Category Archives: Album & EP Reviews

ROB MORATTI – Victory

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While Rob Moratti is well known as the frontman for AOR band Final Frontier, with whom he released a handful of well-respected albums between 2002-2006, the Canadian vocalist has a couple of other notable jobs on his musical CV.  In the mid 90s, he fronted an eponymously named hard rock band, with which he released ‘Desolation’ in 1995, with a follow-up ‘Legends of Tomorrow’ appearing a couple of years later.  With the first issued on the small German label Seagull Records and the second available as a pricy Japanese import, both albums are now quite hard to find.  ‘Desolation’ in particular really captured the power in his vocal delivery; a voice which sounded absolutely fantastic when set against the Led Zeppelin inspired riffs which fuelled the album’s best moments.

There came a surprise in the late 00’s, when Rob Moratti replaced Michael Sadler as the vocalist with Canadian prog legends Saga.  It was unusual that the band would even consider replacing Sadler since he’d held his position for three decades. However, Moratti bravely stepped in, releasing an album with them, in addition to performing at various live dates.  [Michael Sadler rejoined Saga in 2011].

After leaving Saga, Moratti resumed solo work.  The first release from this phase of his career – ‘Victory’ – is an AOR record, similar in style to his work with Final Frontier.  To help him bring his songs to life, Moratti has hired a selection of top-notch session musicians, including ex-Whitesnake/The Firm bassist Tony Franklin and Winger/Whitesnake guitarist Reb Beach.

‘Victory’ features no filler material, and as such, it comes as a somewhat of a surprise that it wasn’t snapped up by Moratti’s old label Frontiers.  Be warned though: while the songs are of a high standard with regards to AOR, the production is way too shiny.  Yes, melodic rock should always have good production values, but like most of Final Frontier’s songs, this album has been polished within inches of its life in the vocal department.  So much so, that the voice sounds way too smooth, too filtered and occasionally really unnatural.  This niggle is often notable on the album’s choruses, where Moratti goes from being a gifted rock vocalist to sounding like a chipmunk.  That often worked to the detriment of Final Frontier’s output and it’s the same here.  If, however, you had no problem with the squealy, over-processed nature of Moratti’s former band, you’ll love this.

After a quirky intro featuring a stabbing keyboard and scratching noise, ‘Life On The Line’ opens the disc with a soft rocker, full of melody.  Reb Beach’s rhythm guitar lines have just enough edge to give the song a certain sharpness, and the harmonies which flesh out the chorus are from the classic AOR mould.  As said, the end sound makes Moratti’s vocal sound a little high, but once you’re past that, it’s a good performance.  Even better is ‘Everything But Goodbye’, a Survivor-esque workout which showcases Franklin’s simple bass style and has enough space for Moratti to weave some great (albeit tried and tested) vocal patterns.  ‘On and On’ is another elegant rocker with a solid keyboard line and guitar riffs, leading up to an equally strong chorus.  Although all contributions are admirable, Reb Beach’s guitar work is cracking.  He’s a musician who seems to be able to turn his hand to all rock styles and judge the mood accordingly, and here, it really shows.  Even though his second solo is really showy and full of whammy-bar, his moment in the spotlight doesn’t sound at all out of place.  The most extreme guitar lines here are given a sense of balance by a few bars of atmospheric playing in the build up.

With keyboards straight out of 1986, ‘Hold That Light’ features a very infectious chorus and an arrangement which would really suit ‘Frontiers’ era Journey.  While Moratti seems to have lost that slightly harder rock edge which suited him so well in the mid 90s, here he delivers plenty of Steve Perry inspired inflections which ought to please a lot of AOR fans.  Also featuring plenty of classic AOR hallmarks, ‘Lifetime’ takes things down a notch. Beach’s clean toned guitar lines lay a very familiar base over which Moratti stretches his vocal…though this time maybe a little too far.  Quite waily in places, his delivery almost sounds like a self-parody; and once that’s been subjected to a little smoothing out, the vocal just becomes a high-pitched noise, making it hard to decipher the lyrics.  If this song had been taken down a notch and featured a more Dave Bickler-esque delivery, it would have been improved a great deal.  Somehow, despite this, it’s still a great tune – and it’s made even better with an expertly played solo from Beach that’s full of wonderful sweeping notes.  With its rock balladry delivered with a firm 80s vibe, ‘I Promise You’ is more than commendable.  As before, Beach’s soloing is top notch; Moratti’s lead vocal has moments where he sounds like he should be absolutely made for stuff like this…and in many ways he is – it’s just made a little difficult to take in due to its high pitch and almost unnatural studio sound (ironically, all vocals were recorded at “Natural Sound Studios”!).

