TABITHA'S SECRET: "Don't Play With Matches"

Forbidden Records 1997
Review by

A secret for sure... I have no idea who's in this band but I guess this is a project of the producer Jay Stanley. Anyway, what we have here is an album of semi-acoustic rock in the vein of Gin Blossoms, Hootie And The Blowfish, etc. According to the bio the song "3 a.m." is already a hit, and a very likeable pop tune it is indeed. I wouldn't be surprised if the likes of "Forever December", "High" and "Unkind" would also reach the charts, as they are just as hummable. A decent album, and if you are a fan of the aforementioned bands you might want to check this one out.

Update... Excuse my ignorance... this band is apparently an earlier version of "Matchbox 20".

A2 Records 2000
Review by

John Taglieri, a newcomer from New Jersey offers us an album full of fresh AOR. His music has touches of Glen Burtnick, REO Speedwagon and Danny Wilde in it, some of the tracks even remind me of Firehouse. John has a good voice, a bit like Firehouse's C.J. Snare, and what's more, he has played almost all of the instrumentals by himself! A true talent!

The album is a well-balanced collection of ballads and uptempo numbers. "Leap Of Faith", "Shangri-La", "Two Sides Of Love" and the Firehouse-like "Hold Me Close Tonight" are the finest of the rockers on offer, while "Reason To Believe", "Need To Hear" and "Here Without You" stand out as the best of the more balladic numbers. "One More Tomorrow", the duet between John and his wife Michelle works quite well, though some of you might feel that it's a bit too "cute" for it's own good.

All in all, a very impressive debut, that deserves all the success it has already gotten. You can check it out at MP3.COM!

Lion Music 2004
Review by Urban "Wally" Wallstrom,
20 March 2004

Takara rocks!!! That's actually their official website too and you can check 'em out later at takararocks dot com. This compilation was previously only available in Japan and LionMusic decided it was time to re-release it in Europe too. Good choice indeed as 1993-98 was their best period in time (so far) and they released three great albums ("Eternal Faith", "Taste Of Heaven" "Blind In Paradise"), with extra out of ordinary vocalist, Jeff Scott Soto (Yngwie Malmsteen, Talisman, Eyes, etc.).

Frontiers 2003
Review by Kimmo Toivonen 21 April 2003

Yee-haw, it's yet another comeback! Well, sort of. It's not like Jeff Scott Soto and Marcel Jacob have been hiding from the world, but indeed it's been a while since the last Talisman album. Although they did release the Humanimal album recently...and that album was merely a Talisman album in disguise, wasn't it? Okay, let's move on...

"Cats And Dogs" is a diverse album, which is best described by going through the tracks one by one. Opener "Skin On Skin" shows that the band isn't afraid to try new things, as this rocker is a funky track that reminds me a lot of Extreme. "Break It Down" is driven by Jacob's furious bass playing - a groovy, yet quite melodic track. The same could be said of "In Make Believe", subtle melodies and strong groove, almost like The Red Hot Chili Peppers having a go at melodic hard rock!

"Love Will Come Again" is more traditional melodic rock, while "Outta My Way" is an aggressive rocker with Jacob's virtuoso bass playing its' most notable element. Not one of my favourite songs though. "Friends To Stranger" isn't either, as it just doesn't really seem to go anywhere. "Sorry" is much better, probably the most immediate track here, even though some might consider it to be "too pop". The next two tracks, "Trapped" and "MOM" should please those folks then, as they are closer to classic Talisman sound. Good tracks but maybe not among the highlights here.

"Wherever, Whenever, Whatever" is up next, and it's an excellent track with a highly melodic chorus and neatly arranged backing vocals. The album is closed with a duo of harder-edged tracks, "Lost In The Wasteland" and "Hell In Paradise", out of which the former is especially worth checking out.

A bit of a mixed bag this one, but as the quality is good throughout the album, with only a couple of tracks I could've done without, I can't complain much. Besides, the cat in the cover looks a lot like our cat - that alone deserves an extra point! :)

GAP 1988
Review by

Now here's a rare one... Talk Of The Town were one of the bands that gained some success during the late eighties' hard rock boom in Sweden, along with the likes of Europe, Treat and Alien. This, their first album, is now a sought-after item, and considering the quality of it, it is hardly surprising. We are talking about classic scandi-AOR very much in the vein of Treat and Europe!

