Unlike a lot of “legacy acts”, Night Ranger are one of those bands that can normally be relied upon for a decent album. Granted, they’ve rarely hit the heights of ‘Dawn Patrol’ and ‘Midnight Madness’ – the one-two punch that kick started their career back in the 80s – but the majority of the band’s best records are driven by great playing and strong song writing. Even the supposedly “non canon” ‘Feeding Off The Mojo’ (lacking founder Jack Blades and featuring a hastily put together band featuring Gary Moon) was home to a few classic tunes, and ‘Somewhere In California’ (their Frontiers Records release from 2011) showcased a band with lots more to give. In fact, it’s only really 1998’s ‘Seven’ – a heavier, Blades dominated work – that missed the mark. As albums go, it was fine enough on it’s own merits, but the slightly more aggressive tones just didn’t always feel like Night Ranger.
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RESSURECTION KINGS – Skygazer
The Resurrection Kings debut (released in 2016) was one of those frustrating albums that showed great promise, but was ultimately flawed. Ex-Dio band members Craig Goldy (guitar) and Vinnie Appice (drums) played up a storm throughout, but their best efforts were often drowned out by vocalist Chas West, a man who insisted in bellowing his way through the bulk of the material at full volume, making it a hard listen. As proven by his own West Bound project, it’s not that Chas doesn’t have a voice; he just needs the music to be in tune with his sometimes overbearing tones.
The flaws of the Resurrection Kings debut are evident once again here. For some reason, Goldy’s best efforts don’t always seem to be on quite the same wavelength as West’s huge performances. Or maybe West’s all or nothing approach doesn’t quite fit with some of Goldy’s more varied ideas. Whatever it is, there’s still something that feels a little off-balance and requires a fair bit of tuning in and patience on behalf of the listener. However, if you can tune into everything, the album features a selection of solid, old style metal tunes that definitely seem to have a little more drive and focus compared to their previous work.
HARDLINE – Heart, Mind And Soul
After returning from a four year break, Hardline managed to hit upon a rich vein of melodic hard rock with their 2016 album ‘Human Nature’. Although the band’s sound had toughened up a little since their early days, in Johnny Gioeli – at this point the only original member – they still possessed a first rate vocalist – and the record demonstrated a very consistent approach to song writing. 2018’s follow-up ‘Life’ offered more of the same – even a little tougher in places – and was well received by the fans, and even though it wasn’t quite as enjoyable as its predecessor – or Gioeli’s side project with Deen Castronovo – there was plenty to suggest more musical mileage in Hardline yet.
TOBY HITCHCOCK – Changes
A much-loved figure on the AOR/melodic rock scene, Toby Hitchcock has previously applied his talents to some very theatrical releases by Pride of Lions, where he is a huge vocal foil to Jim Peterik’s overwhelming desire to be rock’s answer to a hybrid of Andrew Lloyd Webber and Greg Wells. The relentless bombast of those albums can be an acquired taste, but the critical responses to their work has often been positive. Toby’s first solo album (2011’s ‘Mercury’s Down’) carried a similarly huge love it or hate it sound but, thankfully, by the time of 2019’s ‘Reckoning’, his on/off solo career had found itself in a more melodic place. By pulling back some of the vocal histrionics and focusing on more of an AOR-centric sound, Hitchcock had finally released an album that could appeal to a broader cross section of a rock loving audience.
DENNIS DEYOUNG – 96 East: Volume 2
When Dennis DeYoung decided to retire, he hit upon the idea of one final, grand release that would recount his fifty years in the business with an autobiographical slant. Since Dennis rarely thought on a small scale and had always been blessed with a very theatrical voice, the idea of him taking his last curtain call with something resembling a musical about his life didn’t seem that silly. In fact, a big idea got even bigger with Jim Peterik’s help, and the planned final album had to be split into two volumes.