Archived Reviews: # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Reviews Index
Record Heaven 2002
02-02-27
The legendary Ken Hensley is back with a new release! Indeed, one of the most influential keyboard player in the world, has finally returned to the rock scene with a solo album. So, sit back and get ready for the hammond attack!
He may (of course) mostly be recognized for his work with URIAH HEEP, during that ten year period of 1970-1980. While some may also remember, that he recorded two albums with Blackfoot in the 80's and did some appearances with W.A.S.P. etc. Not to mention all the band projects he was involved with, during the late 60's and 70's.
'Running Blind' is actually his 42nd album and the first solo album since 1980. Produced by Hensley and mastered at The Abbey Road Studios in London, England. Makes this is a nice collection of 14 tracks of Classic and Melodic Rock. The albums begins with the instrumental "Overture" before "Out Of My Control" takes control with some catchy, classic rock. "You've Got It (The American Dream)" continues on the same path, while "The Final Solution" is the real winner here. With a marvelous keyboard/guitar riff and a guest appaerance by John Wetton (Uriah Heep, Asia, Family etc.) on bass guitar. This tune will have you up and dancing (?) at once. You will also find some 60's rock here (Finney's Tale, I Don't Wanna Wait etc.) while "Free Spirit" is back to the Uriah Heep days for sure. Hensley may not be the best vocalist in the world, but overall a solid preformance by a solid rocker.
www.rhcd.net You can buy it at:
www.recordheaven.net
www.ken-hensley.com
Vaso Music 2000
Tony G. Hernando is a rising young guitarist from Spain. He has studied at reputated colleges and privately with a few of the best guitarists in the world like Joey Tafolla, Andy Timmons, Brett Garsed and John Petrucci.
His debut album "High" is full of legato/picking/sweep shredding and pentatonic/blues scales. His style is more into neo-classical with some fusion and a little blues influenced. Throw a little bit of Malmsteen and combine it with Vinnie Moore & Tony Macalpine, you'll get Tony G. Hernando. The most interesting thing on this album is the collaborations with some of his mentors and unconditional friends, as Andy Timmons, the keyboard player Vitalij Kuprij. Andy Timmons played on 2 tracks and changed the whole vibe of the songs. "The Edge" is a great hard rock song with amazing solos from Andy & Tony G. Hernando. "Eleven 30" is another remarkable tracks of the album. Great combination of legato picking crazy chops and melody. Other remarkable tracks are "A Secret Promise" which is a great acoustic song with an electric solo in the middle (which reminds me Andy Timmons at his best), "Race Another Day" which is a great hard rockin' tune and "Outsiders" which reminds me Vinnie Moore's "The Maze" song.
"High" seems to be a good start from Tony G. Hernando but there are couple of things on this album which deserve more attention. The main problem is the drum programming which is not as professional as the guitar parts. As from Spain, Tony G. could also include tracks like Vinnie Moore's "Never Been To Barcelona" that I think Tony will do it much better than Vinnie.
PS: "The Edge" is featured on our AOR-E Radio. Tune In!!!
http://tonyhernando.dreamers.com/
Lion
Music 2004
Review by Endre 'Bandi' Hübner 
2 April 2004
It's always nice to see an unsigned artist
"making it". This time out of the many unsigned artists we have supported along
the way it is Spanish guitar virtuoso Tony Hernando who has finally "arrived".
Two years are gone since we have reviewed his independent effort "High" [see our
Some of the songs featured on "High" were re-
recorded for "The Shades of Truth". So those who appeared as guests there can be
heard here again, namely Andy Timmons on "The Edge" and "Eleven 30" two classic
rock guitar anthems; while Vitalij "I'm on every album" Kuprij adds his
signature keyboard parts to the "Outsiders", turning the track that is rather
MacAlpine / Vinnie Moore flavored into progressive rock keyboard orgy for little
less than a minute before the catchy refrain comes back again. Since "High"
Tony's songwriting has matured and the material on this album is a lot more
diverse. He managed to get out of every neoclassic instrumental guitarist's
dead-end street, incorporating several influences into his playing/songwriting
he proved there is life beyond shredding pentatonic scales. As a result of this,
the new songs are a lot more entertaining and aren't just "that's how the big
boys do it" attempts. Right in the beginning "Behind the Catwalk" (one of my
personal faves) and the already mentioned "Uncommon Vision" give room to the
other musicians to prove their extraordinary abilities and both are real "songs"
not just cheap excuses of finger exercising.
"Slow Blues" is just what its title suggests, a
welcome addition here that gets contrasted by the modern sounding "The Silence
of Loss" right away. Admittedly the very well-thought track-listing contributes
a lot to strengthening the diversity feeling you get when playing the album. My
other two personal favorites were the two balladesque tracks, the anthem-
sounding "Broken Hero" and the closing "Still Believe" that has a simple but
beautiful acoustic intro and haunting melodies, one couldn't imagine a better
track to close an instrumental album. The 9 out of 10 rating is no exaggeration,
Tony Hernando has grown up and stepped out of the shadow of the guitarists he
learnt from. Pay attention to him!
www.tonyhernando.com
Frontiers 2001
23 May 2001
"Fallen Angel" is a good rock album with at times furious guitar action by Iain Ashley Hersey. I got a strong Whitesnake vibe from some of the songs. Especially when listening to "Distant Memories" I could've sworn that David Coverdale was singing the first few verses.
This album is rock music to the core. I popped this CD in my car stereo and I was enjoying myself but didn't really feel like putting the pedal to the metal. So if you wanna drive safely and quiet down the co-driver next to you this one's a safe choice.
Iain Ashley Hersey is an extremely skillful guitar player and this album is a good proof of that. Still I think that he has more to give as a songwriter. There were a few songs that showed that the potential is there and when he can make a full album of good songs without fillers I'm the first one to buy the CD.
Frontiers 2003
Review by Kimmo
Toivonen 22 March 2003
Now that Harem Scarem has somewhat returned to a heavier and more bombastic sound, vocalist Harry Hess goes into another direction with his solo material. "Just Another Day" has more in common with the likes of Tal Bachman, and most of the songs wouldn't sound out of place on a Robbie Williams or an Oasis album. Take the Oasis-meets-Queen-like "Wasted Away" or "Everybody" and "Just Another Day", both of which seem to have a kind of a brit-pop edge...thankfully Hess doesn't try to imitate neither Liam Gallagher or Williams. I'm not too thrilled about the songs though.
Out of the nine new tracks here, only "Looking Right Through Me", slightly SR-71/Marvelous 3-like "Why" and "Miles Away" with its' excellent chorus managed to brighten my day, and they were the saving grace of this album. The remake of "Sentimental Blvd." (from Harem Scarem's "Mood Swings") is excellent and very much in the HS vein, but why it is on this album is unclear to me. Ain't complainin' though, as it ends the album on a positive note!
As a Harem Scarem fan, I guess I'm relieved that these tracks were used here instead of a HS album, as they are clearly a departure from the band's wide range of styles. Hopefully Harry has gotten his "brit-pop demons" out of him, and the next HS album won't have anything that even remotedly resembles Oasis!
Queen Of Krakow 1999 (?)