Songs that deserve to be mentioned include the anthemic "Free Like An Eagle", which I believe was also their biggest hit, "Undercover Love", "I Love The Look In Your Eyes" with its' bonjovisque keyboards, "Livin' For Lovin'" and "The Power Inside". Vocalist Thomas Wikström hadn't quite got rid of the Swedish accent back then, but that's just a small detail in his otherwise excellent performance.

I can highly recommend this to anyone into the likes of Treat, Europe or Thomas Wikström's solo material. It may be a bit difficult to find this album though...

Review by Jorge "Vigilante" Antonaya

Third effort by this Swedish band with some changes in their line up. What we've got here is a pretty good album, with some brilliant moments that will make long time aorsters feel like the old good times were here once more. The album has a very good overall sound, especially as far as the guitars, with great backing vocals and lots of keys. I would point out the remarkable work done on guitars. However, as a downside, the drum machine sound has to be pointed out, typical for low budget recordings from the 80's.

The most clearly Toto influenced tracks are "Mainstream", although it it has shades of Yes, "The Ways Of The World", "A Matter Of The Heart", one of the best tracks of the album, and "All That You're Good For". The last track, "Love Is All Gone", is just a filler, not even near the high standard set by its predecesors.

As a result, excellent AOR album ala Toto, Yes or Chicago, but with definitely some Scandoo moments on it. I think this record has passed on way too underrated, but for me it's on the top 3 of the year this far. Ok, it's nothing new, but nor is almost 99% of the stuff that get released nowadays in this genre. The main thing is that is really well done. And sure they're brilliant musicians, something not so easy to find on present day music scene, sadly.

My advise, highly recommended especially for Toto fans, and for good AOR lovers in general.

Frontiers 2002
Review by 6 May 2002

Talon will take you back in time to 1987 or thereabout with this, their first album. They used to be called Voxen (NOT Vixen!), but after a few personell changes that monicker was ditched in favour of "Talon" - a name that was actually used in the eighties too, by a german hard rock group. Anyway, this modern day US-version offers you a good, if somewhat unoriginal collection of songs in the vein of many eighties/early nineties favourites such as Dokken, Fifth Angel, Stryper and Firehouse. Even the album cover echoes that, as it reminds me of Dokken's "Tooth And Nail"!

Power riffs and catchy choruses are the name of the game, and while many of the songs have that "now where have I heard that before"-feeling to them, they are admittedly pretty good. "Wrecking Ball", "Calling You Tonight", "Falling Star" and the ballad "Holding You Soon" are classy stuff, just to name a few. Guitarists Kory Voxen and Jim Kee churn out solid Dokken-like riffs, while vocalist Michael O'Mara puts out a good, smoot performance, sounding a bit like Tracy White (of Shotgun Symphony/Intruder) or Michael Sweet (of Stryper).

The quality of the songs only drops below an acceptable level in the very end, when we're subjected to "Livin' For Your Love" and "Rock'n Roll Runaway". "Livin'..." is a bit comical one, a love song supposedly, yet featuring very "macho" and aggressive vocals from O'Mara, and "Runaway" is an otherwise good song but spoilt by a boring, primitive chorus. Those two aside, this is an enjoyable selection of melodic hard rock, although nothing new under the sun.

Hungaroton 1989, Dureco 1992, Hungarton-Gong 1994
Review by

Some of you might have a 1994 version of this album and wonder what this album is doing here. Well, the album initially came out in Hungary only in 1989 and as far as I know it wasn't even released on CD back then (I might be wrong with this, well, at least I myself have never seen the original in CD format. unfortunately!) Then in 1992 Tamás re-recorded the whole album again and reissued it. The album features two bonus tracks and an intro but all the tracks were edited a little bit. This is a real re-recording, not just a reissue with bonus tracks to rip fans off for the second time too. If you can put your hands on the original (which I find almost impossible anymore.) Anyways if you could somehow, it's a lot of fun to compare the two versions of the songs.

