Review: Stuck Mojo, "Southern Born Killers"

When I first heard Stuck Mojo in the mid-1990s, the sound was fresh and interesting – a solid, Southern-flavored metal band fronted by a rapper. With the rise of the rap-rock trend and the nu-metal trends in the late 90s and early part of this decade, the sound began to lose its edge. The band was dealing with internal strife and feuding with Century Media, which led to a parting of ways in 2001. Guitarist Rich Ward went on to play in wrestler Chris Jericho’s ’80s cover band Fozzy and release his own, very strange solo album.

In 2005, the band got back together to tour, but frontman Bonz left before they went into the studio in 2006 to record Southern Born Killers. With new rapper Lord Nelson, the band released this record as a free download. It led to a signing by Napalm Records and this official release two years later with three bonus tracks.

While most of the groups that cashed in on the rap rock sound have moved on over the years in search of the next trend that will score them a radio hit, Stuck Mojo continues to do what they’ve always done. If you’ve heard the band before, Southern Born Killers doesn’t offer a lot of surprises.

The record opens with the chugging riff of “I’m American,” which leads into a Rage Against the Machine-inspired verse (without the annoying vocals) and a hard rock chorus with sung vocals. That pretty much sums up what you’ll get here. The title track is one of the catchiest numbers on the record, blending southern hip-hop influences with southern rock and metal. Each style gets its spotlight on the record. “The Sky is Falling,” is more of a straight hip-hop number with a radio rock chorus, while “Metal is Dead” should satisfy the other side of the audience with its blazing thrash riffs.

The album does have more than its share of throw-away tracks. “For the Cause of Allah” is a white noise track with drum machine, synth and audio clips from newscasts that’s really a huge waste of space to set up the track “Open Season.” It would have bothered me less if it had been short, like “Prelude to Anger,” the second unneccessary intro track. “Yoko,” a bit of a joke track, is another song that really seems to kind of take the air out of this record, placed between two solid numbers.

The main thing Stuck Mojo seems to have lost with former frontman Bonz is the ability to do more funky, southern-flavored songs. Two of my favorites from the band are “Southern Pride” and “Hang ’Em High” from The Rising. Nelson’s style just doesn’t lend itself to those types of songs, and I do miss it.

Of course, when the new lineup gets it right, they get it really right. “That’s When I Burn” is one of the best songs they’ve ever recorded with a great grooving guitar riff from Ward and an undeniably catchy chorus.

Southern Born Killers covers ground that Stuck Mojo has covered many times in the past, but there’s something to be said for sticking to your guns. They know what they do, and they do it well. It’s not their best record, and it’s not as exciting as it was 10 or 12 years ago, but if you’re looking for a funky blend of metal and rap, it’s solid.

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Review: Brainstorm, "Downburst"

So often, in the review business, it all comes down to timing. I try to keep an open mind and give fair reviews for every CD that comes across my desk. But in all honesty, if I get an OK record in a style that I’m just really burned out on at the time, it probably doesn’t get as fair a shake as it should. Some of it is right record, right time.

With the latest record from Brainstorm, it’s a case of the perfect record at the perfect time.

I popped the CD into my player for the first time on my way home after another crap day at work, and I wonder what the other folks on the road must have thought when they saw me grinning like a madman and banging my head like crazy as I drove past. This is the kind of record I’ve been looking for. There are no unneccessary intro pieces, no wimpy ballads, no over-the-top power metal pretensions, no trendy screams. In short, no bullshit. Brainstorm plugs in, cranks up and rocks the fuck out like it’s 1985 – with much better production values of course.

Sure, Brainstorm’s music has always been rooted in the traditional, but on Downburst, they nail the vibe absolutely perfectly. From the first riff of album opener “Falling Spiral Down,” you get the overwhelming sensation of the glory days when Priest and Maiden ruled the metal world. Unlike bands who simply copy the riffs, though, Brainstorm owns the style. Guitarists Torsten Ihlenfeld and Milan Loncaric lay down some monster riffs and Andy B. Franck’s powerful voice commands the listener’s attention.