With eleven decent songs, great playing and a style often favouring rockers over ballads, ‘Victory’ is worth hearing.   Make no mistake, as it stands, it’s good – with the potential to be very good in places.  However, had Rob Moratti used his more natural vocal style as heard in the mid 90s, it would’ve been a hundred times better.

 

June 2011

PALE AUTUMN – Final Act EP

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On first viewing, the cover of this Philadelphia trio’s EP is more than reminiscent of the 1999 Counting Crows release ‘This Desert Life’, although it’s likely both bands’ sleeve art was influenced by René Magritte.   Just as it’s quite obvious who influenced their choice of art, a few bars into their debut, there’s little doubt about which rock subgenre Pale Autumn’s music falls into.

The combination of Nick Santone’s vocal style and the clean-ish guitar which begins the opening number (and title cut) brings more than a hint of a post-grunge style; although to begin with, the band favour a lightness of touch in places that various similar bands lack. The track has a slow burning first half, with Santone’s vocal taking a leading role.  Behind him, though, Bobby Hall’s drum patterns help maintain listening interest.  For the second part of the number, things fall into a rather more predictable pattern, as the guitars are cranked and its mid-paced nature doesn’t offer the listener anything they won’t have already gleaned from Staind’s more reflective moments, or indeed, any number of similar alternative bands of the naughties.  It’s a strong number, although it’s rather mid-paced nature doesn’t necessarily make it the best opening statement.  Chosen as the EP’s single release, perhaps ‘Marionette’ would have been more suited to that position; it certainly has a far more upbeat feel.  With slightly funky chords, it’s a song which sounds more positive all round.  Pale Autumn occupy a musical space which allows Pat McGraw to lay down a solid bassline,  while Santone delivers a few sharp chords here and there.  In terms of sound, it’s too heavy to have an obvious persuasion from Collective Soul or Matchbox Twenty, even though the overall mood occasionally hints at such influences.  Vocally, Santone appears a little more ragged than before, but it’s a vocal style which is very much in keeping with the up and down nature of the arrangement.

‘The Tides Return’ offers a slightly different side to the Pale Autumn’s sound, with the previous chunky guitar riffs replaced in the main by a brilliant rolling piano.  Since 90% of piano based rock is very cool, this presents the band in a much more interesting light. Here, they adopt a sound that’s not unlike The Fray, only much harder.  The piano really compliments Santone’s vocal and the lack of guitars throughout the song’s first half means bassist McGraw has more time in the spotlight.  Against the piano lines, his playing is unwavering.  By the time the guitars crash in near the end, things are more ordinary, but by then, ‘The Tides Return’ has already proved itself to be the EPs essential track.  The guitars, naturally, start to dominate once they arrive, but thankfully the piano hangs in there, still delivering a great melody underneath the riffs.

‘Postcards’ showcases the acoustic side of the band.  Naturally with Pale Autumn’s alt-rock/post grunge chops, the track doesn’t go the full-on acoustic route.  Those acoustics are blended with subtle electric leads, over which Santone’s vocal is decent enough.  The track builds gradually to a big rock climax where the band settles for a very safe musical territory.  You may have heard it all before, but listeners who enjoyed stuff by Tonic et al back in the early 00’s are likely to find enjoyment here.  The closing number, ‘Cemetery Leaves’ begins softly with a clean toned guitar and a suitably hushed vocal.  Live sounding drums and a warm bass provide great accompaniment.  At the moment where the big rock part would normally make an appearance, the band shows a great restraint. Those guitars are turned up ever so slightly and Santone’s vocal finds a little more muscle, eventually culminating in his strongest performance.  While it doesn’t quite have the all-round magic of ‘The Tides Return’, it’s certainly a fitting way to finish things off.

