Category Archives: hard rock

FERREIRA – Better Run!!!

Posted on by

ferreira1

Since we’ve previously featured a soccer related review at Real Gone – the excellent third album by Alexi Lalas – you could be forgiven for thinking we’ve gone down that path again, since this band is fronted by Marco Ferreira. However, the frontman of this band is not the Portuguese winger…

Marco Ferreira – the Brazilian born vocalist/guitarist – mightn’t be a household name, but his career has been a busy one. The debut album under the Ferreira band name (featuring his brother Alex on drums) was released in 2002, after which Marco joined the French progressive metal band Venturia, with whom he recorded two albums. He then set off to record his first solo album, which was self-released in 2008.

Released eight years after their debut album, comes this second album from the Ferreira band. This release sees Marco teamed up with his brother once again – alongside Patrick Sebastian on lead guitar and bassist Gus Monsanto. Housed in a clichéd fire-and-brimstone style sleeve, ‘Better Run!!!’ has its heavy moments, but isn’t quite as heavy as some of you may be expecting, looking at that artwork. In all, it offers ten songs steeped in a hard rock chug, balanced out, in the main, by multi-vocalled, melodic choruses.

The mid-paced riff at the core of ‘Secret Damned Society’ is typical of most of the album’s style, despite the opening featuring some faster guitar work. When the chorus arrives with its harmony vocals, things settle in a little more. Ferreira’s brand of Dokken style hard rock works well here – as it does throughout most of the disc – and while the opening may suggest there are guitar histrionics somewhere on the horizon, lead guitarist Patrick Sebastian’s style of playing shows more restraint than some of his peers and influences for the most part. ‘Rescue Me (Will You Be Ready)’ takes similar elements but uses most of them in a more confident fashion: the riff is a decent hard rocker; the harmony vocals are firmly in place and the guitar work during verses show a lightness in places – a lightness not always heard elsewhere on the album. The major down side is that the band should have made better use of a chorus (with this kind of rock, one line repeated isn’t quite enough). On the flip side, Sebastian turns in a decent – if short – guitar solo.

‘I Want Out’ – one of the album’s faster numbers – highlights why the band is better off sticking to a mid pace. When stepped up a gear, things veer too far towards early Malmsteen territory – it’s not a great leap of imagination to picture what this could have sounded like with Jeff Scott Soto wailing over it at full pelt during his younger years. The title track features a decent guitar solo and an enjoyable riff (even if it’s a standard mid-paced one you’ve almost certainly heard hundreds of times before) but those looking for more depth could be disappointed. ‘Rule In Self Defence’ is more interesting with its percussion heavy stomp between the verses which creates a more memorable rhythm; this shows great promise, however, it’s the chorus which is the high point. The harmony vocals are similar to those used elsewhere, but when combined with the slightly down-tuned riff there’s an echo of Dokken during their ‘Shadowlife’ album. Melodic rock purists are certain to whine about the grunginess here…but whatever they think, this seems to be a style which works well for the band.

‘Trust The Enemy’ represents the band at their most edgy. Employing a treated vocal in places to reinforce the anger (which doesn’t seem entirely necessary), it could have been dismissed as being heavy for the sake of it, but respite can be found in a more melodic chorus – which itself could have been used more effectively perhaps, but coupled with a simple hard rock guitar riff, it’s a number which manages to work well enough, even if it’s the album’s weak link.

For me, Ferreira are at their best when delivering the softer numbers. The album’s two power ballads alone make ‘Better Run!!!’ worth checking out. During ‘Knocking at My Door’, each of the musicians is given more breathing space and the softer edge of Marco Ferreira’s vocals provide excellent contrast to the power driven voice he uses elsewhere. The harmony vocals on the chorus are joined by a tasteful lead guitar part and the solo also shows a great control – it would have been easy for Marco to step things up a gear here and make the solo stand out. The staccato parts of ‘History We Make’ mightn’t lend itself to a power ballad, but once the pre-chorus vocals kick in, the band find a groove that evokes something which sounds slightly like something like Queensrÿche may have explored during their ‘Mindcrime’ late-80s golden age – if only they’d approached things more softly. (In fact, another review suggests this album sounds a lot like Queensrÿche – a comparison largely lost on me as a big ’Ryche fan…there are fleeting glimpses here of occasional Queensrÿche-isms, but as a general rule, Ferreira aren’t much like them at all).