Hess but not that one! This one is Tom namely and has nothing to do with Harem Scarem's Harry, neither as family connection, nor musically. Tom (guitars, bass, keys) and Co. (Chris Dowgun – drums and Mike Walsh – additional guitars) delivered an instrumental album in the vein of early Malmsteen or Jason Becker's "Perpetual Burn" album. The liner notes also list Marty Friedman, King Diamond, and Dream Theater as strong influences, while Bach, Brahms, and Chopin get a mention too, and it pretty much sums it up all. The album is namely a rough mix of them all.
The production budget must have been quite low and it has left its marks on the final product, but musically the album is in the same league with the "big boys". Tom's playing and songwriting is firmly rooted in classical music and fans of the above-mentioned guitarists will surely enjoy this album. Dare I say my favorites are not the speeding-scaling numbers but the ones with a more melodic approach, namely the wonderfully arranged "Phoenix Rising" and "Lydian Speaks" with an almost Steve Morse-ish clean intro that turns into a very melodic number. "Imperial" will please progressive fans as it has some serious Dream Theater touches, still I'd recommend "Queen of Me" to everyone, as it is another slow number with thoughtful arrangement. Nice piece!
All in all this is a solid album that given the right production could live up to the idols, still the one final spark is missing. A little more memorable compositions would help a lot to sell this music to a wider audience. Long time instrumental fans should check it out as it has some pearls (almost forgot to mention "Palette of Shades", probably the most beautiful of them all) but be prepared for some boring skippers with scaling that goes over your head with very little impression left behind. According to the liner notes the album was recorded in 1999 (how come it only got here now?!) it would be interesting to see where Tom's music is heading today.
HESS: "Opus 2" 7
Queen of Krakow 2004
19 January 2004
Opus 2 is surprisingly :) the second effort from Tom Hess and Co. Three years are gone since I reviewed Opus 1 [see our archives for the review] and many things changed and many more did not. Hess is still playing progressive instrumental rock with very strong classical roots, Tom is still assisted by his ex-student Mike Walsh as a second guitarist and the artwork is still as tasteless as it was with Opus 1. But Mike Walsh has "grown up" over the last couple of years and Opus 2 features two equal guitarists (Tom and Mike) with shared lead guitar duties and melodies that make this effort a lot more diverse than the previous one. [BTW stay tuned for next week's issue for a review of George Bellas' "Venomous Fingers" album who was Tom's teacher for five years it's a small world, isn't it?] This time the two guitarists are backed by Scott Hess on drums and Mark Carozza on bass and the production is much better than it was on Opus 1.
Musically Opus 2 is probably even more complex than opus 1 was, dare I say the Dream Theater influence is even stronger, and the sound got definitely heavier at times, reminding me of early Megadeth here and there. Three uptempo tracks open the album and they clearly show which way Hess' music evolved. The dual guitar work makes songs come to life, yet there are so many melodies and ideas squeezed into one track that they really need a few dozen listens till you can remember anything from them. "Nexuses" and Kingdoms" are what you'd expect from an instrumental progressive rock band, so the first track to really raise my eye-brows was "Into the Pinnacle", not only because of its title but because of its unusually heavy approach. Though I do enjoy the guitar work, especially the dual parts, I would like to draw your attention to Scott Hess' performance on the drums on this track. The rhythm section is tight as it should be and Scott is at his best on this number. "The Cynic, the Sad, and the Fallen" starts equally heavy but if you pay attention to the title and the music you'll hear that it's not because of some "let's be heavy just to be heavy" approach but because the song has its own message and the music delivers it as best as only instrumental music can. The Sad and the Fallen parts of the track are probably my favorite moments of the album, there are really catchy melodies here, something that is memorable at the first time you listen to it. "What Could Have Been... and What Is Not" gives us some more beautiful melodies, it is the most soulful track of the album, yet I find the Marty Friedman similarity a little too obvious (I'm talking about his "Scenes" album that is one of my personal favorites that may be the reason that I like this track so much).
"Through the Trials" and "Behold" are typically those kind of tracks that fail to impress me though I know that they feature extraordinary musicianship and countless great ideas, yet they fit into the "just another" progressive rock tune that you simply can't remember no matter how many times you have listened to it. Plus "Behold" has some very Malmsteen- like parts which is never a good thing when you are looking for the originality in a new artist's music. "Stained" brings some early Megadeth taste back with its intro but after that it turns into a cool rock anthem with some really good parts yet again despite being relatively short the track features too many ideas squeezed into four minutes to make any of them really memorable. When I was on the edge of my tolerance "Beyond the Brink" finally slowed things down and brought melodies and harmony back. Tom Hess has an extraordinary sense for melodies, it's really beyond me why he fails to make a better use of his God- given gift. A few more catchy, harmonious tunes like "Beyond the Brink" could have easily lifted this album up to the best instrumental albums since the turn of the millennium. All in all Hess matured a lot since their first effort, they proved once again they are extraordinary good musicians, yet they still cannot move further than that to become as good entertainers as they could easily be. For all you instrumental freaks out there we are running a Hess giveaway next week, stay tuned! Copies of Opus 2 are to be won if you answer a simple question. [hint:] For all those unfamiliar with the band their website might be helpful: www.hess.4t.com.
BMG 2004
Review by Kimmo Toivonen, 
22 March 2004
I am not a HIM fan as such, but damn it, if you take the best tracks off their four albums and add a couple of good new ones, you can't really go wrong! The die-hards might disagree, but I believe that for the "common man" the singles are indeed the best tracks of the band, more accessible than some of the album tracks, which can be at times a bit eccentric. Anyway, "And Love Said No" is a "Greatest Hits" compilation, not a "Best Of"...
During the band's 7 year long career Ville Valo & co have managed to take their gothic, romantic "Love Metal" close to perfection a few times. "Heartache Every Moment", "The Funeral Of Hearts", "Pretending" and "In Joy And Sorrow" are among the finest new rock songs that have actually gotten airplay during the last few years, and most of the others are very good as well. The new single "Solitary Man" (a Neil Diamond cover) is being played to death on Finnish radio at the moment, and if the radio doesn't kill it, it'll become a HIM classic without a doubt. The other new song is the title track, and it quite decent as well. Funnily enough, it reminds me a lot of Negative, one of the new HIM-influenced bands in Finland...
Low points? Not many...well, Valo's falsetto is a bit irritating sometimes...he certainly isn't the greatest singer in the world, but I won't deny that he is a charismatic frontman and a talented songwriter. There's one thing I would like to know though: does anyone else hear echoes of "My Heart Will Go On" in "The Funeral Of Hearts"? Replies to the address above...
The limited edition of the album comes with a DVD, "Live At Semifinal". Value for your money!
www.heartagram.com
EDG Music 2003
Review by Jorge Antonaya, 
17 January 2004
Hira is a metal band hailing from my homeland, the Basque Country, a true nest of good bands over the years. Like many other bands there, they sing in Euskera (the Basque language), which, whilst give them plenty of support from the local authorities (namely plenty of chances to play in local festivals, kind of economical aid, etc), becomes a burden when it comes to become know anywhere else in Spain. Pity since many times there are really good bands up there that due to the above mentioned facts don’t get the recognition they deserve, and Hira is one good example. Oztopoak Gaindituz (that could be translated as Overcoming the adversities), is in fact their second effort after the debut Nortasuna, which became number one album in Euzkadi Gaztea (one of the main radio stations in the Basque Country) for thirty some weeks. Not bad for a new act, right?