On this EP, Pale Autumn never break out of tried and tested musical ideas, resulting in a sound which isn’t especially original. Despite that, the song writing is strong throughout and musical input from each of the three musicians is solid.  A few more pianos would certainly have lifted the bar even higher, but even so ‘Final Act’ is a great debut.   Even if the whole thing doesn’t grab you after a couple of listens, downloading ‘The Tides Return’ is strongly advised.

July 2011

JON ANDERSON – Survival & Other Stories

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The creation of ‘Survival & Other Stories – Jon Anderson’s fourteenth studio album (not including his twenty discs of ‘Lost Tapes’) – had an interesting birth.  Anderson invited people to send in pieces of music to his website, from which he would pick the best moments.  While this process is fairly unusual, it’s not completely new; Tommy Lee used exactly the same creative process for his 2010 Methods of Mayhem release.  Luckily, on the whole, Anderson’s album turned out far better than Tommy Lee’s somewhat messy affair.

Anderson’s solo works traditionally have a poppier quality than the overblown progressive epics he has recorded with Yes, and for the most part this album (Anderson’s first offering since leaving the prog-rock giants at the end of the 00’s) is no exception.  However, the opening number, ‘New New World’ however, is surprisingly rocky.  While the core of the music features a string loop and Anderson’s liking of keyboard based pop, a huge Jason Bonham style drum part adds plenty of weight.  The noodling electric guitars hint at something Yes’s Steve Howe may have played, while the rhythms are hard and driving.  This great rock number is a greatly surprising way to open an Anderson solo record, but it is very welcome.  If you’re expecting the rest of the disc to follow suit though, you’ll probably be disappointed.  The following couple of songs ‘Understanding Truth’ and ‘Unbroken Spirit’ are light and airy, with Anderson’s ethereal vocals (still strong, though not as pure as they once had been) guiding the way.  On ‘Unbroken Spirit’, particularly, he sounds very assured set against the acoustic guitars and eighties keyboards.  It’s not challenging, but as far as adult new-age pop is concerned, it’s decent enough.  Mixing a world-music drum line, hard piano and fantastic harmony vocals, the punchy ‘Love of the Life’ brings positivity and a sunny vibe.  While Anderson’s vocal is strong, the musical arrangement wins out, especially once that drum part melds with a busy bassline.

The atmospheric ‘Incoming’ presents the first of a pair of less instant numbers.  While it’s not especially direct, it’s also this album’s essential track.  The piano is soft, with its main base is structured around two chords, over which Anderson sings about discovery and love.  As you may expect, this builds gradually, eventually erupting in a cinematic climax, where the strings are epic and the drums are booming.  It takes a long while to get there though…but it’s pace and structure is so good it never feels like it labours a point; it’s near eight minute duration feels like it’s passed by in half the time.  ‘Cloudz’ has similarly new-age qualities, as Anderson’s distinctive voice sings out “the earth was singing for the love, the love of life” over a simply gorgeous piano line.  While, in the main, it’s a real piano at work as opposed to synths (though a few subtle synths creep in to flesh out the sound here and there), this is the kind of work you could imagine Jon working on with Vangelis, should the pair ever reunite.  Like ‘Incoming’, the atmosphere really carries the listener and the long duration never drags.

