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

Helix - Eat Sleep Rock (Album Review)

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

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

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

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

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

(Album Rating 9.3)

Fire Tiger - All The Time (Album Review)

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

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

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

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

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

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

Album Rating 9.9

Lionville - Magic Is Alive (Album Review)

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

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

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

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

Album Rating 9.7

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

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

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

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

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

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

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

Album Rating 10.0

Bridget Kelly Band - Dark Spaces (Album Review)

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

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

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

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

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

Album Rating 9.6

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

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

Pre-Order A Copy

Wild Souls - Queen of My Heart (Album Review)

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

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

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

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

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

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

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

Album Rating 9.5

Dennis DeYoung - 26 East Volume 1 (Album Review)

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

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

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

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

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

Album Rating 10.0

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

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

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

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

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

Album rating 9.8