This new album is indeed a well crafted product with plenty of good tracks. The base is power metal ala Judas Priest (Painkiller era) with plenty of melody, catchy hooks (even if you speak no Basque at all). Ibai Marin (lead vocals and guitars) does a fine job with no spectacular screams or anything like that, but very decent at his role. From the rest of the band, I’d like to point the dense riffs out of Oskar Lopez guitar, and the solid rhythm section of Manex Etxeberria (bass) and Alain Fernandino (drums). All of them can speed up on the mainly uptempo metal tunes in the record but slow down and have melody in mind when needed. Another strength of this album is the really good production by Javi and Juanan San Martin, who managed to make the albums sound quite alive and fresh, with the live sound of the band in mind, me guess. The album is full of potential hits, like Aingura (a video clip of which is included on the album as a bonus), a melodic metal tune with sing along chorus, Metal Ohiua, an straight in your face uptempo metal tune with special appearance of Aitor Gorosabel, singer of Su Ta Gar (the most famous Basque metal band), Altzairuzko Hegoak, which is meant to become an anthem for Basque patriots due to its highly compromised political lyrics, or the passionate Goizegi (a ballad that deals with the loss of a friend, gone Too Soon, that is what the title means)… I could go on with almost any track in the album, but I guess you get the idea. As a bonus, besides the above mentioned video clip you can find the track La Bestia, which is Piztia (one of the tracks of the album) with lyrics in Spanish.
No nonsense in this record. No room for technical complexity, or anything like that. Just straight forward heavy metal with an attitude. Nothing new here really, but if you like well done metal and fear not of the language challenge, then you might give Hira a chance, though I’m afraid it’ll be hard to find Oztopoak Gaindituz outside the Basque Country, but hey, internet is a miracle thing, isn’t it?
www.hirataldea.com
HIT THE GROUND RUNNIN': "Control Yourself" 7
Smash Records 2000
3-11-00
This band
has been around for a long time but it's the first time I've heard of
these guys. The name of the band sounds like a name of an album, a bit
weird but who cares when the music is good and here it is. [Ed's note... Vesa
seems to be really into the whole name question this time...]
This
is once again a nice suprise. Typical AOR/Hard Rock with some really
good tunes like "Control Yourself", "Pain" and "Dirty Girl". There is
really nothing new here but if you like this kind of music, this
album is worth getting. Songs are well written and played but what else
can be expected when the guys have been around for so long (80's). If
the guys had gotten more money behind them, this
would have even sounded better, but I kind of like it as it is.
What
I have to say is that even though this is not a bad record, there is
something missing here. I'll have to listen to this few more times to find
out what it is. This is one of those bands that I would like to see
live, because I think that these songs will be better when heard live.
Not too fancy but needs a kick still.
Smash 2000
WOW! Here´s another pure AOR band that I´d sign for life (if I had a label). HIT THE GROUND RUNNIN´ plays some incredible catchy music inspired by bands such as SURVIVOR, JOURNEY, WHITE SISTER, Y & T. Vocalist BLAIR RUMSEY has got a voice that sounds like the perfect mix between DANNY VAUGHN (Tyketto) and DAVE MANIKETTI (Y&T) I tell ya... he sings like a God!
The band was originally known as FREE DELIVERY in the early 80´s. They later changed their name to "HTGR" and released the album "SUDDEN IMPACT" on BMG in 1988. The songs on this CD were all recorded back in 1990 for their second album but the management company had some legal problems and they lost their recording budget and deal. But now they´re back for a second chance.
First track "CONTROL YOURSELF" is a superb uptempo rocker with a catchy chorus that sounds like something that SURVIVOR could have done in their JIMI JAMISON days. "SHANGHIAD" is a bit more "rough" song a-la Y&T meets WHITE SISTER with some lovely vocal harmonies and a really flashy solo by Guitarist ALAN AUGUANAS. The other members are ROB KAY (Keyboards), PAUL PICCARI (Bass) & CRAIG SAMA (Drums) and they are all really good musicians. "LOST" is a good piano ballad with a heart breakin' chorus like all the great Power Ballads in the late 80´s. "STILL LIFE LOVER" is another superb uptempo song with some lovely keys by KAY. Imagine verses like Y&T and a super catchy chorus a-la JOURNEY. Can it get much better? Yeah... sure it can... "PAIN" is a midtempo rocker with a sound that reminds me of AVIATOR or WHITE SISTER (on their second album) and "SURROUNDED BY FIRE" just blows me away... WOW... Whatta chorus. The only bad song is the pale "I.C.V." and "DIRTY GIRL" may not be a killer but a pretty cool Y&T kinda song. To tell you the truth... This is much better than most of the stuff that the AOR labels in Europe are releasing and I wouldn´t be surprised if we could pretty soon hear this band on MTM, Frontiers or Z - Records. I´d advice ALL fans of 80´s AOR/Melodic Hardrock to check out this band and buy their CD. Find them at www.hitthegroundrunnin.homepage.com Email smashnet@home.com
Midwest/Nightmare Records 2000
01-03-16
I have actually already reviewed this CD once before when TURK himself was kind enough to send me a copy for review. I guess that Lance King at Nightmare Records didn´t know about it since he sent me another copy , but I must say that I luv this band even more since the last time! It´s Pomp/Prog/AOR at its best and HOBBIT have just decided to reform again and another CD waits around the corner. Make sure to buy a copy from www.nightmare-records.com as it doesn´t get much better than this! Still not sure? Check ´em out at: www.mp3.com/hobbit and listen to all the songs (Below: The past review).
ATTENTION Pomp Lovers! Here´s a lost treasure that´s finally seen the light of day. HOBBIT was a band from Texas/USA that grew to a popular act in Texas in the late 70´s early 80´s. They opened for bands such as Cheap Trick, Loverboy, Axe & Quiet Riot but they never really broke through to the big audience. They had big problems with lawyers, record labels and 3-piece suites and due to legal problems this recording has remained in a bank vault all these years. So this is their first real release and it´s a must have for fans of Pomp/Prog bands such as Touch, Styx, Kansas, MPG & Angel. You can find a collection of 13 great songs all recorded in the magic HOBBIT years between 1979-1983.
Most of the lyrics are inspired by the great fantasy trilogy by J.R.R. Tolkien and opener "Midyear´s eve" kicks off this CD with some great keyboard work a-la Touch. This is a great Pomp rocker with a catchy chorus and with a excellent sound, remember that these songs were recorded almost 20 years ago! The vocals of Gene Fields are of finest quality and so are the rest of the musicians Richard Hill (Guitar/Keys), Paul "Turk" Henry(Bass) & Keith Young (Drums). "Love is forever" is a superb ballad with some really beautiful keys in the background and some excellent vocal harmonies. "Intensity" is another superb Pomp song. In fact it´s really hard to find any "bad" song on this CD! Please trust me! This is a must have for all fans of Pomp/AOR. "The Christmas song" is a good ballad that sounds like a mix of Yes & Angel. "The way we are" is a nice Pomp mid tempo rocker that starts with a cool harmonized vocal intro. "Need your love" is a superb AOR semi-ballad with a really catchy chorus. Email: paulsal@gower.net
Midwest Records 2001
02-01-02
Hi Ho! 'Rockin The Shire' is the follow up album to 'Two Feet Tall', and truly captures the essence of this band's inspiration in rock'n'roll. Hobbit from Texas/USA is for sure one of my favorite bands in later years, as they have managed to capture the best of Tolkien inspired 70's Pomp/Art music with catchy AOR.
