Category Archives: hard rock

VARGAS, BOGERT & APPICE – VB&A featuring PAUL SHORTINO

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In April 2011, 80s rockers King Kobra (featuring Carmine Appice and Paul Shortino) released their fifth studio album.  While some praised the disc for containing rousing, anthemic choruses in an old-school rock style, in 21st Century terms what this actually meant was King Kobra peddled out a bunch of songs which were very clichéd and a little embarrassing.  The King Kobra guys were never the most sophisticated songwriters, but for all of the album’s faults, at least they made an attempt at writing their own material.

That’s more than could be said for Appice’s second release of the year.  This collaboration with his old Vanilla Fudge bandmate Tim Bogert and Spanish rock/blues musician Javier Vargas finds the stalwart musicians ploughing through a bunch of cover tunes.  Most of their chosen material is very well known, so that alone means this album often appears inferior.  …And by the time guest vocalist Paul Shortino trudges his way through most of the songs in his usual second division (often unsubtle) style, this album generally becomes destined for failure.

These musicians may have been in the business for decades, but longevity doesn’t always equal effortlessness and, as such, their takes on most of these tunes are bad.  The band almost completely misunderstands what made (and continues to make) Cheap Trick’s ‘Surrender’ a genre classic.  Gone is the glammy feel good streak of the original 1978 cut, and in its place, Vargas and co present  a bloated bar-band run through which sounds like mud.  Deep Purple’s ‘Black Night’ works better, with some of Vargas’s lead work hitting the mark during an unexpected bluesy intro.  Once things settle into the main riff, though, it becomes no more a workmanlike rendition, with an uninspired vocal and heavy-handed, ever-so-slightly slow drum part.  A rendition of AC/DC’s ‘It’s a Long Way To The Top’ has nothing going for it whatsoever, with the band choosing to play it as faithfully as possible but still managing to lose all of the original’s buoyancy in the process.  Still, at least it’s not quite as bad as Mickey Thomas’s attempt at AC/DC on his 2011 covers disc…

Some things are sacred, and the original version of ‘Parisienne Walkways’ could well fall into such a category. The pairing of the legendary Gary Moore and equally legendary Phil Lynott was magical, with Moore’s soaring guitar work providing the perfect foil for Lynott’s distinctive, charm-filled voice.   Unbelievably, Vargas, Bogert and Appice think they’re worthy of covering such a musical milestone… Vargas’s guitar tones are fine (not a patch on Moore’s mastery of the instrument, but fine nonetheless), but beyond that, it’s horrible.  Shortino sucks the life from the lyrics like the work-a-day vocalist for hire he is and Appice’s rock drumming just has no real class.  There’s no excuse for this.  Excuse me, I may have a bit of sick.

Moving away from the hard rock chops of most of the chosen material, the album includes a couple of left field choices.  While Shortino’s slightly gruff delivery seems reasonably in tune with Rod Stewart’s trademark rasp, there seems to be no other reason for these guys covering ‘Tonight Is The Night’.  The end result isn’t the worst thing on this album, but even so, could only ever be described as okay.  Or at least it could be, had the musical arrangement been approached in a slightly more sophisticated fashion.  The “live in the studio” sound gives the mood of a band rehearsal and Tim Michell’s synth is far, far too loud.  Vargas’s slide guitar work is about the best thing here.  Naturally, it takes more than a bit of slide guitar to rescue something so flawed… Bad it may be, but any attempt at covering Rod Stewart is not quite as misjudged as their attempting to tackle a well known tune by Mike + The Mechanics. Yes, seriously! ‘Over My Shoulder’ loses its well-crafted pop sheen and almost timeless radio appeal.  Someone has decided that the song could be improved with the addition of choppy guitars and an overtly loud drum kit.  Surprisingly, though, Shortino’s vocals are half-decent as he taps into a slightly soulier vibe.  He’s no match for Paul Carrack, obviously, and Mike Rutherford will probably welcome the royalty cheque to top up his millions (even though he’s not likely to earn too much from the twelve copies this album will sell), but nobody with any sense would ever prefer this awkward piece of ham-fistedness over the original.

