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

Shaw Davis & The Black Ties - Red Sun Rebellion (Album Review)

Florida based guitar slinger Shaw Davis and his band the Black Ties return with their third album Red Sun Rebellion.  The band revs up another set of progressive blues-tinged hard rock. The band continues to write and record at a level that is hard to come by in today's computer music world. The recording itself is well produced and will blitz your headphones. 

"Higher" is a grungy rocker that would fit perfectly on mainstream rock radio. Davis straddles the line between modern hard rock and blues and does so with a nod to the 90's. "Promised Land" is another power rocker that would be a nice radio follow up to "Higher". The guitar solos are all little mini acid trips. Davis is a great player who has no problem alternating between dirty hard rock and clean riffs like on "If I Stay This Way". The songwriting is original and top notch. The work of Jimi Hendrix and Robin Trower are certainly touchpoints for Shaw but there is no question that he makes his own way and has created a guitar sound all his own. 

"Black Flagged" could be titled "Black Pilled" as Davis writes about strife and discontent. Lots of tasty fills and solos on this burner. Bassist Patrick Stevenson shines brightly on "Black Flagged". Adding that 90's flair is drummer Bobby Van Stone who crushes the kit from beginning to end. 

The band lightens up for the pop-blues-rocker "Straight Ahead". A tad more soul oriented, the track is radio ready for the right program director. "Rock Me Baby" takes a page from the old Bad Company playbook but with more growl. All nine tracks make for a complete vintage blues meets acid grunge rock experience. If you are looking for some blistering roots music to crank up real loud, you've found your album.

Album Rating 9.8

Sunstorm - Afterlife (Frontiers Music) Album Review

The Sunstorm brand has been around now for about 15 years and has been a bright spot in the melodic rock world. All 5 of the albums prior to the latest project were a vehicle for legendary vocalist Joe Lynn Turner. Turner apparently turned down another opportunity to keep the brand afloat. Rather than ending the project, the record label, Frontiers, recruited singer Ronnie Romero to pilot a revitalized version of the band. The results are suprisingly impressive. Romero has been fronting a number of projects and has been compared favorably to Ronnie James Dio and Graham Bonnet. The new album "Afterlife" was produced by Alessandro Del Vecchio who writes and arranges all of the music as well as playing keyboards and singing background vocals. 

The album's first song which is also the title track for this collection bursts forth with a searing guitar riff supplied by Simone Mularoni who has worked on other Sunstorm projects. He is a beast throughout this project, channeling people like Richie Blackmore and Joe Satriani. The chord shifts, the powerhouse drumming, provided by Michele Sana, and those ferocious bass lines played thunderously by Nik Mazzacconi give Sunstorm a unique and powerful hard rock audio template. "One Step Closer"offers a great singable chorus and a spiritual theme that dovetails with the title of the album. "Swan Song" opens with an airy synth which gives way to a crushing guitar riff, not unlike Sunstorm's signiture song "Edge of Tomorrow". Del Vecchio's lyrics continue to embrace pertinent questions while being generic enough to fit global or personal issues. 

"Born Again" combines elements of blues and hard driving rock while "Stronger" has more in common with AOR and melodic tendencies. Sunstorm was historically more aligned with bands like Journey and Foreigner but in recent years has more in common with the Rainbow and Deep Purple family adding rudiments of progressive rock and classic hard rock. "I Found A Way" makes good use of a bluesy riff and Romero's lower register which is very reminscient of David Coverdale. "Lost Forever" is a stunning power ballad featuring Del Vecchio on keyboards and background vocals. The tune is dripping with old school pomp and gives the album a bit of an intermission from the relentless guitar attack. 

"Far From Over" has one of the catchiest riffs on the album and certainly could be a radio single. A few plays and you're instantly hooked. "Here For You Tonight" is another superb melodic statement with a grand guitar intro followed by Romero singing over a memorable music bed. Mularoni's versatility on lead guitar is a factor throughout this record. "Darkest Night" has a couple of Journey-esque hooks that again make for more great radio fodder. Rather than let up, this album gets better as it goes along. 

"A Story I Can Tell" combines all of the aforementioned elements into one big bold finishing stroke. The band comes in rocking and goes out rocking in the same way. Despite what Gene Simmons says, rock is alive and well, you just have to know where to find it. Sunstorm's "Afterlife" not only keeps the franchise alive, it ends up being the strongest album in the catalog to date. A classic from start to finish.

