At the peak of AOR’s popularity in the 80s, there were a lot of great bands and artists whom, for whatever reason, never quite made the big time. They had the major label deal; they had the songs, and yet, struggled to make it into the first division with Journey and Survivor, and secure that place in record buyers’ long term memories. Perhaps it was just that in those days the melodic rock scene was over subscribed. The lack of sales for albums by Aviator, John Philip and Baxter Robertson – to give just three examples – certainly had nothing to do with a lack of talent.
After releasing two solid melodic rock albums, First Signal delivered a genuine masterpiece with their third disc ‘Line of Fire’. On that recording, the union between vocalist Harry Hess and versatile guitarist-for-hire Michael Palace was truly inspired, and the resultant set of songs rivalled the early Harem Scarem output. In many ways, setting such a high benchmark meant that any follow up would likely feel a little inferior, but there’s still plenty about First Signal’s 2022 release ‘Closer To The Edge’ that comes to the gold standard of melodic rock, at least in terms of both composition and musicianship.
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.
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.
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.