During ‘Big Buddha Song’ Anderson’s vocals sound very organic against a mid-paced drum clank and accompanying backing voices.  The lead guitar has an effective ringing quality; as such, these unfussy elements allow Anderson to take centre stage with his vocal.  Sadly, as its title suggests, those not into religion and spirituality may find the lyrical content a huge turn-off… On the plus side, it includes a backing vocal section which quotes the Yes vocal loop ‘We Have Heaven’ in a pointed, unsubtle reference to Anderson’s “other” career. ‘Effortlessly’ and ‘Love and Understunding’ return to the acoustic stylings of ‘Unbroken Spirit’, a musical medium which seems to find the solo Anderson most at ease.  The former is soft and intricate, while the latter is a rousing pop number, full of harmonies.  The message of “all is God and love and understanding” may seem a little unsubtle, but pitched against the upbeat music, Anderson sounds like he’s having a great time.

‘Survival & other Stories’ contains some nice pop/rock tunes and a fair amount of lyrical content leaning towards Anderson’s hippie ideals and spiritual beliefs.  Some of Anderson’s previous solo outings have leant a little too far in the pop direction, but this time around, he strikes just the right balance between pop, rock and new age qualities with many of the album’s songs retaining memorable hooks. Whilst to many people Anderson will always be the voice associated with Yes and their overtly complex arrangements, here, he proves his gift for writing solid, simple songs. Although it’s got plenty of spiritual mumbo-jumbo and couple of the best numbers are atmospheric rather than hook-laden, ‘Survival & Other Stories’ never feels too self-indulgent.

July 2011

SUPERMARIONATION – On The Fly EP

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Taking their name from Gerry Anderson’s puppetry technique, Supermarionation are a three-piece band from Edinburgh.  Their debut EP ‘On The Fly’ features five tracks, capturing the range of styles (usually bouncy and punkish or fairly broody) within the band’s musical cannon.

The opening number, ‘Those Home Girls’ features a fantastic bassline which sprawls out under busy drumming and occasionally brilliant guitar leads.  Vocalist Steve spits lyrics with vigour, though his slightly flat tone and mushy DIY production make them hard to decipher at times.  ‘The Ashes of Love’ takes a similar energy and delivers it in a straight up fuzzy rock fashion; the infectious, slightly distorted guitar lead being the driving force throughout.  It’s at this kind of upbeat material Supermarionation excel; their liveliness and relative naivety lends enough charm to carry things off.  It’s the EP’s shining star, sounding like stoner legends Fu Manchu tackling the chorus riff from Gillan’s ‘Running White Face, City Boy’.  There’s not much of a refrain, but the riff is chunky enough win you over.  ‘The Rising Tide’ is much slower, with a sneering edge which is reminiscent of Therapy? at their slowest.  Drummer Dave occasionally lapses into a quirky pattern which sounds not unlike Fyfe Ewing, albeit without the hard snare work.  Sadly, vocalist Steve’s slightly flat style lacks the required anger, but even so, the end result is pleasing enough.

Sprawling out over five minutes, ‘Lonesome Symphony’ recycles a few sixties inspired riffs and delivers them in a fairly uninspired way.  The main riff sounds like one which should have been great, but struggles to keep things interesting.  A few key changes do little to keep up momentum, but on the plus side, Dave’s solid drum style holds things together nicely.  Had this been delivered much louder, fuzzier and heavier – a la Orange Goblin or Kyuss – Supermarionation may have had enough balls to make it work.  While there’s a mood here which hints at the Kyuss number ‘Gloria Lewis’, it severely lacks the power it really deserved, being delivered instead with a rather lightweight sound.

‘Nothing Means Nothing’ finishes the EP with another much needed burst of garage rock.  Dave’s drumming bristles with energy, propelling the groove forward at a mighty pace, helped no end by his hi-hat technique.  Against the drums, the guitars bring a mid 90s indie punk quality, over which Steve’s vocals yell – though as before, never in the most appealing way.  Musically, this is certainly the best track ‘On The Fly’ has to offer, capturing Supermarionation in a mood which recalls the sound of the shortlived 90’s non-phenomenon, The New Wave of New Wave.  If, for whatever reason, you’re of an age whereby you find yourself looking back at the likes of These Animal Men or S*M*A*S*H with rose-tinted glasses, then this could be for you.

There are times throughout ‘On The Fly’ where Steve’s vocal style could be seen as hampering the band’s overall sound, but in contrast, some of his retro lead guitar work adds a bit of sparkle.   Generally speaking, on this debut, Supermarionation have some great ideas, but their song writing needs a little tightening up.