As you might know by now Tamás is one of the favorite instrumental guitar artists of Loud & Clear and not undeserved! "Initials" open the album. It's like a fanfare composed on the guitar. Very nice and Tamás shows some cool tricks on it. "Warning To Call" is the first track that was featured on both of the versions. It's an uptempo instrumental anthem with the usual almost sing-able verse and refrain. Any MacAlpine or Vinnie Moore fans who haven't been confronted with Tamás's music yet would lick their fingers after listening to this one. "Children of Rock" is more laid back, almost ballad-like. This song has a verse that gets you right in the heart. The composition is as wonderful as on all of the Tamás songs. The reissue has new keyboard sounds and further developed drum tracks (not that the originals were bad!)

"Outline" comes next, one of Tamás's early "hits". Now this refrain is a great fast lick that is almost unforgettable. The re-recorded version has awesome drum tracks laid by a Dutch studio drummer. "Message Of Dreamland" is something different. It features a nylon string guitar background and a wonderful lead, a very tasty ballad that really takes you to "Dreamland". Tamás clearly shows his classical guitar background on this one. This musical background can be sensed all through his playing (just like on Malmsteen's or MacAlpine's for example).

"The Final Frontier" speeds the album up again. The new arrangement made this tune even more enjoyable (compared to the original). All the musicians show their strength on this one. This is one of the concert favorites right up till now. So is "The King In Yellow", another uptempo instrumental anthem with classical touches, especially in the refrain. If you like early Malmsteen this tune is for you. "Baby Blue" brings back the catchy melodies again, a withdrawn ballad with wonderful arrangement. The re-recording of the album raised the musical quality of this one too, especially in the drum and keyboard sounds. Then a Beethoven cover "Prelude & Presto". This is pure classical music, something like you could get on Tamás's classical only albums but it fits here well and is a little different, almost refreshing.

"Guitarmania" speeds it up again. Now this is the title track but this one could summarize Tamás's early years in one song. Anything I listed so far in this review or in last month's review of his newie (King Street Blues) can be heard here. The original version of the album finishes with "Adagio" and what a finish it is?! That's the most beautiful instrumental ballad I've ever heard in my life. It is in the same class as for example "Always With Me, Always With You" from Satch or "Samba Pa Ti" from Santana. If this tune does not touch you, you have no heart at all! If once I'm going to be buried with an army parade I want this tune to be played there.

The two bonus tracks are new compositions but fit here very well. "In A Strange Land" is a very clear midtempo composition, with the usual catchy melodies. Recommended for driving in the sun! "The Summer" is another ballad. I wish all the summers were like this song. When driving back home from a holiday at the beach (to get back to the usual rat-race, grind, shit) this song could easily bring the tears in anyone's eyes. If you weren't a big instrumental music fan so far you should check this album out. It either changes it or you are hopeless. If you are a fan, this album is a must!

Guitarmania 2000
Review by

This is the 12th solo release from Tamás which - taking into account that he's Hungarian and Hungary is not the center of the melodic rock scene - shows a definitely huge effort. Among the 12 releases you can find purely instrumental albums (like this one), half vocal-half instrumental ones, classical guitar albums and albums filled with covers of instrumental guitar hits. Though Tamás lives in Hungary, he released some of his albums in the Netherlands with Dutch musicians. This one is a "Hungarian only" record featuring the cream of Hungarian rock musicians.

"King Street Blues" is the title track (and the first one too) which is a kind of tribute to the part of Budapest Tamás is living in (the name of the street he is living in translated into English sounds "King Street"). However the song is not a traditional "blues" tune you 'd expect, rather a great mid-tempo rocker, but knowing the poor, dirty neighborhood of the actual street you definitely can't call it "King Street Beach Metal" or something. The title track shows all the strengths Tamás has developed all through the years. He grew to be the kind of instrumental guitarist whose playing is enjoyable for any listener, not only for guitar freaks. Namely he writes SONGS. All the tracks are composed and arranged very carefully, you can hear well written songs on all of his albums, not just some technical guitar virtuosity which only gives place to the lead guitar and the rest of the instruments are just to fill the space. "King Street Blues" has a great guitar-organ riff to give the base to the lead guitar. Listening Tamás's playing is like listening to a singer. He writes verses and refrains, and you can even hear the guitar "taking a breath" before starting to play a line of them.