The record is loaded with big, memorable hooks, notably on songs like “Fire Walk With Me” and “Frozen,” which stick long and hard. They do toss out a few interesting moments that stray from the traditional. The opening of “Redemption in Your Eyes” kind of puts me in mind of an In Flames riff. There’s a bit of a prog feel to “End in Sorrow,” which even as the slowest track on the record offers up some beefy riffing. The band does veer a bit into the power metal realms later in the record as the keyboards show up heavier than on the earlier songs, but they’re used nicely to punctuate the music rather than overwhelming it. The record ends solidly in traditional territory with the aforementioned “Frozen” and its huge chorus and the strutting groove and Queensryche influnced bridge and chorus of “All Alone.”

I was a bit disappointed with Brainstorm’s last effort, "Liquid Monster," after a solid performance with my introduction to the band "Soul Temptation" in 2003. But they bounce back strong with this record, surpassing their previous efforts. In short, "Downburst" is the best record I’ve heard so far this year.

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Review: Avantasia, "The Scarecrow"

Epic albums with big-name guest stars are an iffy proposition. The expectations those all-star lineups create can be a bit of a letdown. That was the case for me with the latest effort from Ayreon, which I found a bit boring. On this record, though, the guest stars get bits that better reflect their own musical styles, and the result is more along the lines of what you might expect.

The side project of Edguy’s Tobias Sammet, Avantasia appeared on the scene in 2000. Sammet released two ambitious records, "The Metal Opera Part I" in 2001 and "The Metal Opera Part II" in 2002, then faded into the background until last year, when new EPs popped up in advance of this record.

The guest lineup is short, but impressive. Former Kiss drummer Eric Singer provides the backbone for the record. Alice Cooper, Jorn Lande, Michael Kiske, Amanda Somerville and Roy Kahn are among the guest vocalists. Rudolf Schenker lends some guitar work to help out producer/guitarist Sascha Paeth.

"The Scarecrow" starts with a bang. The huge, slightly exotic riff of “Twisted Mind” grabs you immediately and stays with you. It sets the standard for what will come later on this record, namely big, memorable melodies. The obligatory “epic” 11-minute title track follows. I normally find those songs more than a little self-indulgent, but “The Scarecrow” is the exception. The song flows well without a lot of filler material to stretch it out.

Things take a dip from there, as Sammet explores a more typical power metal sound with “Shelter from the Rain.” Then things get really odd. “Carry Me Over” sounds like a 1980s electronic pop song, and Somerville delivers an over-the-top pop diva performance on “What Kind of Love.” It made me wonder if I had warped into some kind of bizarro world after the incredible power of the first two numbers.

When the Iron Maiden-flavored opening licks of “Another Angel Down” kick in, they’re very welcome. It brings some sanity back to the world. Lande delivers an incredible vocal performance on the song, as usual, and it gets the record back on track. What’s most welcome on this record, though, is Alice Cooper’s guest performance on “The Toy Master.” Make no mistake, this isn’t an Avantasia song. Who wrote it is beside the point — this is an Alice Cooper song. The twisted number sounds like it came straight from Cooper’s “The Last Temptation,” and is far and away Alice’s best song since the “Brutal Planet” record. It clears out the cobwebs left by that little sidetrip into ’80s pop.

The final portion of the record is a mixed bag. “Devil in the Belfry” is the best of the bunch, a quite enjoyable speed/power metal number. “Cry Just a Little” is a skippable ballad that also has a lot of 1980s overtones, as does the more rocking “I Don’t Believe in Your Love” which reminds me a bit of the Scorpions. (Not sure from the album notes what songs Schenker plays on, but I’d guess this is one.) The final track, “Lost in Space,” is, not surprisingly, a spacy mid-tempo number with a little progressive influence. It’s one of the middle-of-the-road numbers here. Not as good as the first two tracks or the Cooper song, but the best of the ’80s-influenced half of the record.

"The Scarecrow" plays on the same kinds of influences that you hear in Sammet’s regular band, Edguy, but takes them in slightly different directions. It’s a very varied record covering a lot of styles, and while it occasionally misses the mark, it delivers more than its share of exciting and memorable music. It’s a great record that you’ll be humming long after listening to it.

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Review: Agonizer, "Birth/The End"

Agonizer has taken the long road to get to their debut album on Spinefarm. A few demos that got good reviews and almost, but not quite, got them record deals. A few contests entered that they almost, but not quite, won. It made me suspect that this record might be almost, but not quite, good.

