This record is such a softball that it’s hardly fair for me to review it at all. A collection of previously released songs from a hard rock icon like AC/DC is so easy that I almost feel bad about it, but for my three loyal readers, I’ll persevere.
I’ll admit that I’m not a huge AC/DC fan. They’ve always been one of those bands that I enjoy in small doses. If “Dirty Deeds” or “Hell’s Bells” comes on the radio, I’ll crank it up and rock out, but you’ll only find a few of their records on my CD rack.
When the link to download a promo of Krokus’ latest arrived in my inbox, I rolled my eyes. I never was a big fan of the band in their heyday, and I doubted they could do anything to win me over at this late date. But about halfway through the second track, “Hoodoo Woman,” I was stunned to find myself grooving along to the 1970s Aerosmith feel of the track. I had pictures of that goofy video for “Screaming in the Night,” and I couldn’t believe I was really digging this.
Germany’s Mob Rules fits in that large category of European power metal bands that have just never connected with me personally. Generally, I prefer the mid-tempo style the band employs more than the speedsters, but, despite a few bright moments here and there, I’ve largely been unmoved by their work.
After draggy album opener, “Children of the Flames,” which feels like it goes on forever despite the fact that the running time is only about seven and a half minutes, I thought I was in for more of the same with their latest, Radical Peace. Things picked up with second track “Trial by Fire,” though, a more uptempo galloping piece with a big chorus.
Despite an impressive list of guest artists, Slash’s self-titled solo CD never climbs beyond the mediocre.
There are usually two main problems with records like this. Either the songs end up sounding like the guest artists rather than the primary artist or the collaborations sound forced. This album has both.
There are some surprising guests and some not-so-surprising guests here. You might expect a Slash record to feature guest shots by the likes of Alice Cooper (who he’s played with before), Ozzy Osbourne or Ian Astbury. You’d be less likely to think of pop singer Fergie, rappers Cypress Hill or Maroon 5’s Adam Levine. They’re here, too, with mixed results.
Being the thrash fan that I am, I’m almost ashamed to admit that Riot Squad is my introduction to Germany’s Paradox. It’s their fifth release, and they’ve been kicking around in various incarnations since the late 1980s. Admittedly, I was a little America-centric in my thrash listening during that time period and discovered most of the German greats a little later, but you’d think in nearly 25 years that I would have heard this band at some point.
As much as I’d like for every record I hear to bring something new to the table, I know it’s just not possible. And in some genres, innovation just simply isn’t part of the game, so you look at how well the bands use the conventions.
When it comes to European prog/power, Sweden’s Manimal use those genre conventions just about as well as anyone in the field.
So many good records have come across my desk so far in 2010 that I’ve actually had to neglect a few that are likely to make my top 10 list for the end of the year. One of those is Overkill’s latest, “Ironbound.”
Despite the fact that I was a teenager during the band’s heyday, it was much later before I actually came to appreciate Overkill. But even if I had never come around to them, this album would certainly be enough to make me a fan.
Here’s yet another entry in the parade of retro records that seem to be rolling in early this year, and like most of the others, Barn Burner’s Bangers is a pretty solid outing.
The Canadian outfit certainly draws influence from the early 1980s like the other retro bands I’ve heard recently, but they also dip back into the sludgy sound of 1970s metal and doom and sprinkle the upbeat energy of a garage band in places throughout the record.
The members of DareDevil Squadron wear their varied influences on their sleeves on their debut album Out of the Sun, and, to be honest, it’s quite refreshing. There’s a dash of traditional metal here, a bit of 1970s hard rock there, a pinch of 1980s sleaze, just a touch of blues rock and even an occasional hit of down-South twang here and there, and it all comes together in a fun, high energy effort that’s totally old school, but doesn’t sound dated.
Much of what’s found on Out of the Sun may seem a bit out of character for three of the five members – vocalist Andrew Ross, guitarist Angus Clark and bassist Chris Altenhoff – who are perhaps better known for their work with the symphonic rock project Trans-Siberian Orchestra. Though there are shades of that background in places on this record, it’s much more of a stripped-down, raw and rocking affair.
The title track sets the tone for the record right out of the gate with a heavy helping of NWOBHM influence and just a shade of Savatage coming on the verses. It’s aggressive, energetic and signals good things. The band locks into a groove on the 1980s hard rocker “Punishment Fits” and then delivers a performance reminiscent of Paul Di’Anno-era Iron Maiden with “Forgotten Son,” which also features an undeniable chorus attack. Fourth track, “Back Lounge,” completes the introduction to the band with an irresistible, purely 1980s sleaze boogie about life on the road that’s lyrically perhaps a little silly but all done in tongue-in-cheek fun. It also offers a nod to where the band was born – during a conversation in the back lounge of a bus sparked by a session of viewing vintage Maiden concerts.
From there, DareDevil Squadron begins to explore the hard rock soundscape a little more. “Hero Falls” reminds me of Thin Lizzy’s “Jailbreak” with the start and stop riffing from Clark and fellow guitarist Aurelien Budynek and the half-spoken, half-crooned vocal style that Ross takes on. The most ambitious number on the record may be the protractedly titled “Chronicles of Sorrow Part 1 – An Eternity of Forgetfulness.” Ross breaks out the mandolin on the tune that opens with a Led Zeppelin flavor and casually morphs into a 1970s prog-rock piece. There’s a more metallic rumble toward the middle of the song, but the art rock leanings remain. The song shows the versatility of the band (as if the members’ past work doesn’t), but ultimately, I have to admit I prefer the more straight-up rockers.
They get back to that with the catchy “Streets of Montmartre” which has an arena rock sound, but keeps just a touch of the prog they showed off in “Chronicles.”
Two of the best songs come near the end of the album. “Power Trip” brings the funk, opening with a cool wah-wah guitar lick. The song feels a little like Kiss in places, but with superb musicianship (though I will say that the brief rapped bits might not have been the best idea.) That’s followed with the groovy blues rocker, “Faith Hope Love,” which is the smoothest song on the record. There’s a classy bit of ZZ Top’s Billy Gibbons in the guitar sound and coolness drips off Ross’ vocal delivery on the verse.
They close the album with a straight-up, no excuses tribute to a major influence with “Lillian.” It’s a pure piece of Thin Lizzy worship that the band members readily cop to.
The five members of the band have a diverse background, with stints in hard rock, metal, symphonic rock and even bluegrass outfits. I find it interesting to hear the versatility of Ross here since for the last few years I’ve only really heard him sing huge operatic numbers like “An Angel Came Down” with TSO. Those performances certainly show his talent level, but he’s equally adept at the traditional metal and old school hard rock sounds found here. Clark has certainly also made a fan out of me with his impressive TSO performances, and his role here is perhaps the biggest surprise since I’m used to hearing him play sweeping, majestic passages. Here, he gets a chance to just cut loose on some down and dirty rock, and the results are great. Budynek is no slouch himself, and the team of Altenhoff and drummer Jason Gianni drive the groove of the record.
In all honesty, I can’t really find a single bad thing to say about this record, and that’s pretty unusual. I like it from start to finish. At the risk of sounding like the crazy lady on that stupid pest control commercial, it just … makes me happy. It rocks, it’s catchy and it’s fantastic fun. What more can you ask for?
This record is such a softball that it’s hardly fair for me to review it at all. A collection of previously released songs from a hard rock icon like AC/DC is so easy that I almost feel bad about it, but for my three loyal readers, I’ll persevere.