The second track is a cover of Greg Howe's Terrace. To be honest I didn't find the original an interesting tune either, though Tamás gives a good interpretation of the song (which is electric organ - guitar only) I found it the least interesting moment of the album. On his "The Dreamlake" album, he has chosen to cover "Kick It All Over" from Greg, which I found a much better choice and enjoy it from the very first moment to the last.

Track three "Then and Now" takes us back to the "usual" great stuff from Tam s. Another mid-tempo rocker with an awesome riff and ripping playing over it. The refrain slowly climbs into your ears and doesn't wanna get out for the next 5-6 hours. The opening riff of the track resembles a bit to the verse riff of "Welcome Stranger" from his "The Dreamlake" album but the similarity is not too annoying and both are great tunes. The track is another highlight of the album. So is the second (and last) cover, "Tears of Sahara" from Tony MacAlpine. To be honest I love the original too (unlike the Greg Howe track) and was absolutely delighted by Tamás's interpretation of it. Tamás's playing is - technical-wise - quite close to Tony's. The similarity was a bit more obvious in his early years when Tamás was playing faster, and this one wasn't his first MacAlpine cover either, and he did fine job again. Though as I mentioned Tam s's playing got a bit slower through the years, with the next track "CD Shop" he shows that he is still fast as hell. This track is has strong classical touches, I could compare to Yngwie's playing, and features a spectacular drum solo by Ferenc Debreczeni. He plays the drums for Omega (a cult rock band of Hungary, some older readers might remember them touring with Scorpions back in the late seventies, early eighties). L szl˘ Benk‹, one of the keyboard players featured on the album, also plays in Omega. The rest of the musicians are also very well-known in Hungary and have already been working with Tam s for long-long years.

Track six "Getting Real" is from the same genre as the opening one. Awesome riff, tasty soloing, another great mid-tempo rocker with an almost sing-able refrain. Track seven "10 Years Outdoor" is a curiosity. It's the first track ever (at least that I can remember) on Tamás's albums that is credited to someone else, and is not a cover tune. This one is namely from László Benkő the keyboard player, and to me it is by far the best track of the album. A real instrumental guitar hit that gets right into your heart and you never forget its melody. The song opens with a slow intro. At the first listening I thought it was going to be a follow up for Tamás's awesome ballads from his previous albums, but this one turns to be a mid-tempo rocker too. Wonderful arrangement, all the instruments are a pleasure to listen to and the melody of the refrain sticks in your ears like glue. If you know "Downbelow Station" from his "Guitartales" album, well this is something similar to that one (which was kind of "hit" on one of the Hungarian cable televisions back then). I can only hope this track will also reach a bigger audience.

Track 8 "Ear-Clips" is opened up by Hammond organ again. This one is a mid-tempo track again, which shows pretty well that Tamás slowed down (compared to his early years) and concentrates on songwriting as much as possible instead of simply showing technical tricks (which was never characteristic for him though his playing is technically perfect). "Back To The Light" closes the album. The rhythm guitar and the organ give an awesome base for this one too. This one is even slower, almost "ballad-like" and leaves you with a good feeling. However I personally miss a "real" ballad that you could find an all of his albums so far. Tamás is a master of writing melodies that bring the tear in the listener's eyes, and his best interpretations of these kind of melodies are the ballads on his previous releases. This album is quite short (not even 40 minutes) but definitely worth getting. A must for guitar fans and a very rewarding experience for anyone who got tired of boring instrumental releases.

For more info on Tamás's albums and carrier check out his official web-site at www.guitarmania.hu and stay tuned for the 444U section of the next issue of Loud & Clear that will feature Tamás's classic "Guitarmania" album.

Songhaus/Now & Then 2003
Review by 17 May 2003

It's time to Wake The Nations!!!? Indeed, Ken Tamplin is back with an agenda about rock and religion. You could say he's had enough with aggressive fundamentalism and crappy boy bands. Amen to that brother! Who isn't tierd of all those lame packages of fake musicians and artists, who can barely sing in the first place. OK, to be fair... they can actually sing (most of the times), but put a six string into their hands or tell'em to write a song???!!!