This is the second collection with the best of Hobbit's music in the past. While 'TFT' was mostly songs from the late 70's. Will 'Rockin' The Shire' bring you the best from the very early 80's, with a couple of tracks included from the 70's too! The song material is overall so strong, that it really makes you wonder why this band never got the 'big break' they so rightly deserved. Man, it simply goes right over my head! Bad luck and bad management would be the answer I guess.
The first two tracks had me worried though, as they have more to do with the music of Turk's other project 'Lix', than the lovely, fantasy sounding music of Hobbit. That we all have learned to love and adore? Nice but nothing special would be the verdict of the two songs. By track # 3 is everything 'back to normal' though, as "Don't Say No" is an absolutely marvelous AOR tune with a catchy chorus. "Holiday" has that magical ingredients from the land of J.R.R.Tolkien. As you can really imagine the Hobbits gathering around the bonfire, while cheering to this very acoustic song. "Listen To Your Heart" and "Changes" are both back to the best of early 80's AOR, including 'dut-dut' keys by Richard Hill and superb vocal work by Gene Fields. You will also find five tracks recorded live At Bag End here, and tracks like: 'Take Your Chances', 'Lay Down', Burn The Bridge', Through The Looking Glass' are all simply marvelous. That is... if you enjoy music inspired by the best of 70's bands such as Styx, Angel, Roadmaster etc. With only three weaker tracks out of fourteen, this is 'almost' as good as Two Feet Tall. And recommended indeed! The only downside would be the production from time to time. Not lousy but neither perfect!
Midwest Records 2003
Review by
9 December 2003
Hobbit is not your average meat and potato band and "All For The One" is far from being average whatsoever. They've always been inspired by J.R.R. Tolkien and his magical world (since back in the 70's), however, this must be their magnus opus and it's one freakin' great concept album after all.
It reads "A 74 minute Fantasy Rock journey through middle earth" on the back cover, and these words sums it all up pretty darn good. I actually find it difficult to describe all aspects of this disc as it's too much to be mentioned in one short review. Gene Fields (vocals, guitar, keys), Paul "Turk" Henry (bass, vocals), Richard Hill (guitars, keys), and Rusty Honeycutt (drums), have recorded one fantastic comeback album though. It only takes a couple of seconds before you realize that opener "Everywhere", sets the pace and standard of the whole album somehow. It's Pomp Rock at its highest level and the likes of Styx, Kansas, Zon, etc, are probably all appluading them in the background. "There And Back Again" is fragile and beautiful music that goes straight to the heart. They're actually beating Styx at their own game with this lovely/mystical ballad. "Hey Bombardil" with fantastic percussions by Honeycutt, a real dulcimer, bird whistle & bull frogs, and nicely played 12 strings, is really something out of the ordinary too. By the way, I love the talking parts all over the disc and Turk is doing a great work as narrator.
"Rivendell" is Hobbit at their best and it's "a song of hope, with fantasies in your heart" and mind. Truly magical and brilliant stuff!!! "Mines Of Durin" is dark and evil as its creature down below (Balrog), and Turk manage to sound as evil himself. Its intro and verse reminded me of early Ozzy a bit... and he's kind of a Tolkien character, ain't he? "Whispers Of Gollum" is truly spooky, while "Beyond The River" takes you back to the fluffy stuff. "Destiny Chaser" is a marvelous AOR/Pomp rocker, with catchy refrain and outstanding performance by Fields. The only downer is the production and you can't really compare it with the quality of all the major acts out there. With an even better production this would have scored an even better rating (it's that good). It's still something that no true fan of "fantasy rock" can be without though and the word "concept", truly gets a bigger and different meaning here. Where's Sanctuary Records when you really need them huh? Man, I wish they could get the opening slot for Styx one of these days. Hobbit & Styx on tour would be the perfect combination... only wishful thinking I guess?
www.cdbaby.com/hobbit3
www.hobbitcd.com
Lightning 2000
O.K. Here´s a surprise album that I got from Nigel (thank very mucho). You might remember him from the great AOR/Melodic Hardrock band from England WALK THE WIRE. They released one great album back in 1994, before they unfortunately broke up in '95. This is his first solo-album and it includes songs in many different styles: AOR/POP/SYMPHONIC ROCK/POMP and even a bit of jazz.
HOBBS has written, arranged and produced all the songs! He's playing Keyboards/Drums/Bass and sings all lead vocals, except on "Living a lie" & "She´s no angel". Were we can find WALK THE WIRE´s lead vocalist Paul Watkins we can also hear Andy Webb (ex.Walk the wire) play guitar on 1 song. This is not a pure AOR album, no we can hear HOBBS teenage influences such as Yes, Genesis, Pink Floyd & Free here. Opening track "Don´t bring me down" is a good Yes/AOR kinda song with a catchy chorus and a great MOOG solo (yep... it´s symphonic rock). Next track "Get out and walk" is a superb Paul Rodgers/FREE meets Jon Lord (some really fat hammond´s on this song) type of song with a really strong chorus!
HOBBS may not be a new Paul Rodgers, but his voice is still good enough to satisfied me. "Two a.m." is a really boring Instrumental Jazz song, so let´s talk about... "Living a lie" which is the first song with "Paul Watkins" on vocals! This is a nice POP ballad with some traces of "Marillion" in the 90´s. But the best is yet to come... "She´s no angel" is a pure AOR song a-la Walk the Wire also much to the fact that this is the second (and last) song with Watkins on vocals. It's also the only song with some real hardrock guitars and some lovely AOR-Keys from Hobbs. "Slipstream" is only an instrumental intro for the 17 !!! minutes long title track "The River's Too Wide". This is a real epic song full with keyboards a-la Yes, Camel and all those Symphonic/Pomp bands from the mid-70´s mixed with a sound a-la Marillion in the 90´s. Hobbs on vocals again & with Andy Webb on guitars! This is a CD that fans of above mentioned bands will like, maybe not as much AOR as I thought it would be... but still a pretty good album. This CD can only be bought at www.nigelhobbs.com give it a try!
Provogue 2003
Review by 10 April 2003
The profoundly emotional and shattering sound of the slide guitar, with its infinite microtones, can never be replaced by any other instrument. Just ask Blues guitarist Dave Hole, who's taken the steel on steel technic to another dimension.
Born in England but with his recident and home in Perth/Australia, Hole has since the debut (Short Fuse Blues/1991), already released eight(8) studio albums. "The Live One", comes as no suprise really and some even say it's about bloody time.
He swoops down on his axe like a possessed man and the pure Blues,
pours out through the loudspeakers. This is the real deal without any
flashy attributes or wacky ideas. One man with his guitar, playing the
blues until he drops. If you're familiar with Dave, you already know
what to expect here. Rookies may be insterested to find out, that old
heroes like: Muddy Waters, Elmore James, Robert Johnson, and a certain
Jimi Hendrix, are some of his major influences. It's natural, simple,
raw'n'dirty, slide-guitar blues that brings a smile upon yer face. Park
yourself into your favorite chair and have a cold one or twenty, while
you just jam-jam-jam along to the music. His own songs "Demolition Man",
"Short Fuse Blues", Take Me To Chicago" etc. are mixed with some cool
covers like "Purple Haze" (Hendrix), and the the old "Bullfrog Blues".