Surprisingly, the brand of melodic metal that Agonizer dishes out is not bad at all. It’s very reminiscent of labelmates and fellow Finns Kiuas, one of my favorite discoveries of the past few years. Agonizer doesn’t delve into the death metal realm like Kiuas, but the melodic bits here are very similar and singer Pasi Karkkainen’s vocals at times bear more than a passing resemblance to Kiuas singer Ilja Jalkanen.

There’s nothing really original or groundbreaking here. The riffs of guitarists Jari-Pekka Perala and Joni Laine are solid with a satisfying amount of crunch, the keys are not overbearing, though perhaps slightly overused, and the band offers up some memorable hooks. There are traces of Sentenced on songs like “Everyone of Us” and “Hazardous,” which starts as a melancholy ballad, explodes into a big hook and then drops into a classical-inspired dirge.

There are a few surprises here and there. Some work, like the hardcore-style backing vocals on the chorus album opener “Prisoner.” Some don’t, like the more commercial rock beginning of “Sleepless.” The opening of “The Birth and the End” is a mixed bag with a nice piece that sounds like a sitar, but the commercial vocals in the first few moments kind of ruin the effect. Though not particularly unusual, the all-out assault of “Prophecy” is also inspired, ranking it as one of the better moments on the record, along with the aforementioned “Hazardous.”

Is "Birth/The End" a great record? Well, as their history suggests, the answer is, almost, but not quite. The album likely won’t blow you away, but it is a rock solid debut from a band that you’ll definitely want to watch for in the future.

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Review: Sebastian Bach, "Angel Down"

Despite their regrettably hairy hits, “I Remember You” and “18 and Life,” I do think Skid Row was one of the best hard rock bands to emerge from the late 1980s scene. The latest release by former singer Sebastian Bach, though, serves to underline the fact that they need to put egos aside and get back together. Skid Row needs Bas’ voice and attitude, and Bach needs someone who can write a decent hook.

"Angel Down" is far and away the best work produced by either camp since the split, but that’s hardly high praise. It is surprising, though, considering that Bach’s previous solo effort was a complete throw-away, consisting of a few truly horrible original songs and live versions of Skid Row songs. This record is much closer to what I had hoped for from that one. "Angel Down" sounds a bit like what Skid Row’s third record, "Subhuman Race," might have sounded like if Bach had written all the songs. That is to say that it’s got a great, snarling production and a nice heavier vibe, but the songs are unfocused and a little sloppy.

The best performance here, not surprisingly, comes from a beefed-up cover of Aerosmith’s “Back in the Saddle,” where Bach swaps verses with Axl Rose. Circa 1990, that might have been a dream pairing of vocalists for a lot of people. Now, Rose’s voice is pretty much shot, and putting it next to Bach belting out the chorus with zeal only serves to reinforce how much Rose has lost. Another pairing with Rose, “(Love is) a Bitchslap” provides the most memorable original hook on the record, and I suspect that Rose probably had something to do with crafting it.

Those two songs aside, "Angel Down" does have its moments. In fact, most of the songs here are right on the edge of being really good songs, but in typical Sebastian Bach fashion, chaos and his diva-like tendencies rule, rendering promising melodies into muddled screamfests. It’s painfully obvious that, though he often has good ideas, he needs someone to reign him in and provide a little control in the songwriting department. To his credit, Bach has lined up a solid band to back him up that provides some heavy grooves and some of the best moments on the record. But he’s still the boss, and the band can’t rescue a song when Bach is screaming silly lyrics like the ones in “American Metalhead” over them.

Bottom line, "Angel Down" is not a bad record. In fact, it’s surprisingly good. Still, it doesn’t even come close to "Slave to the Grind" or "Subhuman Race." Skid Row fans will likely enjoy the album, but with Bach out of control and Skid Row reduced to a novelty act on their last record, it will probably leave fans pining for the days when songwriting and the attitude of "Angel Down" went hand-in-hand.

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Review: Gamma Ray, "Land of the Free II"

It’s a tried and true formula. You’ve put out a couple of records that were slightly different in style and perhaps not as good as earlier records, a few fans grumbled. You want to make it clear you’re returning to your old style, so you name your new record after one that's widely considered by fans to be your best album and add a number to it. It’s also a pet peeve of mine because it’s an obvious ploy that will get people’s attention and the records never live up to the one they’re named after.