I've always enjoyed the music of Tamplin, no matter if it's been Shout, Magdalen, or his solo work. Strong uplifting lyrics with a clear message... without being too "preachy". However, I've also thought that little 'extra' was missing somehow. Not enough with good songmaterial to last throughout a whole album, or whatever. It's almost the other way around this time. There are simply too many songs on this CD! I know, I know... what the heck does this schmuck of reviewer mean, you ask. Simply put, there are 18 tracks included here and at least 5-6 of them are fillers. Stuff we didn't need in the first place. Then only listen to the 12 something tracks you enjoy and think of the rest as "bonus-tracks"? Well, that's not the way to rate a CD... at least not to me.

Abbot Promotions 1999
Review by

Tandym specialize in very eighties' sounding AOR, reminding me of acts such as Legs Diamond, Angel, and Journey. Curiously enough, at times they could pass for a British late eighties AOR band, like Shogun or Shy, even though they are very much an American band. The production is quite awful at times, but the songs indicate that Tandym is a band to watch out for.

The songs range from pompous tracks such as the title track and "Jericho", which remind me of Angel and other late seventies' pomp AOR groups, to standard AOR ballads like "Love Walked Away". However, the best songs in my opinion are the midtempo/uptempo AOR tracks, such as "Annie", "Can't Blame The World" and "Symptoms Of Reality". I have to wonder just how good these would be with a good production...

Unfortunately the last two tracks "Lovin' For Granted" (a substandard rock song) and "The Busdriver" (just awful, sorry!) leave a bit of a bad taste in my mounth. Those (and the poor sound) aside, this is a decent introduction to a promising new band.

MTM Music 2003
Review by 26 August 2003

So what if you can't decide if you're mostly into wimpy or heavy metal? Try some Taraxacum and you'll nearly get the best of both worlds. Indeed, this super-group of metal now returns with a fist full of (melodic) metal on their second release, "Rainmaker".

This band project was founded in the year of 2000 by Tobias Exxel of Edguy, together with ex-Squealer drummer Frank Wolf. The line-up on this album is completed with the powerful vocalist Rick Mythiasin (ex-Steel Prophet), guitarist Danny Klupp (ex-Haggard), keyboardist Ferdy Doernberg (Axel Rudi Pell, Rough Silk), and Shaker Elmosa (bass).

Spinefarm Records 2003
Review by 26 május 2003

”I’m the rider of the last day !” this Finnish cult metal band from the eighties roars from deep down of their souls, returning with the long awaited new album. The Tarot cards were first layed down in the early 1980’ies, then going by the name Purgatory. The first album came out in 1986 and by then the bands name had changed to Tarot. But it wasn’t until the 1993 release ”To Live Forever” that the band recorded their first album with todays line-up now first time with a keyboardist and who stuck with the band. The line-up since those days has been Janne Tolsa-keys, Pecu Cinnari-drums, the brothers Zachary Hietala-guitar and Marco Hietala-bass/vocals.

Those unfortunate people who missed the whole Tarot scene I’m sure you’re familiar with Marco’s work in Nightwish or Sinergy. He is said to be the best metal voice in Finland since Tarot days and I’ve always agreed with that. His voice is powerful, filled with testosterone, he can sing high, most of the time he sounds wicked and rude and that has always been his trademark and it brings this mysterious touch to Tarot’s music or whatever Marco touches (turns to gold, I’d say the least). ”Love’s Not Made For My Kind” was one of Tarot’s most popular songs in the early days and the band even did a couple of videos, that included. ”I Don’t Care Anymore” was one and I’ll never forget those young dudes moshing in the vid with their really long hairs that had a perm in them. And of course the clothes were as dramatic as everyone had back then, but the Tarot fans stayed true to the band no matter what.

Somehow it seems like Tarot has been gone for ages. And I’m sure fans agree here when I say the ”Shining Black” compilation didn’t keep away those nasty symptoms of addiction. So the wait has been long, five years since the last real album ! But here it is, ”Suffer Our Pleasures”, coming atcha with a fist in the air and with the power of the storm of the century. Well, the cover almost says it all, but it should be a fist there instead of an open hand...after all Tarot is a band with both balls and character. Earlier we got some taste from this album from ”Undead Son” and this fast and catchy track is one of the best here, the chorus immediately sinks in, but it’s almost beaten to death with the long ending. This is the easiest track here. Eventhough the album is lean, traditional heavy metal, it really didn’t open until after a few listens and when I plugged in my headphones and turned the volume up. And even after all of that it’s really hard to pinpoint the best moments. Every song is a different adventure.