Album Rating 9.6

Chez Kane - Chez Kane (album review) Frontiers Music

A female rock singer that sounds like Lita Ford, Vixen, Pat Benatar, Fiona, Saraya and Allanah Myles. Introducing British vocalist Chez Kane. I never thought this genre would return to the music world. Kane embodies that leather clad beauty from the 1989 time machine. She sings like a woman determined to bring back this car cruisin' format with the top down and the speakers blaring. The album was written, arranged and produced with the help of Crazy Lixx frontman Danny Rexon. What they've achieved here is nothing less than stunning. All of those frowned upon attributes like melody and fat sounding keyboards are front and center. But it's Kane who delivers the goods on every track.

"Better Than Love" is a brilliant album opener loaded with great hooks and a killer sax part that feels very Eddie Money circa 1988. "All of It" rocks, stomps and hollers it's way through big hooks and choruses. It's as if Mutt Lange and Richie Zito are co-producing but it's Rexon doing his retrofitting on every song. "Rocket On The Radio" sounds like Poison and Journey at times. There are so many great chord changes and singable lines that you'll immediately get wrapped up in the songs. "Get It On" opens with a full chorus of vocals combining a Def Leppard and Vixen strategy. The hooks are immediately lovable. "Too Late For Love" is the song Vixen wish they could have written. A perfect build up and an absolute radio juggernaut if we actually had melodic rock terrestrial radio in the year 2021. 

"Defender of The Heart" is this great mid-tempo semi-ballad that takes this into the pure pop category. This would have topped the top 40 in 1987. The songwriting is all stellar on this project. With so many used up melodies out there, it's a wonder that Rexon and company were able to deliver so many original songs here. "Ball and Chain" is half Bon Jovi and half Vixen. Kane's gutsy vocals defy logic and along with the insane choruses make this pure time travel material. "Midnight Rendezvous" is more of an AOR rock track with Kane pushing the boundaries vocally. The guitars on this one are like a freight train on both the rhythm parts and the solo. "Die In The Name of Love" is a sweet late night top 40 track with superb production especially on the keyboards and vocals. This record is so damn catchy it's almost criminal. 

"Dead End Street" is the last track on this record and it's super close to being a power ballad. The chord progressions and mood of the song put you in a time trance like you've heard this before yet it's brand new material. This is the best album I've heard in 2021. There are no duds or misfires here. For the fan of melodic rock when it was truly melodic.

Album rating 9.9

Kreek - Kreek via Frontiers Music SRL (album review)

Hard rock without all the needless add-ons. A clean rough and tumble sound that still has enough air in it to allow a full interpretation of what you are hearing. A lead singer that has touches of Ian Gillan and David Byron (former Uriah Heep). Bass lines that are high in the mix and give the music a high octane groove. Guitar solos that harken back to the guitar slinger era and add so much depth and texture to the music. Drums that are clean and crisp and drive the band forward. 

Welcome to the first album by the British band Kreek. In addition to all these aforemention traits, Kreek has crafted some amazing, original material. "At The Bottom of Hell" leads off as a nearly 7 minute story perfect for a horror movie soundtrack. If mainstream rock radio took a chance on this it would be an immediate hit. The band is made up of some real talented men. Antony Ellis (formerly of Bigfoot) on lead vocals, Nick Clarke on electric guitar, Lee Andrews on bass guitar and Seb Sweet on drums. "Missiles" and "Meet Your Maker" are both rocking, the latter being a bit of a punky shout and holler anthem. "Million Dollar Man" is a radio ready rocker with great chord changes and a killer chorus. Ellis can sing his ass off and proves it on every track. The joy of hearing every instrument and vocal clearly gives Kreek a big advantage on this album.

"One Voice" and "Man on My Shoulder" both rock out but are stylistically very different. Kreek doesn't employ a monolithic template to any of these songs. There are elements of hard rock and old school metal, but it's rather hard to categorize. "Stand Together" is a bluesy Zeppelinish tale that glides along with both electric and acoustic guitars. Another rock radio ready song. "Down and Dirty" borrows some from Collective Soul but it's airy bass line takes the song in a different direction. "Get Up" is another traditional rocker with each player firing on all cylinders. These guys write new and interesting hooks. "You're On Your Own" is the album's only ballad. And it's the perfect way to end the album with guitars still blazing and drums still pounding. Kreek is a band you shouldn't overlook especially if you are from the old school way of rock but are looking for some fresh sounds.

Album Rating 9.4 

Pride of Lions - Lionheart (Album Review)

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

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

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

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

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

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

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

Album Rating 9.9