The same can be said of “Land of the Free II,” however, the gap here is much smaller than between, say, Queensryche’s “Operation: Mindcrime” records. Gamma Ray does indeed return to the happier, faster brand of power metal that they made their name playing, and while it probably won’t equal the first in most people’s minds, it’s not a bad record by any means.

The announcement that the band is going back to basics is made with the quick blast of the opening track, “Into the Storm,” which features the Gamma Ray trademark big melodies and hooks. Second track, “From the Ashes,” finds them in a galloping bit of Iron Maiden worship, which works really, really well right up to the chorus, which takes a left turn into generic power metal. Maiden is a recurring heavy influence throughout the album, as they have been throughout Gamma Ray's career, popping up again on songs like "When the World."

Fans of Gamma Ray’s classic sound should be most pleased with “To Mother Earth” and “When the World” which have all the speed, blazing riffs and soaring chorus vocals you expect from the band. As for me, I prefer the slightly heavier and darker tunes like “Rain.” That said, one of the strongest tunes here is also one of the bounciest and happiest, “Empress.” The song has an infectious, upbeat opening and a great chorus melody. Surprisingly, the epic number here, “Insurrection,” is solid, too. I always groan a little when I see a power metal song clocking in at 11-plus minutes because they tend to drone on. But with this tune, Gamma Ray makes it interesting.

Though overall perhaps a bit more restrained and toned down than the first installment of “Land of the Free,” this record is that rare album with a number behind it that really does signal a return to better times. Vocalist Kai Hansen still has the great pipes, and he and Henjo Richter deliver great riffs that range from memorable traditional metal to fast, precision power metal.

Fans of Gamma Ray should not be disappointed.

Get "Land of the Free II."

Review: Rob Rock, "Garden of Chaos"

I remember being very impressed with Rob Rock’s last solo record, "Holy Hell." The Roy Z-produced effort captured the same vibe as Bruce Dickinson’s solo works without, of course, sounding like a Dickinson knock off. There’s still a bit of that sound on "Garden of Chaos," but I’m finding it much harder to get into this record.

The album seems to be a concept record of sorts, beginning in the Garden of Eden with the title track and following through modern days (though not all of the songs seem to play into the religion theme.) The record opens with the title track, which, while enjoyable, sounds just a little too generic to me. I’ve heard it all before. The second track, “Satan’s Playground,” is a step up. It’s one of the strongest here, playing like a "No Rest for the Wicked"-era Ozzy tune with Queensryche-style vocals. Joining it on the short list of memorable tunes here are “Spirit in the Sky,” which features some nice riffing and one of the more memorable melodies on the record and “This Time is the Last Time,” which despite being a very 1980s-ish song, is not a bad one. Also, “Metal Breed” displays a nice blending of the Maiden and Priest sounds, which are perfect for the “metal rules” subject matter, but like all such songs, the lyrics are pretty hokey.

Then there are a few songs that are memorable for the wrong reasons. The requisite ballad “Unconditional” is the weakest link on the record, and the attempt at an epic, “Ode to Alexander,” also falls flat. A couple of the songs – “Millennial Reign” and “Ride the Wind” – remind me of Stryper, though I will give “Ride the Wind” points for its opening riff.

The biggest problem for me with this record, is that there is so little about it that’s memorable – for good or bad reasons. Songs like the title track, “Savior’s Call,” “Only a Matter of Time” all kind of blend together. There’s nothing I can really say is bad about this record. The guitar work is solid, and Rock’s soaring vocals are great. While it’s in my CD player, I enjoy it well enough. When I take it out, though, there’s nothing that keeps playing over and over in my head.

Devoted fans of Rock’s previous work and those looking for a quick trip back to the 1980s style of melodic metal will probably find much to like here. Others may just want to take a quick stroll through this "Garden" and move on.

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Review: Shooter Jennings, "The Wolf"

You have to like a guy like Shooter Jennings. Based solely on his name, he could probably be a country hitmaker if he'd play by Nasvhille's rules, but instead he chooses to do his own thing, avoiding the generic, over-produced crap you hear on country radio these days.