But mostly the songs are fast and heavy. On ”I Rule” Marco’s vocals start the cd with the evil, dark twist. Rip and slash, this kicks ass ! And gives you a caugh in the end...With the same beat ”Pyre Of Gods” kicks in with more melody and a good drive, but then comes ”Rider Of The Last Day” and eventhough this one slowes down a bit, it’s probably the best tracks here with an added excitement and thrill to it. The beginning crawls slowly to a little bit faster chorus, but it’s in the end where it all explodes, a thunder leaving everything under ! The background vocals are haunting and work like crazy here. This is doomsday if anything. ”Follow The Blind” speeds it up again to ”Undead Son” and I’m a totally dead daughter after this song is through, what a party track (and it gave my head a crack..to keep this review poetic..)! And then it’s time to slow down again with ”Of Time And Dust”, a tempting midtempo with a hitting chorus and slashing keys. ”From The Void” is a delivery from hell, a black threat as far as the lyrics go. Yet again one of the catchiest tracks here with the chorus.

Atlantic 1991
Review by

This album is one of the few that always start heated arguments among diehard melodic rock fans. The reason is very simple: most of them tend to measure this album by comparing it to the White Sister (a cult pomp rock band of the 80s) albums, since Tattoo Rodeo used to be White Sister once. Then they changed their name (to an almost as bland one as the original), their image (thankfully. they used to be dressed and made up as Mötley Crüe in their early years), and their music too (which made some fans boo). Well, not me. I love this album so here we go with a review.

The cover fits the music perfectly. When taking the album in your hands, you see a skull of a cow in a tattoo-saloon resembling design. And yes, the music is southern tingled, bluesy, melodic hard rock. "Strung Out", a hard rocker kicks off the album. It has an acoustic intro which lets you get used to Dennis Churchill-Dries' throat that sounds like all those great, whisky-throated singers of the west coast. His vocals and huge choirs characterize the whole album. These guys sing great vocal harmonies, the refrains get into your ears and eat themselves down right into your heart. They run you over with "Sweet Little Vikki", a typical vocal/choir oriented rocker, just to get to "Been Your Fool", one of the highlights of the album. A great acoustic driven ballad with a southern feel, slide guitar, Hammond organ, and huuuuuuge choirs. Typical bar-rock ballad feeling, great stuff to listen to in a smoky, western-designed pub. Take the first line: "Have another drink, smoke another cigarette". That says it all, doesn't it?! J Dennis shines in this one. There's a line right at the end of the bridge where he sings without music. Those 3 seconds alone are worth having the album for those who love good vocals. BTW there was a video made to this song, I saw it once on MTV's Headbanger's Ball some thousand years ago.

An obviously filler track ("Everybody Wants What She's Got" - stupid lyrics) follows however the choirs are "there" in this one too. Then another tasty acoustic intro starts "Ain't No Reason" a mid-tempo rocker with great vocal performance and a huge refrain again, till we land at "Let Me Be The One" the second ballad of the album. These guys seem to have an extraordinary good sense to write ballads (something like the Mr. Big guys). This one is characterized by a killer piano performance. This ain't no electric piano-then midi corrected computerized stuff. This is a wonderful sounding boogie piano, pure feeling, something you can hear on a Lynyrd Skynyrd live record. And the chorus?! Gets into your heart and never ever comes out again. And to show how much the band was "together" these days, just a little "musical trick" from the song. Dennis sings: "hear me knocking" and Rich Wright knocks on an imaginary door using the snare drum. Great gag! This song is something that you can start with to get your girlfriend used to rock music. There ain't no woman on the face of the Earth who can't be touched by this song. (See the story at the end of the review.)

