Impelliteri’s tenth studio album ‘Venom‘ was a funny record. Not intentionally so, unfortunately, but lyrically it was so clichéd, it managed to make Judas Priest seem like they could be nominated for an Ivor Novello award at any given moment. Funnier still was Chris Impellitteri’s thinking behind the release: he supposedly wanted to “…create a metal record that would appeal to everyone… Even women”, apparently. Here was a man so stuck within a universe centred around 1984, he failed to even see how a lot of women were active on the metal scene at the time of its release. The very idea that some of them were even in bands might’ve just made his little head explode.
Back in the mid 90s when melodic rock was going through a bit of a purple patch with regards to independent releases, Scandinavian Whitesnake obsessives Snakes In Paradise released two excellent records in the classic rock mould; albums which owed so much to David Coverdale and company, yet came with their own European charm largely thanks to vocalist Stefan Berggren, one of the best voices in the business at that time. After the demise of Snakes In Paradise, Berggren made a very logical move and joined Company of Snakes, a band featuring ex-Whitesnake members Bernie Marsden, Micky Moody and Neil Murray which, as you’d expect, drew more heavily from the ‘Snake’s enduring legacy.
Shortly after the demise of the short-lived Emerson Lake & Powell, keyboard maestro Keith Emerson and drummer Carl Palmer teamed up with ex-Hush multi-instrumentalist Robert Berry to form the melodic rock outfit 3. Their sole album, 1988’s ‘To The Power of Three’ presented a great selection of melodic tunes with occasional progressive flourishes, but despite yielding a US hit single, the album itself wasn’t a commercial success on either side of the Atlantic.
By the early nineties, Keith and Carl had reunited with their old bandmate Greg Lake, whilst Berry embarked on what was to be a very prolific decade of recording. He recorded albums with AOR band Alliance, contributed to several progressive rock tribute albums and even re-booted his solo career. His 1992 release ‘Pilgrimage To A Point’ is a melodic rock/accessible prog classic and in ‘Last Ride Into The Sun’ (an unreleased leftover from the 3 days) even gave prog rock fans something infinitely more proggy than the commercially driven 3 album had allowed.
Graham Bonnet is the epitome of a hard working vocalist. Active since the 60s, whether solo or part of a band, by the beginning of 2018 he’d contributed lead vocals to a staggering twenty three studio albums. As with any artist with such a long career the results are variable, ranging from the essential (his own ‘Line Up‘, Rainbow’s ‘Down To Earth‘ and the Graham Bonnet Band’s ‘The Book‘) to the workmanlike (most of the 90s releases) to the flat out awful (Blackthorne, Impelliteri’s ‘System X’). Whatever the result, it’s almost impossible not to be impressed by Bonnet’s work ethic and tenacity.
Between 2006 and 2012, legendary rock vocalist Joe Lynn Turner lent his talents to three great albums by Sunstorm; releases which celebrated his many years on the melodic rock scene as well as added to his impressive catalogue. 2012’s ‘Emotional Fire’ was especially interesting as it revisited Joe’s 80s legacy, presenting covers of songs on which he’d originally contributed backing vocals. In the hands of Sunstorm, Michael Bolton’s ‘Gina’ and ‘You Wouldn’t Know Love’ (a big hit for Cher, and old a final voyage into rock for “old two haircuts” himself) sounded as good as ever. Although 2016’s ‘Edge of Tomorrow’ was an enjoyable record and a worthy addition to the Sunstorm catalogue, it gained more of a mixed response for a couple of reasons: firstly, it had a rockier feel and furthermore, it was effectively Sunstorm in name only – Turner was now fronting a completely different band.