Overall, ‘Better Run!!!’ is a hard rock release which, although workman-like in it’s approach and unlikely set the world afire on a grand scale, holds enough appeal for melodic rock fans – particularly for those who enjoy stuff from the harder end of the scale. Just don’t be put off by the “inspired by a second division eighties thrash band” artwork…

July 2010

MASS – Sea Of Black

Posted on by

MASS

Despite this Boston based hard rock/melodic metal band forming in 1980 and releasing albums throughout that decade, they’ve never really gained much attention. They were inactive throughout the 90s, but returned at the beginning of the 21st Century and played live shows, which eventually led to a comeback album ‘Crack of Dawn’, released on Escape Music in 2007. I’ve been a fan of melodic and hard rock for years and have an extensive collection of cult albums, but somehow, Mass passed me by completely. This 2010 release – again released by UK based melodic rock label Escape – marks the first time I’ve heard them.

The opening track ‘Falling From Grace’ is probably the heaviest thing on offer as the verses really thunder, but this is counterbalanced by a very melodic chorus; this approach reminds me of the self-titled album by Heaven’s Edge (for those of you who’ve never heard that, their approach of melodic rock with guitar histrionics is almost unrivalled). During moments of this opening track Louis D’Augusta’s vocal approach can seem a little waily, but even so, it’s obvious right from the start he’s got a decent voice – although for me, it’s one which works best when played down a bit. ‘All The Years Gone’ slows things down and here, Mass are at their strongest: Gene D’Itria’s guitar riff hits a solid groove with a classic 70s rock vibe, but it’s Joey Vadala’s drum work which gives the track real power; his drum fills are more than reminiscent of a Bonham style, and due to this, it’s hard not to hear a Led Zeppelin influence.

The same heavy drumming is at the core of ‘All That I Needed’, its mid-paced stomping riff providing a base for one of D’Augusta’s more restrained vocal offerings (at least during the verses) and the guitar riff has a chuggier approach. You’d think given its chug and the heavy drums this song would end up sounding rather heavy handed, but at this stage in their career, Mass are clearly old pros and never overplay anything here. If you want things overdone though, look no further than ‘More Than a Friend’, a track which makes Firehouse’s ‘When I Look Into Your Eyes’ appear tough. In all honesty, this track’s four minutes made me feel queasy with its sickly sentiments, acoustic guitars and wailing. I like a rock ballad as much as the next man (provided that next man isn’t from a Norweigan black metal band), but this – in a word – is hideous. ‘Hear Me Now’ pulls out the acoustic guitars again, but uses them in an entirely different way. The contrast between the electric hard rock and these acoustics is fairly striking. The acoustic guitar remains clear in the mix after the heavy riffs make an appearance and are still used to create rhythm underneath a fairly aggressive guitar solo. This contrast, in fact, was one of the first things which struck me about ‘Sea of Black’.

‘Ashes To Ashes’ goes for a different tack again, in that the verses are guitar free. The drive here is provided by Michael Palumbo’s bass playing. His approach is very solid (and repeated listens of this album show him to be a decent player) and as such, the absence of guitars here almost goes unnoticed. When the guitars kick in, they are suitably heavy, replete with a decent amount of squeals. As with a few of the other tracks, it’s the drum work which provides this tracks greatest feature as, during a bridge section, Vadala goes for his best Bonham-esque fills.