Blonde Ambition" kicks again. Great riff, the whole song is very tight, the band is ticking together as a Swiss watch. Though the lyrics are annoying, the chorus is great again. Then it's time for something really tasty again, another great acoustic intro with lots of feeling, a scream from Dennis, some piano tricks and there we go with "Love Shuffle". The lyrics of this one wash away the bad taste of "Blonde Ambition" from your mouth, and that grand piano sound comes to remind you of "Let Me Be The One". Great arrangement, you can clearly hear the acoustic guitar chords and understand every word. The sound is great all through the album, which is understandable since Ron Bloom and Paul Sabu were working on it. They both contribute in backing vocals too, and Ron does some piano too.

A crushing heavy guitar sound was created for the next track "Shotgun Johnny" a mid-tempo rocker. Nothing special, just a good track. Then a power ballad "Tell Me Why" makes your eyes wet again. Three ballads on the album so far and they all tear your heart apart. Can not be a bad album. This one is less bluesy, a rather melodic rock typical ballad with great guitar and keyboard sound and the usual huge vocal lines. "One Way Love" begins with a "oh-wo-oh" choir, something that makes most people say "it's so cheesy". Well, it is, but at least it's done well here. This one is a mid-tempo rocker, something I tend to call "filler". The most interesting thing in it is the line "white sister with the dime" . just a little hint to the past. Nice.

"Down" - another acoustic intro. can't get enough of them on this album. This one is the fourth (and last) ballad of the album, one showing a bit less than the others, still I enjoy listening to the vocal performances and the arrangement. The album leaves you with a wonderful taste in your mouth. "Hard Like A Rock". A great party-feeling tune, with a refrain that gets into your heart and makes you hum it all through the day. The song starts out with a slide guitar intro that resembles to "Been Your Fool" but then turns into a "preview" of the refrain. Rock n' roll piano again, tasty guitar work all along, a great song to finish the album with.

I personally have a very good memory concerning this album. Back in 1992 I was playing "Let Me Be The One" with my band in a pub in Budapest. After the gig a cute little angel came up to me (Let's call her Ms. X) and said she spoke English and was deeply moved by this song, and asked me whether I wrote it. I said no it was Tattoo Rodeo and we started talking about music, I introduced Tattoo Rodeo and some other bands to her, later on showed her my music collection (I had no stamps.), we had a pleasant time. Some months later our guitarist came to me after another gig and said in a rather sarcastic tone: I recognized that since that Ms. X event you tend to forget to tell the audience that "the next song is from a band called Tattoo Rodeo." We had a big laugh then and will never forget about "Let Me Be The One" when someone asks us about our Top 10 Ballads of all time.

Indie 2001
Review by 8 March 2002

Tears is another product of the cold, dark winters of Finland - yet another band with a somewhat gloomy image and a angst-filled style. With HIM, Charon, 69 Eyes and others making big waves with a gothic style, Tears can expect to be compared to them, and at this point they are still a couple of steps behind.

The three songs on this Cd have all something going for them, strong melodies, interesting arrangements and decent production, but something is still missing. While the vocalist/guitarist/songwriter Riku is obviously talented, I feel that his vocals leave a lot to be desired. He has a fairly strong accent, and his voice just isn't strong enough to carry these songs to another level. With an improved vocal performance and maybe a little more "gradiose" production Tears would most probably be a serious rival to the aforementioned bands.

LionMusic 2004
Review by Urban "Wally" Wallstrom,
12 June 2004

Tears Of Anger started out in Sweden in the early 90's as a duo fronted by the Jansson brothers. Originally namned "Mindcrime" they recorded an album for Montezuma Records (Black Mark), which unfortunately never saw the light of day. Guitarist Benny has since created himself quite a rep with some classy instrumental albums in the MacAlpine/Vai type of style. You can also find him as a member of Two Rocks, Snake Charmer, Erika, Svullo, etc. Vocalist Björn has also been working as session singer in and around the Stockholm area [Bjorn & Benny??? Now all we need is Agnetha & Ann-Frid, huh?].

The Jansson brothers were also invited by suggestion of Lionheart Records to record and perform two songs for the big budget movie "Sökarna" [The Searchers], here in Sweden. Back to present date and the debut album "Still Alive", that display a nice mixture of melodic metal and even some progressive, neo-classical stuff. I must give extra credit for Benny's excellent fret work and overall flashy solos. The man is all over the place with funny licks, lots of tricks, and massive power riffs.