The only time this collaboration rises above the doldrums is on a cover of Ray Barretto’s 1972 cut ‘Right On’.  Firstly, given Vargas’s musical background and time playing with Santana, he’s more than adept at salsa styles.  Secondly, although the production and general rock posturing is still somewhat stodgy, the addition of horns gives things a lift.  However, although it’s probably the best thing on this release, it’s still not great.  Between them, Vargas, Bogert, Appice and Shortino manage to make Barretta’s once bustling Santana-esque tune sound a bit heavy-handed.  Things are rounded out with takes on Beck, Bogert and Appice’s ‘Lady’ and ‘You Keep Me Hangin’ On’ (in the Vanilla Fudge mould, but still inferior). Neither are particularly inspiring, but at least Bogert and Appice have, at least, some small claim to these tunes.

Since the performances rarely rise above middling and the album comes with awful, awful production, this is only ever going to be of interest to a select few.  While it’s likely Vargas, Bogert and Appice had fun making this record, it’s really not too much fun to listen to. Having said that, as bad as it is, it’s marginally better than Vanilla Fudge’s 2009 collection of Led Zeppelin covers, ‘Out Through The In Door’.

Carmine Appice is supposedly a well respected musician.  In his sixth decade as a recording artist at the time of this album’s release, you have to wonder why he is so respected when so many of his career choices have been questionable.  Oh well… Compared to this, at least some of the praise heaped upon that dodgy King Kobra record seems justified.

August 2011

JUDAS PRIEST – Sad Wings Of Destiny

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Judas Priest’s debut album, 1974’s ‘Rocka Rolla’ hints at a potentially very talented band, but is ultimately let down by some plodding arrangements and somewhat leaden production values.  Everything about Priest’s second album, ‘Sad Wings of Destiny’ (issued by Gull Records in 1976) is in a completely different league, right down to the fantastic album artwork (‘Fallen Angels’ painted by Patrick Woodroffe).

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NIGHT RANGER – Somewhere In California

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As one of the legendary melodic rock bands, Night Ranger’s back catalogue has more than its share of great moments. Even their ‘Feeding Off The Mojo’ disc from 1995 has more than enough to recommend it, even though the band themselves no longer seem to consider it part of their official back catalogue. 2011’s ‘Somewhere In California’ doesn’t match early classics like ‘Dawn Patrol’ or ‘Midnight Madness’, but compared to parts of 1998’s ‘Seven’ and its successor ‘Hole In The Sun’ (delivered some ten years later), it definitely has a more traditional Night Ranger feel on many of its tracks.

‘Growin’ Up In California’ opens with a staccato riff which gives way to a brief twin lead. Once the track kicks in, against a more 21st Century Night Ranger sound, there are moments which hark back to the past, more so than in a long while. Although heavily filtered (perhaps unnecessarily), the vocals recall classic Night Ranger, but it’s Eric Levy’s ugly synth sounds which are the real clincher. They have the same sound that Alan “Fitz” Fitgerald bought to the first couple of albums (most notably ‘You Can Still Rock In America’ from 1983’s ‘Midnight Madness’). Those keyboard sounds alone are enough to suggest Night Ranger are seeking to recapture some of their early spirit. The hard chug which dominates ‘Lay It On Me’ – coupled with a sneering vocal which sounds like something Jack Blades wrote for Aerosmith – mightn’t be greeted with open arms by all fans (‘Hole In The Sun’ was derided for being too “modern”), but a huge “whoah” on its chorus may redress some balance. It’s a shame that beyond such a promising “whoah”, the chorus itself falls a little short. The featured solo, however, is a corker; more notes and flash than melodic space filler, but even so the playing is superb. ‘Bye Bye Baby’ moves away from chugging rock and delivers something else in the classic melodic rock mould, it’s essence very old-school Night Ranger. The keyboards and guitars have almost equal space in the mix at times, while the vocals shared between Blades and Kelly Keagy are very pleasing throughout. The chorus is where the real greatness comes, though; it’s melodic, it’s simple and infectious – everything you’re looking for from this brand of tuneful hard rock.