For real Blues/Rock fans only though!!! You will not enjoy this if you're
into Power Metal only [:-].
www.mascot-provogue.com
Halycon/Record Heaven 2001
01-11-28
Howdy! Remember the good old days? When a cowboy could still roam the dusty plains in the wild west. When all you needed was your rifle, a horse, some pork and a can of beans. Yep! The year was 1891 (or was it 1981?) and the Southern Rock band "Doc Holliday" released their self titled debut album.
Many moons (and beans) later they are back in the saddle again. Well, they were actually never really 'gone'. The group´s seventh CD "Legacy" was released back in 1996. And they´ve also been playing summer festivals and a couple of tours, every now & then. I guess you could call this a "small" comeback though. Bandleader 'Bruce Brookeshire' is actually a Born Again rocker in these days! The music is still traditional southern boogie a-la Molly Hatchet, Blackfoot or Lynyrd Skynyrd though.
"A Better Road" contains five brand new, never before released songs (Three of them from the 1981-82 period). You will also be able to find remastered and reworked versions of five Doc Holliday classics. One of them are the original recording of "Lonesome Guitar" from 1981. Here recorded with a different ending, including some really cool guitar work. Many believe this to be "Doc´s" answer to Lynyrd Skynyrd´s "Freebird" and I am prepared to agree. Very nice stuff indeed! Other highlights are the Thin Lizzy cover "Jailbreak" also included on the tribute album "The Spirit Of The Black Rose" on Record Heaven. "Crazy" was recorded in 1980 but never made it to an LP. "A Better Road" is a nice acoustic southern/country tune on which Brookeshire reflects about his past and new life. "Dead Man´s Road" happens to be my favorite Doc tune (together with Lonesome Guitar). And this electric version of the song from the Legacy CD, simply kicks a##. Nevermind that "Can´t Stop Rockin" does sound a lot like ZZ Top. Even the chorus, with the phrase "Can´t stop rockin´ baby til´ I lose my mind" is ZZ Top all over again.
Record Heaven
www.dochollidayband.com
MTM Music 2003
Review by
20 July 2003
Back in the saddle again and back with yet another new label behind them. The Southern Rockers of Doc Holliday has apperentely struck a deal with MTM Music here in Europe and first up is this 14 track compilation. There is quite a few of these comps out there already and I believe Record Heaven here in Sweden, released something a couple of years back.
"Gunfighter - Best Of The 90's" contains of six tracks from the 1993 album "Son Of The Morning Star", another six from their latest 1996 release "Legacy" and two never before released bonus tracks. Add to this that "Rebel Girl", "Workin' Man", and "Son Of The Morning Star" (all 3 from the "Son Of..." CD), are here featured in remixed versions a'la 2003.
Doc' is still out there doing tours and will play at festivals here in Europe this summer. It's been a while since I've actually heard any new material though. Bruce Brookeshire is still the leader of the gang, even if he mostly seems to attend church meetings and such nowadays. I believe he became a born again person in the 90's? He's also been doing some solo stuff and christian material lately. The new tracks featured here are very melodic and AOR-sounding for this Southern Rock band. Especially "Never Another Night" which reminded me a lot of 38 Special (the band, not the gun) in the early/mid 80's. Not bad at all really while "Love That Burns" is a slow blues with some really tasty guitarwork. The rest of the material is a nice introduction to this Macon/Georgia, USA band. The very same town which brought us The Allman Brothers by the way and their spirit is all over Doc's material. Molly Hatchet fans will probably enjoy this a lot too.
www.mtm-music.com
MTM Music 2003
Review by
19 November 2003
Southern rockers Doc Holliday with Bruce Brookeshire (vocals/guitars) upfront is finally back with a completely new studio CD. I believe it's their first new effort since the 1996 album "Legacy" and over all seventh album, since the selftitled debut in 1981.
There's been a bunch of various compilations over the years though and I almost expected this to be yet another one. Instead you'll get ten, new, straight shooters from the hip, with traditional boogie-woogie and hold the marilyn manson influences please.
You won't find anything new or groundbreaking with "Good Time Music". Thirthy years of musical "progress" and its environment, hasn't inspired these cowboys a single bit. They're still playing their stuff where Lynyrd Skynyrd and The Allman Brothers are forever heroes and housegods. You surely can't blame them for jumping on the bandwagon as this could easily have been recorded back in 1975, and no-one would have known the difference in the first place. Opener "Black Cat" is vintage Doc Holliday with a touch of classic ZZ Top in the 70's. "Highway Call" is too slow and too boring, blues for my taste and there's unfortunately too many of them this time. The exception to the rule is the marvelous "Farmer's Tan", where all the genius work of Doc in the past, has been mixtured with some charming Bruce Springsteen rock (from the 70's). "Magnolia" is a nice lazy, laid-back, tune and "Simple Man" is simple and solid blues rock. Not their best album I'm afraid... but die-hard fans will probably enjoy listening to some new material again. I only wish they could write more stuff like the uptempo ones (Farmer's Tan, Black Cat).
www.mtm-music.com
Perris Records 2003
Review by 18 May 2003
Perris Records has become the nursing home for hairbands in the last couple of years. And we all know that nursing homes are good places to hang out [inside joke for those familiar with the AOR-Mafia community]. This is the follow-up of the label's hairband compilation album with previously unreleased tracks from some of the better-known and some totally underground bands. Long-time Enuff z' Nuff and Pretty Boy Floyd fans will surely pick it up, especially if they have a chance to listen to the soundbytes. "No Place to Go" by EzN and "Groovy Love" by PBF both live up to the expectations, they could have easily been album tracks.
The usual problem of these "underground" compilation albums pops up here as well, namely that the sound quality of the different recordings is not coherent, some tracks sound a lot worse than others, I may add that due to a bad mastering some of them are even louder than others... Jetboy was one of those cult bands who never could break through but most of us followed them closely. "White Rock Devil" is a cool song from them, a little too much in the vein of early Billy Idol tracks but it definitely has its place here, although this may be the worst sounding track of the album. [EQ, EQ, EQ!!! - Where are all the highs???] The Nitro track featured here is rather okay, I haven't know Kristy Krash Majors before, their "Goodbye rock n' Roller" is an uptempo, simple glam rocker ala second rate Pretty Boy Floyd with a weak sound and absolutely nothing new under the sun. Heaven has proved several times that musically they are a cut above the rest of the hairbands. I must add that "HOT" is not their finest moment (it reminds me of early AC/DC] but the performance and the overall sound of the track raises it to the better ones here. Some more "biker-like" stuff is coming up with Cherry St.'s "Whiskey", recommended for fans of Steve Stevens' "Fire and Gasoline" album.
Ken Tamplin never disappoints, his "The Story of
Love" sticks a bit out of here as it is a complex, melodic rock track with huge
backing vocals, classy guitar work, in the vein of Malmsteen's "Trilogy" or
"Odyssey" album. [Can I really hear Soto singing on the track or have I gone
insane/deaf?] I'd say this is the best track here but I assume those who'll be
buying this album won't be buying it for Tamplin, rather for the typical
hairbands... Fahrenheit continues in the same vein though. "King of the Night"
is not the simple party rock anthem either; it features the best guitar work of
the whole album. Gotta wonder what these two tracks are doing here... Fatal
Smile's "Hip Motherfucker" takes us back to Simple-Land and we take our time
there with Grayson Manor, Parlor Trixx, two bands I have never heard before and
I'm afraid they won't change the world with their simple, riffing, standard glam
rock. "Step into my Parlor" has some cool backing vocals though and some of the
guitar fills are also promising. Mother Mercy, Sinn, Supergroupies, and Grandma
Moses finish the album picking up where Parlor Trixx left: simple, uptempo party
rock songs. Basically that's what Hollywood Hairspray is all about. Though some
tracks bring some unexpected diversity into the album, after a while it all gets
quite repetitious. One by one all the tracks are enjoyable but 60 minutes of
this altogether gets a little overwhelming. However those who want to refresh
their hairband collection will definitely find some good hints here.