‘Sea of Black’ is well produced and although musically it’s almost instantly familiar, Mass clearly have plenty of potential in their retro rock sound. Those who like hard rock with hair-metal touches and an occasional Zeppelin-ism should find more than enough entertainment here.

June 2010

DIO – Holy Diver

Posted on by

The name Ronnie James Dio will mean many things to his fans.  He was the first (and arguably best) frontman with Ritchie Blackmore’s Rainbow; he was the man who gave Black Sabbath an almighty kick up the arse when he replaced Ozzy Osbourne; he was one of the most recognisable voices in hard rock and heavy metal, but for all those fans, regardless of which band he happened to be fronting, Dio was the man who gave 100% every time.

Never was this attitude more obvious than on ‘Holy Diver’, released in May 1983.  Having left Black Sabbath following high tensions a few months previously, Dio was not about to take things laying down: his new eponymously named band – featuring his Black Sabbath mate Vinny Appice, Vivian Campbell and an old Rainbow bandmate, Jimmy Bain – rocked as hard (if not harder) than any outfit Dio had previously been associated with.

Stripped of the lengthy, pompous guitar solos which dominated early Rainbow, but retaining the heavy crunch of Sabbath, this debut by Dio (the band) turns things up a notch.  The opening number ‘Stand Up and Shout’ comes full throttle, embracing the energy of the then recent New Wave of British Heavy Metal – faster than anything Rainbow or Sabbath could muster even in their wildest dreams – and instantly commands attention.  Vivian Campell’s guitar work is fantastic and has a real edge; in many ways, his work throughout this album represents him at a career best, even though he was an eighteen year old not far into a long musical journey.  Of course, despite the sharp musical edges, it’s Dio who remains the true star – his huge soaring voice careening above the extremely tight band.  Always a master of knowing his vocal strengths, Dio accentuates lots of the two syllable words throughout the song, making excellent showmanship of “desire”, “fire” etcetera.  When his performance is combined with his on-form musicians, ‘Stand Up and Shout’ becomes a fantastic opener.

Things slow down to a menacing stomp for the title cut.  Viv Campbell’s guitar riff tips the hat to Ronnie’s tenure with Sabbath, yet his playing has the lighter tone which Tony Iommi’s approach often lacks.  Appice provides fantastic accompaniment on the drums, his pounding approach counterbalanced by some subtle hi-hat work.  The vocal performance brings out all the best elements in RJD’s performance – the stressed ‘ah’s are used to fantastic effect – and his delivery is so effortless, as a listener you’re totally sucked in by his enthusiasm and self-belief it’s easy to ignore the ridiculousness of many of the lyrics.   ‘Straight Through The Heart’ may not have as much energy as some of ‘Holy Diver’s more upbeat moments, but it has just as much power.  Driven by Appice’s solid drumming, Dio turns in a masterful performance with a suitable amount of gusto; Campbell’s guitar work here cannot pass without comment either: here he offers one of the album’s sludgiest riffs, replete with squealy horse noises (technical term).

‘Don’t Talk To Strangers’, another of the album’s undisputed high points begins gently before breaking into a classic hard rock riff; it’s Ronnie’s lyrics that give the track it’s long-lasting charm, though – full of paranoia, we are warned not to dance in darkness and that heaven and hell are closer together than you might think; Ronnie in turn plays the part “of master, of darkness, of pain”.  Vocally he’s at the top of his game, his delivery loaded with over-pronounced words, adding weight to the slightly sinister air.  Similarly, ‘Invisible’ has a very dark vibe; Ronnie’s lyrics are total flights of fancy here – a lesser vocalist would make it all sound more than a bit silly – but as always, his total dedication and faultless delivery mean it’s nothing short of superb.  Viv Campbell’s mid paced guitar riff stands as one of the album’s heaviest.  In short, it’s a timeless piece of leather bound metal – as heavy as the heaviest moments of Black Sabbath’s ‘Heaven and Hell’, but Campbell’s sharp guitar sound is far superior to Tony Iommi’s stylistic muddiness. (As great as ‘Heaven and Hell’ is, try playing it straight after ‘Holy Diver’, and the difference between the two guitarists’ styles is astounding.  ‘Heaven and Hell’ may be of the Sabs’ best albums, but it’s severely lacking in any real punch when compared to ‘Holy Diver’.)