Just when you think ‘Somewhere In California’ could be pandering a little too much to Night Ranger’s rock tendencies, ‘Time of Our Lives’ redresses some balance. Night Ranger were known for their big ballads early in their career, and although ‘Time of Our Lives’ doesn’t hit the heights of ‘When You Close Your Eyes’ or ‘Sister Christian’, it’s solid enough. Appearing in the slot which traditionally would have closed an 80s Night Ranger vinyl, it’s a number with a soaring quality, full of great harmony vocals. The lead vocal is a little scratchy in places, but the harmonies make up for that. A definite high point, ‘Live For Today’ melds classic rock and psychedelic elements in a way which would make Kings X proud. This isn’t new for Night Ranger, of course, since Blades has often shown a fondness for fuzzy retro cool; but with its multi-tracked guitars and keyboards fleshing out the sound on this track, he’s rarely captured the mood as well as he does here. On the flip side, a great guitar solo aside, ‘Rock N’ Roll Tonite’ is a horrible embarrassment. Lyrically full of clichéd rubbish, Jack Blades steers everyone through a stomping rocker which tries too hard to create an unnecessary party atmosphere. The least said about it the better.

‘It’s Not Over’ is a number where the spirit of old Night Ranger comes through the absolute strongest. While the production gives things a slightly tougher edge, the overall feel of the song is very 80s. The chorus is incredibly strong – harmonies all present and correct – and the guitar leads exchanged between Brad Gillis and Joel Hoekstra are spot on. ‘No Time To Lose Ya’ indulges the band’s more melodic qualities also, with a punchy rocker which has all the hallmarks of classic AOR. A strong chorus a great arrangement are boosted by a superb lead guitar break which mostly focuses on twin lead work, though naturally, Hoekstra can’t resist throwing in a neat twiddle at the end…Alongside ‘Bye Bye Baby’ it’s a number which represents the 2011 Night Ranger in their most natural way. The end of the track, in particular, with its huge vocals and soloing underpinned by solid rhythm work shows why Night Ranger have always been so highly regarded.

‘Somewhere In California’ is the best Night Ranger album since 1988’s ‘Man In Motion’. Those who’ve been disappointed with the band’s harder sound over the previous couple of releases should certainly give it a listen. Although there are still a few harder rock tendencies creeping in here and there – particularly during the album’s first half – older, more dyed-in-wool AOR/Night Ranger fans should find enough consolation for the band’s supposed former misfires here.

June 2011

BLACK COUNTRY COMMUNION – Black Country Communion 2

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bcc2It was surprising that Black Country Communion’s second album should be unleashed on the world so quickly. Released just nine months after their debut, you have to marvel at the speed these four musicians wrote and recorded their second batch of songs. It’s highly likely, of course, that this second album features material they were working on during the sessions for the first album. Whatever, this second album captures the band (once again featuring Glenn Hughes, Joe Bonamassa, Jason Bonham and Derek Sherinian) in fine form indeed.

A few early reports claimed this doesn’t quite have the impact of the debut album and in some ways that’s true as on this follow up, Black Country Communion offer far less bombast. This is helped by a slicker studio production and by Glenn Hughes reigning in his vocals a little. [Kevin Shirley’s production is much better on this album compared to that of BCC’s slightly more live-sounding debut; and thankfully it’s streets ahead of the nasty sound he gave Bonamassa’s own ‘Black Rock’ from the same year, which had all the sonic range and finesse of listening to something with your fingers in your ears]. Also, the songwriting is much stronger than before, perhaps more melodic in places, which is also very welcome.

The opening track, ‘The Outsider’ comes equipped with a huge pounding riff, which includes some great bass fills from Hughes underpinned by Jason Bonham’s “family inheritance” drumming style. While it’s certainly one of the album’s most full-on tracks (presumably positioned at the front to grab attention and provide continuity from the first album), it’s nowhere near as grating as the debut’s bombastic rockers, since Glenn Hughes’s vocals are nowhere near as squawky. Also, a far more sympathetic mix means that this time out, Derek Sherinian’s keyboard work isn’t buried and here, his featured keyboard solo is top-notch, carrying the spirit of Jon Lord and Don Airey. Although Bonamassa’s solos aren’t quite as striking as Sherinian’s keyboard work, it’s impossible not to smile when he breaks into some very Ritchie Blackmore-esque leads nearing the track’s end. ‘Man In The Middle’s dirty, swaggering old-school riff should be enough to persuade most of you that BCC mean business this time around, especially once that huge riff is intercut with eastern keyboard washes on the chorus. It’s like a perfect fusion of Glenn Hughes’s ‘Addiction’ and Dio era Rainbow (you’ll probably spot a cheeky Zeppelin-ism thrown in at the end too!).