Perris Records
MTM Music 2003
Review by
26 August 2003
There's a very unusual and darn right strange story behind this CD and its creator. Morton Holm was a rather successful sprinter (track & field) in his homeland Norway, when food poisoning or some kind of allergic reaction struck from out of nowhere.
This resulting in constant fever and other complications, which forced Holm to stay in bed for thirteen (13!) years. After losing almost all contact to the rest of the world, he buys himself a keyboard and start writing some songs just for fun. Producer David Johansen and Canadian vocalist Dave Evans, got to hear some demos and this CD project is born. To be honest just the story itself is better than the final result.
Don't get me wrong, this is far from being crappy music. Everything is oh-so-nice without anything that sticks out from the rest. Easy, go-with-the-flow pop music, with some Westcoast influences. Holm is said to be inspired by artists like Toto, Eagles, and America, but I'm not sure I can find much of their music here. Something like "U R The 1" is actually closer to the sound of Stevie Wonder (in the mid-80's) than anything else. Soft pop without any loud guitars or something else, which could cause brain damage or upset neighbours. To call this laid-back music would be an understatement and an insult to musicians in that genre. Some would even go as far as calling this elevator or background music. Marvelous stuff to listen to while shopping at the mall or why not falling a sleep to (must stay awake to write review, must stay awake to write.... Zzzzzzz). Seriously, there's a couple of truly wonderful songs included here though. Again, something like "Where Are You Summertime" could have been a huge hit with Stevie Wonder in the days. "A Joyful Day" is a smashing Westcoast/Pop song and you can help to hum-along at once. "No Hard Feelings" is rather a laid-back Jamiroquai than Toto, and the same goes with "Life Goes On". My advice to Holm would be to send both "Where Are You Summertime" and "U R The 1", to the desk of Stevie Wonder's people. He could surely turn these songs into major radio hits, lovely stuff it is. Otherwise, a bit too safe, too soft, and... dare I say... harmless???
www.mtm-music.com
Indie 1999
Review by
28 October 2002
Holy Graal is a French prog metal band that was founded over ten years ago. Too bad that during the ten years they’ve been around they’ve not been able to come up with a solid production for their demo “Just a Signal”. The first thing that slaps you in the face with this 4 song disc is the poor quality of the production. But that’s not all there is to it.
Prog metal has never really been my cup of tea and Holy Graal is not going to make me a prog metal fan either. I listened to their CD for quite a while and got an impression that Holy Graal, Fatima Taamallah (vocals), Frederic Guionnet (guitars), Frederic Isnard (vocals and bass), Gil Pinate (keyboards), and Cyril Tosquellas (drums) are a talented bunch of musicians that might have something going for the prog metal fans if given a decent opportunity to record and release an album. Nothing shockingly exciting but a decent performance anyway.
As mentioned there are four songs on their demo. My favorites were a quite rocking tune called “Birds” that slowed down every once in a while only to rise up again, and a bit more mysterious song “Global Awareness”. In most of the songs the keyboards had a bit 70’s sound. It worked out OK at times but mostly it was a bit annoying. Overall this was an interesting record, it remains to be seen what happens in the future.
Frontiers/Now & Then 2002
Review by
6 June 2002
Honeymoon Suite released a couple of fine albums back in the late eighties, had a few hit singles and toured with several big names. After the "Monsters Under The Bed" album they seemed to disappear from the face of the earth. Last year they returned with the canadian-only release "Lemon Tongue" and with an updated sound.
"Dreamland" is "Lemon Tongue" with an AOR twist. Some of the more modern rock sounding tracks have been replaced with songs that bear a stronger resemblance to the classic HMS. Since I haven't heard the original Canadian release, I really can't comment on whether the changes have been for better. I can only say that I like the album as it is, at least more than the aforementioned "Monsters".
The updated sound of HMS doesn't mean samples, rap metal or anything drastic like that, it's more comparable to Bon Jovi's "Crush" or some of the current mainstream rock bands like The Calling. The hooks are still there, and Johnnie Dee still sings like a AOR hero...
The two first songs, "What I Know" and "So Hard", represent the HMS 2002, while the third one, "Still Lovin' You" is unashamedly eighties-like. No wonder, since it's not really a new song, and it was already featured on the "Singles" compilation released some ten years ago! A great song anyway.
"Just Love Somebody" is a gritty hard rocker that sounds like it could've been included on the "Monsters" album. Next up we have a balladic trio: first there's "The Way I Do", a good semi-ballad of sorts, then the quite awesome title track. It's a power ballad with a huge chorus that reminds me a bit of Giant. "Too Little, Too Late" is the last of the three, and clearly the weakest of the three.
The band goes nu-breedish with "Gone", a catchy track that has a rock radio hit written all over it. Same goes for "Undone", which is one of my favourites here. It has more in common with The Goo Goo Dolls than the eighties' HMS, but who's complaining, if the result is this good?
The oddly named "Lagavulin" passes me by without making much of an impression, but "Radiant" makes up for it - it's a very catchy track again, and a proof that the band hasn't lost their ability to write great hooks. The closing number "Even Now" is another proof of that, a fine ballad in the best HMS fashion.
www.frontiers.it
Provogue Records 2002
Review by
12 September 2002
Texas really is the capitol of blues... well, maybe Chicago like to have a word or two in there too. Nevertheless, we're talking about the real thing here with stellar slide-guitar work and kick ass groove. You know, rather in the tradition of Steve Ray Vaughan, Fabulous Thunderbirds, Johnny Winter, early ZZ Top, then the stuff Gary Moore likes to call blues (HA!). This is way rougher and tougher stuff than anything the above mentioned guitarist ever done.
Jay Hooks is a Houston native who has been steeped in the pure essence of the Texas Roadhouse music. A trademark sound which implies tasty guitar licks, crunchy tones, a whiskey voice and lots of slide-guitar man!!!
"Red Line" is Hooks third release and for this CD Jay teamed up with longtime bassplayer Maria Delprete and drummer Jerry Gaskill (King's X). The material is raw and straight ahead blues with excellent guitarwok and lots of soul. The production breathes of Texas-land and Hooks play his guitar like a possessed demon from boogie hell. Check out the track "Lowlands" or opener "Burnin' Up" for some beer drinking boogie at its best. The first one is very much in the tradition of 70's ZZ Top, while the latter is just darn great. Sadly the material do not really stand the test throughout the whole record. Even if the live version of Hendix's old "Freedom" is something out of the ordinary. Some of the tracks do sound too much alike though and I actually miss a couple of more real uptempo one's. This is something that fans of Michael Katon could find interesting, Hooks is not quite as good though.
www.jayhooks.com
www.mascot-provogue.com
Frontiers 2001
01-09-06
I was at first going to write a bunch of remarks about the Horakane/Hurricane approach... but I´m sure you´ve all heard ´em by now. Horakane is a British studio project made up by Praying Mantis vocalist Tony O´Hora and guitar player Jamie O´Kane. The two of them started working together and demoing material in the mid-90´s, which resulted in "Eternal infinity", released for the first time in Japan in 1999.