‘Holy Diver’ also offers a couple of slightly lighter moments in ‘Gypsy’, ‘Caught In The Middle’ and ‘Rainbow In The Dark’.  The sound of ‘Rainbow In The Dark’ in particular looked forward to the stadium rock which dominated the 80’s.  Ronnie’s rudimentary keyboard work during the intro (and the sections which bridge the verses) ages the song a little and could be seen as the album’s only weak point.  Despite that, it remains an excellent chorus driven single.

‘Shame On The Night’ has a superbly menacing quality and  here it’s Jimmy Bain’s pulsing bass work which drives the piece, but yet again, no matter how punchy the arrangement, it’s Dio’s vocal prowess which remains its defining element.  His voice here is pushed to even more extremes, but at no point does he ever sound like it was a struggle.  Viv Campbell’s guitar work focuses largely around an intimidating riff (particularly evident during the track’s closing moments), and in all, this track presents the Dio band at their most outright angry.  It’s an effective closing statement – one which undoubtedly leaves the listeners wanting more.

‘Holy Diver’ is Dio’s greatest post-Rainbow release – it may even be the greatest release featuring Ronnie on vocals. It’s a genre classic; and for anyone who has ever heard it and subsequently fallen in love with it, the magic never fades.  The years may pass, but Ronnie James’s commanding performance retains every bit of its bombastic brilliance.  His vocal talent remains unsurpassed. A man loved by his many peers and fans, he will never be forgotten and ‘Holy Diver’ stands at the peak of his musical legacy.

(Ronnie James Dio  10.07.42 – 16.05.10)

May 2010

DUFF McKAGAN’S LOADED – Sick

Posted on by

In the early 90’s I was a big Guns n’ Roses fan.  I mean, who wasn’t?  They were the biggest rock band on the planet back then.  However, a fifteen year gap between the release of ‘The Spaghetti Incident?’ (a poor covers album) and ‘Chinese Democracy’ damaged their public profile, not to mention the record company’s wallet.  (‘Chinese Democracy’ was interesting in itself: the resulting album was essentially Axl Rose and some blokes, since nearly the whole of the classic line-up had walked by then.   Surprisingly, the end result was decent; although whether it was worth waiting fifteen years for is open to debate; as is whether or not Axl plus blokes actually equals G n’ R, for that matter.  Maybe we’ll talk about that some other time).

Anyway, I digress… During that wilderness period, the classic G n’ R band members released a multitude of discs, most with something to recommend them.  It became clear with each of these side projects and solo releases that Slash, Izzy Stradlin, Gilby Clarke and Duff McKagan all possessed a decent amount of talent.

‘Sick’ is the second studio album by Duff McKagan’s Loaded (the first being 2002’s ‘Dark Days’).  As you’re possibly expecting, the album offers a hard rock ride with a slightly retro sneer (on the surface that suits me fine, since both Velvet Revolver albums were dishwater dull. For a project featuring three ex-members of G n’ R and Scott Weiland of Stone Temple Pilots fame, the outcome could have been so much better).   It’ll come as no surprise that the best tracks are the upbeat ones with a trashy spirit.  If that’s what you’re after, then ‘Sick’ will provide entertainment.  Opening with the title track: one part Stooges, three parts glam metal; this really is where Duff excels.  Mike Squires kicks things off with a punchy guitar riff (and later throws in an edgy solo) and Duff’s husky voice lends attitude. In addition to the main riff, guitarist Mike Squires throws in an edgy guitar solo.  The stomping rock of ‘Sleaze Factory’ and ‘Flatline’ keep up momentum with plenty of sass and decent choruses.  It’s only by track four (‘IOU’) Duff’s bass work comes to the fore.  While not flashy, the more upfront bass sound is very welcome here.  It could’ve worked well on the previous tracks, but I think this album is more about attention grabbing attitude than musical prowess.