On his first two records, "Put the O Back in Country" and "Electric Rodeo," Jennings mixed his dad's brand of outlaw country with his own rock 'n' roll background for an interesting mix of songs that ranged from about as traditional as country gets to hard rock numbers. He brings the same formula to this record, but for some reason it doesn't work quite as well.

For one thing, the songs here seem much safer. There's not much edge either lyrically or musically to most of the songs, and too often it sounds like he's trying to recreate Waylon's sound, particularly on numbers like "Old Friend" and "Concrete Cowboys."

He does offer up some rocking moments. The opener "This Ol' Wheel" finds him rapping over a fiddle line in a Kid Rock-like piece. The funky "Higher" is the closest he comes to his previous two records here and another bright spot for the fans of his more rocking side. But there's not a song here that will connect like the dark and grooving "Bad Magick" from "Electric Rodeo" or the Southern rocker "Steady at the Wheel" from "Put the O Back in Country."

There's also a bit too much borrowing on some of the songs -- from his dad as well as others. For example, on "Tangled Up Roses," I just can't get past the fact that I want to sing The Who's "Baba O'Riley" when those big notes hit on the chorus.

That's not to say that there aren't good songs here. There are some really strong straight country songs like the low-down "Last Time I Let You Down," the double entendre of "Time Management 101" and the record's soulful title track. He also turns in an excellent cover of Dire Straits' "Walk of Life," and one of the strongest tracks on the album, "Slow Train," features a guest appearance by, of all people, The Oak Ridge Boys. Their tight harmony on the chorus really makes the song.

In the end, "The Wolf" is a solid offering for Jennings, though it doesn't come close to his previous two records. It seems designed to appeal more to the country side of his fan base or perhaps to open himself up to a wider country audience (something he's tried to avoid in the past). I, for one, miss the rowdier rock side of his music, and I hope he brings it back on the next record.

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Review: Helloween, "Gambling with the Devil"

It’s always nice to be surprised. I’ve only followed Helloween’s career sporadically since the 1980s, and have never really found anything in their catalog that impressed me as much as the first two "Keeper" records. I didn’t expect to find it here, but they had me from the first true song on the record.

As with most intros, you can skip “Crack the Riddle,” but you can’t ignore “Kill It,” a snarling beast of a song that’s possibly one of the meanest and heaviest tunes Helloween has ever recorded. It hooks you with the soaring power metal bridge, then pummels you with the pounding chorus. Andi Deris’ vocals are probably at their best on this tune, and on the record as a whole. He moves through sounds that range from classic power metal to 1970s progressive to the aggressive “Kill it, kill it, kill it” screams on the chorus, to an almost black metal rasp coming out of the interlude. Unfortunately, no other song on the record quite lives up to “Kill It,” and for the next few songs, you’ll miss that aggression.

“The Saints” starts out well, but somewhere along the way morphs into that same power metal tune you’ve heard four billion times before. “As Long as I Fall” just reeks a little too much of 1980s power pop. But hang in there, because there’s some good stuff coming a little later, mainly in the form of a three-song cycle mid-record that serves as a mini-concept album.

It opens with the prog-power assault of “The Bells of the 7 Hells” which has the most irressistible hook to be found on the record. It’s a match for any soaring power metal tune in the band’s history. The second song, “Fallen to Pieces,” is softer with a slightly more mainstream bent, but it’s still a strong piece. With its electronic undertones, it really sounds like what they were going for and didn’t quite get on “As Long as I Fall.” The trilogy closes with one of the best guitar riffs on the record from Michael Weikath and Sascha Gerstner in the sliding main riff of “I.M.E.”

The final three songs on the record are hit and miss. “Can Do It” offers a really strange mix of showtune and 1980s power pop that just doesn’t quite work. “Dreambound” delivers a solid power/traditional metal number that while, not as engaging as “Kill It” or “The Bells of the 7 Hells,” is still entertaining, and “Heaven Tells No Lies” offers up an enjoyable shot at an epic, storytelling tune.

In the end, "Gambling With the Devil" doesn’t quite live up to the promise that “Kill It” makes, and on some of the tracks, I’m left wishing for that more aggressive sound. But it’s still a solid effort and the best record that Helloween has done in a long time. If you’ve liked Helloween in the past, but not lately, definitely give this one a shot.

Hear a sample of "Kill It."

Hear a sample of "The Bells of the 7 Hells."

Get "Gambling with the Devil."