After the success of the latest Praying Mantis album "Nowhere to hide" [released on Frontiers records] the label decided to sign this project for a continental release. I´m not sure if fans of Praying Mantis will appreciate this as much as the above mentioned album though. The two albums are actually pretty far from each other, what we got here is a more straight forward [melodic] heavy metal album, with influences from classic bands such as Judas Priest and early Dokken.
Title track "Eternal infinity" is just a short, instrumental opener until the album kicks off with "Over the edge" a powerful metal anthem in the Judas Priest tradition and tracks like "The Storm" and "Voices" continue in the same style with crunching guitarwork and over the top vocals. The overall sound is more metal than rock this time and I must say that I do enjoy some of it. "Don´t wait until tomorrow" and "Hurts like hell" are both lovely examples of melodic metal, with screaming guitars and catchy choruses. Add that both "Never meant to make you cry" and "Remember my name" are good power ballads, and you´ll get a pretty solid album. Well... a solid album when it comes to songmaterial that is... the production on the other hand is way below average and it simply takes away a lot of fun with this album. The multi-talented O´Hora handles everything from production, songwriting to all rhythm guitars, bass and programming and I would say it´s one task too many. www.frontiers.it
Massacre Records / Sony Music 2002
Horizon is a really strange band, which still doesn`t know which way to go. They were founded in 1998 by guitarist Patrick Hemer and drummer Krissy Friedrich. To be honest I have to say that they have got some potential but they are also another "wannabe Dream Theater” kind of a band. Sometimes you can feel that ideas for songs were really good but guys just can’t record them well. But don’t get me wrong – I’m not saying that Horizon is just another 2nd rate band. They just need some more experience and time to learn how to turn ideas into reality.
Even after very first listening to this album you’ll be sure that singer and guitarist Peter Hemer is the strongest point of the band. He’s got strong and amazingly melodic voice and he fits perfectly to Horizon’s image, but I have to admit that bassist Bruno J. Frank also made really great job on this release. Songs on Horizon’s debut album are all very different. You can find typical prog rock songs like “Freedom” or “Hometown Star”, very hardrockin` ones like “Livin` In Danger” and instrumental “Atlantis” or “keyboard driven” stuff like “Keep On Fighting”. Two ballads included on the album aren’t something you could remember longer than few minutes. Only Hemer did really great job on better one called “Don’t Hide In The Shadow”, but it’s way too similar to some Axxis songs. The best song on Horizon`s debut is the last one called “The End”. It starts as a typical piano ballad but the second half of it is played on electric guitars. Hemer amazed me in this song with his voice, but the groaning guitars are also extremely good. Is it just a good prognosis before second album? I really hope so, cause I’m sure that this band deserves to be “visible”.
I hate to put ratings on very uneven albums. One one had I can tell that band is quite well prepared to become more famous, but on the other hand good ideas aren’t enough to make a really powerful album. Right now I`m giving them strong five out of ten and I`m gonna wait for next releases.
Point Music 2001
20-01-01 "Middle Of Nowhere" is the third album from the German rockers Hotwire. It is their first one with the new vocalist Andy Scott Urbeck, although once the album is released, you'll get a 2-cd set, the other CD being under the title of "Werner Studi's Hotwire", containing these songs sung by the former vocalist Studi!
Hotwire's first album was produced by Claus Lessmann and Hans Ziller of Bonfire. Although this one is a self-produced effort, Bonfire is still probably one of their closest musical relatives. Also, this album reminds me of Mad Max' 1987 classic "Night Of Passion", as both albums have the similar "feelgood" vibe.
With only eight songs (and one "radio edit") and less than 40 minutes this album falls a little short, but on a more positive note, there are no fillers. Every song is a decent one, and the best ones, like "Midnite Romeo" and "Middle Of Nowhere" , are really good. The band offer a little diversity too, with a "new country"-influenced rocker "Shania" [it is rumoured that their next album will feature a song called "Trisha, Leann and Faith"...;)]. Their cover of AC/DC's "You Shook Me All Night Long" is some kind of a surprise too, as it has been given a very cool acoustic treatment.
Point Music/2001
01-03-16
The third release from german rockers HOTWIRE is even more Adult oriented than before as they have gone for a more "Mature" sound this time. You can almost say that they´ve done a FIREHOUSE as the songmaterial is not that far from the later stuff from the US band and new vocalist Andy Scott Urbeck sometimes sounds very similar to C.J. Snare (Firehouse).
Hotwire have actually ended up in a kinda strange situation here as this CD will be released as a double CD box. The other CD will be under the name "Werner Stadi's Hotwire", the old singer who got fired ? from the band will still release his versions of the songs.
As I said before this is indeed a very "Mature" album, so don´t expect that many flashy guitar solos, crunching riffs or keyboard anthems. I would call this a very safe album with many good songs but not that many that stick out from the rest. They have even managed to turn the old AC/DC party song "You Shook Me All Night Long" into a more "Mature" acoustic sounding song. The result might be appealing to some but to be honest... I find it a bit boring. Still songs like the title track "Middle of Nowhere", "Lost in your eyes", or "Sometimes She Cries" are really great and very catchy too, even if they are all in the same mid-tempo (ballad) style. If you like your melodic hardrock a bit more "Mature" sounding make sure to get a hold on this disc. Check ´em out at: www.hotwire-rock.de email: hotwire98@aol.com
The HOUNDZ: "2nd Adulthood" *½
Boomer Music & Records 1998
Review by
With a name like "The Houndz" you'd expect this band to be a bunch of angry young men? Wrong. These Houndz are all well over fourty! Knowing that, it's not hard to understand why their music drows a lot of influences from the sixties and early seventies. I don't really know a lot about the bands of the era, so I can't make too many comparisons. I think I hear some Neil Young influences there...
Musically this album doesn't really strike a nerve with me. To be honest, some of the songs sound downright awful to these ears, but the thoughtful and sometimes funny lyrics save a little. "I've been married two times - All right, it's been four"... They are certainly different to what the young dudes are singing! Check this out if you're into the sounds of the sixties, otherwise... maybe something else.
Frontiers 2004
Review by Kimmo Toivonen,
31 January 2004
One of the most long-awaited AOR/Hard Rock releases of the year is here, as semi-legendary House Of Lords present us their fourth album. It's been a couple of years in the making, and during that period the band lost one member, as co-founder, keyboard wizard Gregg Giuffria opted to concentrate on his solo career. I don't know how much that affected the songwriting process and such, all I know is that something is missing from this album.
There's no denying the quality of musicianship here: James Christian is one of my all time favourite vocalists, Lanny Cordola one hell of a guitarist and the rhythm section of Chuck Wright and Ken Mary probably among the best there is. The keyboard players filling Giuffria's shoes are more than capable: Derek Sheridian, Allan Okye, Sven Martin and Ricky Phillips are taking care of the "ivory tinkling". What's more, AOR queen Robin Beck and Velocity's David Victor are providing backing vocals. So, with a line-up like this, how can they miss the mark? Well, they don't really...but they don't hit the bullseye either. "The Power And The Myth" is just decent, and that is not what we're expecting from this band, right?
