrant. Guitarist Jonas Nordqvist has been influenced by Neal Schon, Josh Ramos and Steve Vai. On "A New Dawn", the band picks up right where they finished on 2017's "In The Heat of The Night".

If you are a fan of big dramatic arrangements, scorching guitar solos and soaring emotive vocals, this is the band for you. "Aurora" is a melodic shredding instrumental intro that leads into the album's centerpiece, "A New Dawn". This one-two punch could be the perfect night driving FM radio staple. "Stay With Me" is a mid-tempo rocker, well written and guitar driven. Lars singing style is very lyrical. His voice seems to body surf over the melody, being whisked along on each little twist and turn.

"Here I Stand" faces down negative consequences and regret and pleads with it's audience. It's backdrop is a melodic current that will sweep you away. "Until Death Do Us Part" is a rocking marriage song, declarative and bold. The band rides these lyrical themes with waves of sonic power. Nygren's voice and the harmonies of his band mates keep your ears in the game. "What if I Break" is a surprising acoustic power ballad contemplating the ups and downs of a confused relationship. The band's vocal prowess is on full display here.

One of the most surprising moments on the album is the band's remake of the Cutting Crew's "I Just Died In Your Arms". The band rocks it up a bit but it's actually very faithful to the original. Other highlights on this record include "Go" and "Write It On The Wall".

What I like about this band is that they write songs that have staying power. There are a few sonic curve balls. And the musicianship is top notch. The difficulty for this band is the struggle to get airplay and to be noticed. Radio is not user friendly right now and bands like Age of Reflection can get lost in the shuffle. But overall another stellar offering by this band from Stockholm. Look for the album to drop September 27th via AOR Heaven Records.

Goodbye Eddie

I was a wet behind the ears music director programming the music for the number one radio station on Cape Cod. I think it was 1988. The traffic director (who is basically like a receptionist, greeter, task assigner, all of the above person) called the production studio to tell me that Eddie Money was on the phone and needed to speak to me. My response to her was, "yeah sure". She said, "he says he's Eddie Money". I said, "fine, patch him though". The voice on the line says, "Davey, this is Eddie, the money man!"

Immediately I knew it was really him. We talked about Richie Zito, who produced his latest album Nothing To Lose. He mentioned that he needed a vacation and was planning to spend time with his wife and his kids. He thanked me profusely for helping the song The Love In Your Eyes climb to #1 on the mainstream rock charts. Admittedly, it's not Eddie's best track, but was a radio staple for us for several weeks. He was as affable and funny as he is on TV and in interviews. He told me he would eventually make it to the Cape for a visit, that it would be a perfect place for his family to spend some time on the beach. He was a working class Joe from New York who was destined to be a cop but he quit and followed his dreams to California. 

They don't make them like Eddie Money anymore. He loved R&B music, rock and the blues. He ended up being a constant presence on the radio until the grunge scene killed his radio career. Like all good blue collar workers, he hit the road hard and was there right up until the doctors pulled him off. I'm sitting here cranking all of these Money tunes that meant so much to me then. Today they mean even more to me than they did then. 

Rest in peace Edward Joseph Mahoney. You will be missed but thankfully you gave us a lifetime's worth of unforgettable music.

- Davey

The Defiants Defy Convention By Going Back To What's Great About Rock

The Defiants are the offspring Danger Danger who were a casualty of the grunge rock scene. One of many steeped in a melodic rock tradition that peaked right around 1989. Glam rockers were adding strains of funk and blues to their singable anthems. Times were good. And then came Kurt Cobain and the party ground to a halt. Here and there with fits and starts, this music has continued to find a home, mostly in Europe. American fans have largely been shut out of the party since terrestrial radio went dark.

The Defiants pick up where the party ended. Their new album, called Zokusho (which is a Japanese word meaning sequel) makes for some rather impressive ear stimulation. "Love Is The Killer", a song Bon Jovi would reject today, but a song his fans will embrace opens side one. The big choruses, the cacophony of keyboard sounds, and those lyrics, ripped right from the pages of a late 80's Soap Opera Digest - this is what the New Jersey faithful have been waiting for.

Guitarist Rob Marcello tricks out his guitar for all the needed effects along with piercing, precise solos. Singer Paul Laine is amazingly well equipped to ride these notes high into  places older bands fear to tread. Steve West assaults his drum kit with high octane accuracy. "Hollywood In The Headlights" is the PERFECT southern California summertime anthem. These days good songwriting is hard to find, but not on this album. An instant hit single for a world corrected for lousy tastes. There are rich harmonies, complete musical ideas and guitar solos to ice the cake with.

"Fallin' For You" is a tad more muscular but still manages to be catchy as hell. The apple doesn't fall far from the Danger Danger tree.  There are a few modern touches, but nothing to disrupt the musical synergy. "Hold On Tonight" is a lush mid-tempo radio ready half-ballad employing every great 80's cliche with unabashed love for the genre. "Allnighter" has a more modern approach, much like something W.E.T. might record. The big hooks and choruses immerse the ears in what could be a great live in concert track."U X'D My Heart" invokes Mr. Big's "Just Take My Heart" via a sparse guitar intro followed by big bold and decisive hooks. Again the subject matter is about women breaking hearts and the like. It's as if the band has joyfully chosen not to delve into any topics that would bum people out in 2019.

"It Goes Fast" adds a nice pop sheen to an uptempo drum pounder. The melodies here are all advanced songwriting honors class. "Stay", "Alive" and the bar closer, "Drink Up!" all rock out in style without slowing down. No power ballads here, just glam oriented pop metal with zero filler. This record should be loved by fans of Poison, Kiss, Danger Danger, Ratt, Firehouse, Mr. Big, Def Leppard, Bon Jovi and Van Halen. There are a few bands making this kind of music, but none of them are writing and arranging songs of this caliber. "Zokusho" is the best melodic rock album of 2019 thus far.