March 2011

RABBIT IN THE BLOOD – Rabbit In The Blood

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The debut EP by atmospheric duo Rabbit In The Blood was a superbly played, but extremely thought-provoking and sometimes downbeat release. Their self-titled full-length release offers more of the same, with the extended playing time offering an even deeper voyage into their world of introspection, wonderment and sadness.  Three of the original EP cuts are reproduced here (‘The House of The Dead Stereo’, ‘Do You Feel The Sun’ and the disturbing ‘Day At The Beach’), but these possibly get outshone by a couple of the newer offerings.

‘Be Gone’ offers straight up acoustic folk, on a number which sounds like it could be written for the ukulele. In typical Rabbit In the Blood style, the softness is counter-balanced by a lyrical hardness, concerning a rather spiteful character. There’s no disguising the contempt for a man who spews words like “shit from a drain” and who needs “kicking when he’s down”, but looking at the musical aspects alone, this is a great number, featuring a well-arranged string section and upright bass.  ‘Fox, Songbird and Crow’ is incredibly sparse, with atmospheric drones and acoustic guitar lines providing the basis for Neil Luckett’s lead vocal, which starts gently, eventually building to a crescendo.  It’s been given extra interest by the use of vocal effects.  If Rabbit InThe Blood set out to create a trippy piece which captures the spirit of Black Sabbath’s ‘Planet Caravan’ then this track is a success.  ‘Sleep Tight’ finds Luckett in one of his best (multi-tracked) vocal performances, but it’s the musical arrangement which wins out overall, featuring a great mix of strings and bass, while some acoustic complexity is augmented by a soft rattling maraca.

For straight story-telling, ‘Dungeon Master’ is one the album’s best numbers. Over soft, finger-picked acoustic guitar, Luckett recounts a childhood friendship from the past: days of “Smash Hits”, early attempts at song-writing that “weren’t Lennon & McCartney” and the general naivety of youth.  In just under three minutes, this is a song to which everyone should be able to relate; a powerful reminder of all of our pasts and of friendships lost in the mists of time.  If you haven’t been rattled by the lyrics beforehand, the reminder that a lost childhood friend is “known in someone else’s life as a man” could be the absolute clincher.  Another musical highlight comes courtesy of ‘Don’t Wait’, a multi-layered jazzy affair.  Aside from showcasing Luckett’s finger-picking style once again, this is also home to a solid organ line (and cracking solo) from Mark Lord as well as a really bouncy drum part and some warm, upright bass.  As is so often the case with these guys, though, don’t be fooled into thinking this is an especially uplifting number.  Like ‘Dungeon Master’, the lyrics are, once again, concerned with our own mortality and the fragility of life – this time, the importance of telling those you love how you feel before it’s too late.  This point is hammered home by verses which tell tales of loss: a woman who gets swallowed up by an earthquake and a family picnic which ends in lightning-related tragedy.  Didn’t see that coming….

The gorgeous ‘Unresolved’ has a similar reflective air, but being a tale of packing boxes to move house, such reflection is balanced out by the excitement of looking forward, and also the idea that everyone moves on.  The use of strings and harpsichord offers another great arrangement.  The album is not all downbeat though. ‘Clap Hands, Fall Down’ has an extremely chirpy arrangement, with rousing guitar lines and hand-claps.  Mark Lord’s organ playing has a care-free manner which befits the upbeat tune, and he sounds like he relishes the opportunity to play something a little looser.  Put against the rest of material, ‘Clap Hands’ doesn’t sound so natural for Rabbit In The Blood, but even so, the album needed a little light relief.

‘Rabbit In The Blood’ [the album] is a deep work which requires a few listens to really get to grips with, but after a handful of spins, it shows itself to be incredibly strong.  The song writing and arrangements are often great, but like the preceding EP, you really ought not to listen if you’re feeling a bit fragile.

Visit Rabbit In The Blood here.

June 2011