‘Faithless’ endulges Joe Bonamassa’s Free fixation, featuring a riff which is very Paul Kossoff influenced in places. The eastern keyboards from ‘Man In The Middle’ make a welcome return and Sherinian’s understated work adds a nice touch.
Surprisingly (considering his over-the-top performances on BCC’s debut), this track gives Hughes plenty of opportunity to shine. His voice is spot on throughout – his rock chops retaining just enough soul to take the edge off – and his bass work is superb too; at times rock-solid, at other times offering small bendy flourishes which have a great impact – this is so, so much better than most of the Black Country Communion debut. Similarly, the eight minute epic ‘No Ordinary Son’ is absolutely first-rate. Bonamassa offers a superb, blues tinged lead vocal with hints of Paul Rodgers and Danny Bowes, while his softer guitar lines are very classy with a clean tone. Building from soft beginnings, it’s a very impassioned number and by the time the hard rock elements take their place for more even more Free influenced grooves, Black Country Communion hit all their marks with absolute ease. Even Glenn Hughes’s slightly warbly vocal section doesn’t spoil the overall mood, and even if it did, this time he could be forgiven, since his bass lines underpinning all the more obvious elements have a brilliant fluidity.

The softer side of BCC comes to the fore for ‘Battle of Hadrian’s Wall’ where the acoustic guitar work provides a great backdrop for Sherinan’s organ swirls and some great vocal harmonies between Hughes and Bonamassa. It’s not all pastel shades, though. A sharp rock riff cuts through once in a while, although it doesn’t always feel necessary. Jason Bonham takes this opportunity to play something a little softer too – his shuffling drum lines are very sympathetic to Bonamassa’s electric leads during the number’s closing moments. It’s great to hear a little mandolin in there; maybe it would have been even better if that had been given a more prominent role.

‘I Can See Your Spirit’ is a hard rock workout which features a great Led Zeppelin inspired riff and naturally, Bonham Jr is well-equipped to give that riff a suitably powerful backbone. Glenn Hughes’s vocal, meanwhile, has an air of Deep Purple’s ‘Burn’ – an atmosphere driven to more obvious extremes by Sherinian’s Hammond organ work. For fans of Black Country Communion’s bluesier tones, ‘Little Secret’ is a slow burning number in the ‘Since I’m Gonna Leave You’ mould, which Hughes absolutely nails vocally, while Jason Bonham’s drumming has so much of his father’s spirit, you can almost hear the squeaky drum pedal. It’s probably a highlight with regard to guitar playing, since Bonamassa’s solos are mostly about feel rather than flash; his long, vibrating notes are just lovely.

Hughes, Bonham, Sherinian and Bonamassa sound more comfortable playing together than they did first time around and make recording that “difficult second album” seem so easy. Thankfully, they also avoid the pitfalls of the supergroup, and don’t feel the need for any kind of musical one-upmanship. With a better sound, better songs and proof that sometimes holding back a little can give the listener a greater listening experience, this is the album Black Country Communion could – and should – have made first time around.

June 2011

SAXON – Call To Arms

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call to armsSaxon has always been one of Britain’s hardest working rock bands. They’ve had shifting line-ups over the years, band members have come and gone (and in the case of drummer Nigel Glockler, come back again…twice!), but at the heart of it all frontman Biff Byford and guitarist Paul Quinn have strived to push the band ever onward, never giving up. Although still best known to many for their early 80s work, the band worked on tirelessly, releasing albums at regular intervals and playing live shows. After 1990’s ‘Solid Ball of Rock’, Saxon’s popularity waned in the UK, though they retained a strong following in Europe. Their 90s album’s aren’t always essential listening, but in the 21st century, the band eventually got somewhat of a second wind.

2004’s ‘Lionheart’ presented the band in an incredibly good light, while 2007’s ‘The Inner Sanctum’ and 2009’s ‘Into The Labyrinth’ featured similarly decent songs and strong musicianship. The line up of Byford (vocals), Quinn (guitar), Glockler (drums), Nibbs Carter (bass) and Doug Scarratt (guitar) which drove the latter two albums (and also Saxon’s 1997 release ‘Unleash The Beast’) is arguably the strongest line-up the band has ever had – and their work on 2011’s ‘Call To Arms’ goes a long way to cementing that opinion.

