This thirteenth studio release from FM, one of the UK’s best loved AOR bands, presents eleven tracks where Steve Overland and the lads barely deviate from their usual blueprint, barely break a sweat during their performances, or really offer their fans any material that would challenge them in any way. Such a massively predictable approach might seem half arsed coming from a lesser act, but with FM, such familiar territory is bound to bring a treat or six, especially since Overland still possesses one of the greatest voices in rock. At the point in his career where most of his peers are turning in deeper performances or even assaulting their fans with voices that should have long retired, Steve still sounds like a master performer; a gifted talent able to anything within a broad range; a man more than capable of delivering anything any of his various bands requires. Along with Jeff Scott Soto, he appears to be among a dying breed. In the rest of FM, there remains a truly solid band that conveys a classic sound. By 2022, their work is certainly formulaic, but few would deny that it often results in a winning combination of power and melody.
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CHIP Z’NUFF – Perfectly Imperfect
Following the release of ‘Diamond Boy’ in 2018, Enuff Z’Nuff began going through the motions, churning out music that often felt very much like a Chip Z’Nuff project, with the band augmented by some musicians that have little to no real claim on the EZ’N legacy. With that in mind, it isn’t immediately clear why 2022’s ‘Perfectly Imperfect’ should be a marketed Chip Z’Nuff solo album and not just another product from the seemingly never ending EZ’N production line. Chip obviously has other ideas, though, and clearly views the material on the album as being somehow different from his day job.
HELL IN THE CLUB – Kamikaze (10 Years In The Slums) EP
Since their arrival on the hard rock scene in the early ’10s, Hell In The Club have demonstrated an obvious knack for sleazy, old fashioned “hair metal”. Formed by a couple of musicians with links to European prog metal bands, it began as a way to have fun, but quickly became far more than a side project. Even at the point where you’d think HITC’s retro schtick would have run out of steam, on their 2020 release ‘Hell of Fame’, they sounded as good as ever, showing that they were still capable of delivering fantastic riffs and massive, cheesy chorus hooks. In some ways, their carefree, non-political approach, and willingness to convey a party spirit was exactly what was called for to distract everyone from those early Covid ridden times.
TEN – Here Be Monsters
Ever since their arrival on the melodic rock scene in the 90s, Ten have always been synonymous with making “big” sounds. With its combination of huge vocals, even bigger guitar sounds and a genuine sense of grandeur, their self titled debut quickly asserted itself as one of the classics of the era, and the musical marriage between Gary Hughes (vocals) and ex-Dare guitarist Vinny Burns proved to be an ambitious, yet very natural union. Their third album, ‘The Robe’ , a concept album centring around Egyptian mythology, set the bar even higher in terms of ambition, and for a time, it seemed like a recording the band would never top. Nevertheless, they trucked on, and their ever fluctuating line-up (which at one point included Kent based talent Chris Francis filling Vinny’s huge musical shoes) continued to record distinctive, bombastic albums that thrilled fans across Europe.
Watch: Meat Loaf – Live At Toad’s Place, New Haven, CT 1991
In terms of rock stars, Meat Loaf was unique. A larger than life character whose best music took in elements of hard rock, light opera, pop and prog to create a musical theatre that became the soundtrack for a generation of fans in the late 70s and beyond. So much of Meat’s greatness was enhanced by his collaborators, of course, and when working with Jim Steinman, members of Todd Rundgren’s Utopia and Roy Bittan of Springsteen’s E Street Band on the world dominating ‘Bat Out of Hell’ album, he was a genuine force of nature.