‘The Slide’ offers another slab of rock ‘n’ roll guitars with a punky edge and ‘Blind Date Girl’ is a superb five minutes of trashy rock (reminding me more of a few past efforts by ex-G n’ R chums Gilby Clarke and Izzy Stradlin); the addition of a horn section make this a standout – and as such, it’s the only slower track which really works (although ‘No Shame’ – another track highlighting Duff’s punchy bass work – fares quite well for a mid-pacer, thanks to a decent chorus).
Even more obviously, the woozy ‘Wasted’ and ‘Mother’s Day’ really let the side down.  The musical arrangements are rather empty and McKagan’s vocal limitations do nothing to give things a lift.  Face it, while Duff does a fine job on the punchy stuff, he just doesn’t have enough vocal chops to tackle the more emotional stuff.   ‘Translucent’ also misses the mark a little, sounding a little like a Tommy Stinson/Bash & Pop cast off (and hey, while we’re back here again, exactly why has Stinson been in G n’ R for years?  His input into his previous bands would suggest he’s got far more talent than he’s ever likely to have needed playing bass as part of Axl’s pick-up band.  I suppose the retainer must be good).

Essentially, this album by Duff McKagan’s Loaded is kind of like a doughnut.  In the main, it’ll make you feel good and give you a quick fix.  If you were looking for something with a longer lasting hit, it’s possible this could leave you unsatisfied.

February 2010

HARD – Time Is Waiting For No One

Posted on by

‘Time Is Waiting For No One’ is the second international release (but fourth release overall) by the part Swedish, part Hungarian melodic metal outfit Hard – a band fronted by Björn Lodin of Baltimore. It’s one of those albums where once you’ve taken note of their rather unsubtle moniker and band logo, you’ve got a fair idea of what it sounds like before hearing any of the songs.

Kicking things off, the title cut is a fast-paced riffer, showcasing Hard’s brand of melodic metal. The rhythm section is punchy and the guitar riffs are edgy, but any good qualities are killed by Lodin’s vocal performance, which is all squeal and no real passion – he’s been likened elsewhere to Marc Storace of Krokus and I can see why…and, no, I never liked Storace either. ‘Lonesome Loneliness’ (hey, what other kind is there?) has a swaggering approach and overall holds up as a solid piece of hard rock, although not groundbreaking. ‘Into the Fire’ features some fantastic metal guitar work and cracking rhythms, but generally, there’s little here to make a lasting impression.

‘The Pace and The Flow’ is a rock ballad with a bluesy edge. Surprisingly Björn Lodin’s vocals are far better here; he’s not forcing his voice so much and the end result feels more natural. Similarly with ‘Nona’ everything flows nicely and the vocals are both tuneful and well-suited to the material. ‘My Kind of Woman’ pulls out of the starting grid at full throttle, like a twisted cousin of early Deep Purple. It’s a track that shows initial promise: Zsolt Csillik and Zsolt Vamos’s guitar parts are superb once again, especially if this kind of melodic metal is your bag, but it’s let down by poor songwriting. ‘Shine On Me’ combines a driving hard rock riff and funky edges to fantastic effect. The vocals have an edge, but remain tuneful, if still an acquired taste. There’s a strong Bang Tango influence here and this track should appeal to fans of that very under-rated band.

Overall, although this album has a few good qualities, most of it does little for me. If Hard could’ve concentrated on the softer or funkier elements of their sound, it could’ve been very different indeed. Some bands in the world have a lot going for them. Judging by this album by Hard, it would seem their greatness hasn’t yet arrived.

March 2010