The choppy riffs which power ‘Hammer of The Gods’ resemble Saxon’s early 80s work (although slightly meatier) and as such have a classic 80s metal sound, but beneath those riffs, Nibbs Carter’s pounding bass sound gives everything a great boost (that bass in turn given a boost by a particularly loud production job, courtesy of Biff Byford and ex-Little Angels/Gun man Toby Jepson). While it doesn’t bring anything especially new or surprising to the Saxon catalogue, it makes a strong opening number. The title cut finds Biff’s songwriting in good shape as he tells of a soldier going off to serve in the First World War. The emotional lyrical content is given a suitably epic musical arrangement, with plenty of clean guitar work and a very melodic vocal on its verses, before a chugging riff appears on its chorus sections. Even though it doesn’t quite tug the heart-strings in the same way as Lemmy’s similar tale on Motörhead’s ‘1916’, lyrically, this is superb – one of the album’s best songs. Also taking on a fairly epic stance, ‘When Doomsday Comes’ offers chunky riffs served up with a slightly eastern vibe. The band sound tight here and the balance between hard edges and melody is pitched just right. The faster sections bring with them a couple of great solos, while the slower moments provide a base for Biff’s very confident vocal. The staccato keyboard and strings which bring the eastern elements are bound to conjure thoughts of Led Zeppelin’s brilliantly monolithic ‘Kashmir’, but it’s not plagiaristic by any means.

Like ‘Denim and Leather’ and ‘And The Bands Played On’ before it, ‘Back In 79’ is a song which celebrates the union of band and fans (and the fans are something Saxon have never taken for granted); and in this case, Biff’s storytelling centres on the early touring experiences and how those audiences were really supportive. The riff is meaty, but it’s a simple chorus of “show me your hands” which is designed to stick in your head long after listening. Another recurring theme in Saxon’s work – standing your ground and taking on the world – reappears here in a storming 80s-style metal workout ‘Surviving The Odds’, which in addition to a really bracing hard rock riff and good vocal, features a rattling bassline from Carter. Occasionally lapsing into a riff which sounds a lot like ‘Western Eyes’ by Jan Cyrka, ‘Afterburner’ celebrates the power of the jet-fighter, which is given a suitably rousing arrangement, possibly the album’s heaviest (certainly it’s fastest). The riffs are intense enough, but after a few plays, it doesn’t offer too much beyond those. While Biff puts in a fine performance and Glockler’s drumming is powerful, in terms of songwriting, it’s not as good as some of the material here.

‘Mists of Avalon’ is a fantastic number which carries more of the spirit of Saxon’s mid-80s melodic experimentation. As the track fades in, Quinn can be heard using a smooth, clean tone. His work here, which recurs throughout the track between the bigger riffs, is evocative of his work on ‘Nightmare’ from Saxon’s ‘Power and the Glory’ album. It’s a style which is very welcome indeed. Most of the track is based around a very solid riff, but it’s the featured solos which provide the best moments, with both Quinn and Scarratt on top form. In addition to this, Biff is in great voice (one of his best performances on this album) and – guesting on keyboards – ex-Rainbow/Deep Purple man Don Airey adds plenty of extra texture. Also edging towards the more melodic, ‘Ballad of a Working Man’ features swaggering riffs, which occasionally tip the hat to Thin Lizzy with their twin lead sound. For those looking for “classic” Saxon, this track more than delivers, sounding very much like the best moments of their ‘Denim and Leather’ and ‘Strong Arm of The Law’ albums.

Biff Byford believes ‘Call To Arms’ to be one of Saxon’s best albums – and he may be right; it’s certainly very consistent, with nothing which could be regarded as filler. It’s an album rooted in the old-school – at times more celebratory of Saxon’s past than some of its immediate predecessors – but that’s where most of its charm lies. And although its eleven numbers represent a band sticking to what they know best, Saxon still sound extremely vibrant some thirty-two years and nineteen studio albums into their professional career. There aren’t too many bands who can claim that after so long.

June 2011