It starts okay: "Today", "All Is Gone" and "Am I The Only One" are all good songs. Maybe not the kind of "shivers down my spine -good", but likeable enough, powerful and interesting. Then I expected the band to blow me away with a real hit or two...instead the momentum is lost with the unmemorable and dull "Living In Silence", the totally unnecessary instrumental title track and "The Rapture", which mixes ethnic influences and Led Zeppelin-like groove, but is a little short on hooks.
"The Man Who I Am" is one of the better tracks, a good, melodic track. "Bitter Sweet Euphoria" is decent too, but the very average heavy rocker "Mind Trip" doesn't get any points from me, although it has to be said that Ken Mary shines on this one. Last but definitely not least, there's the big power ballad "Child Of Rage", which is without a doubt the most instantly likeable track here, a dynamic track with a strong chorus.
All in all, although this album has its' moments, I can't help but be a bit disappointed. Ten songs, 43 minutes...and one of them an instrumental track? Is this what we waited for two years?
www.frontiers.it
Indie 2003
Review by
26 September 2003
Earlier this year House Of Mirrors released a good 3-track demo, which was quite well recieved. Now they follow it with a new single, featuring just one track, but what a track it is! "Spirit Of Freedom" is easily the best track I've heard from them, and something that should please any AOR fan out there. It's simply AOR in the finest Scandinavian fashion, with swirling keyboards, anthemic chorus and smooth 80'ies type of sound. Fans of the likes of Treat, Alien and Talisman should definitely check this out! Granted, the song is made of tried and trusted elements - the accapella intro, a trademark Desmond Child bass line - but who's complaining when it's this good!
The band's hoping to get a deal soon and get the green light to start working on their first album. With this kind of material it won't take long.
www.house-of-mirrors.com
Indie 2002
Review by
25 January 2003
"Heart Is The Key, To What Ya' Wanna Be". I would also say it's the key to success for this Finnish band. This is actually one of the better independent releases from our neighbors in the east (me being from Sweden), in a long time. This is only a 3-track single, but you can already tell that House Of Mirrors is on the right track here.
The five from Turku (Pekka/vocals, Jaakko/guitar, Juha/bass, Janne/keys, Jari/drums) has managed to write some pretty strong material, with Scandinavian melodies and hooks. Mastered by Mika Jussila (Insania etc.) at the famous Finnvox studio, you really can't complain on the sound either. Very professional done and overall a nice piece of craftmanship.
The stand out track here is "Heart Is The Key", which only gets better for each time you play it. It's AOR/Melodic Hardrock in the tradition of Swedish bands really, with great vocal harmonies and catchy hook. I'm not sure if H-O-M will appreciate, that I compare them with bands from Sweden... but I'm afraid it's only the beginning. Since "Searching For My Soul", is very similar to the sound of Glory in the early 90's. With keys and all, plus great guitarwork by Jaakko Niitemaa, inspired by the neo-classical style I'd say. I do believe that vocalist Pekka Rautiainen shrieks a bit too much, from time to time here. Those horrible "why-y-y-y-y-y"'s makes you wanna fast forward. He's otherwise a fine vocalist indeed. Now, check out the work by guitarist Pekka on this "Heart Is The Key", tune. His guitar tone is very fresh somehow and marvelous peformed. Ths song itself is something that anyone from Urban Tale to Glory would be proud of. Opening track "Top Of The World" is one of those tracks with a better verse than chorus. The song 'dies' a bit when the 'hook' is about to appear. Great keys though!! Bottomline, House Of Mirrors is something to check out in the future as I believe they are very close to a deal here. I'd ask for more material in the quality of "Heart" though. Check out the MP3 at our site and the link below for more info.
www.house-of-mirrors.com
HOUSE OF SHAKIRA: "Best Of Two" 8-
MTM 2000
Review by
House Of Shakira are a brand new sigining for MTM but not a new band. This album contains the best of their previous albums "Lint" and "On The Verge", and three new songs.
House Of Shakira are not your typical scandi-AOR group. They've been called "the european Journey" but I think that's not really accurate. Their music is at times much heavier, and they have been known to put some oriental influences into their songs. Granted, the lighter tunes remind one of Journey and the likes, but still have an identity of their own.
The highlights from "Lint" include the Tall Stories-like "Morning Over Marocco", the weirdly titled, but great ballad "No. 8" and the catchy duo of "Method of Madness" and "Who's Lying Now". The remaining "Lint"-tracks, mostly heavier ones, didn't really appeal to me. Same with tracks from "On The Verge", I quite enjoyed the melodic rockers "Best Of Times", "The Chance", the Pretty Maids-like "Ghost In Town" and the ballad "Warp", but the two heavier tracks left me cold. A special mention must go to the band's version of the Journey classic "Separate Ways", where they do sound like Journey, but that's expected!
The three new tracks aren't among their best ones. "Susan" is a good fast-paced melodic track, but "You Touched Me There" and "Antilope" do not impress. It seems like the vocalist is trying to sing unnaturally high, and he ends up sounding quite strained.
This 17-track compilation is a good introduction to the band, and while there are a few duff tracks here, you can program your player to skip those, and voilá, you have an excellent ten-track album!
HOUSE OF SHAKIRA: "III" 7
MTM 2000
Review by
Much like the band's "Best Of Two" album, the songs on this album can
be divided into two categories. They've got their heavier songs ("Alien",
"Wings", "Black And blue Skies", "I Am" and "Pellucid Part 2" despite
its Bostonesque guitar solo) which, to be honest, fail to hold my attention.
They might be their ace cards to success on modern rock radio but I prefer
the other side of House Of Shakira, the melodic one.
The melodic side of the band is slighly dominant, with most of the
songs falling into that gategory. I am not going to complain about that
for sure! However, the eight more AOR-ish songs do not include as many
real highlights as I was hoping for. They are all pretty good but apart
from "In My Head" and "Unforgiven" they might have trouble making it
to my list of favourite House Of Shakira songs. Still, they are all
decent enough, and I must say that lyrically this album is pretty interesting
too. The titles are for the most part quite original, and while the
band may not be native English speakers they haven't resorted to using
typical "fire-higher-desire" lyrics. We have heard enough of those from
European AND American bands already!
House Of Shakira Music 2001
5 November 2001
"Be prepared, this is a raw, almost no overdubs, live recording" writes guitarist/keyboardist Anders Lundström in the accompanying letter. Very live it does sound, but as for it being "raw", well...I guess "cooked" means "Hysteria"-like slickness for these guys! House Of Shakira are not known for writing simple three chord songs, yet they deliver their brand of sometimes complex hard rock with total ease. This band sounds like a well-oiled machine!
The song selection seems to concentrate on the first and the third album, and while it features some of my favourite Shakira tracks, I wouldn't have minded hearing a couple of the better tracks off "On The Verge" too. Maybe on the expense of one or two of those heavier tracks from "III"...
There are also three bonustracks here, older live recordings. Two of them are Journey-covers, "Stone In Love" and "Separate Ways", both very faithful to the originals and both very good. "Seven Bridges Road" is total departure from the rest of the album, an acoustic romp that proves that the guys can change their style in a heartbeat, if nothing else.
All in all, a highly professional sounding live album, that could've been a little bit longer and naturally I would have liked to have ALL my favourites included, but then again, who wouldn't?