Tag Archives: hard rock

N.O.W. – Force of Nature

Posted on by

‘Force of Nature’ is the debut release by N.O.W., a Brazilian based melodic rock outfit formed by bassist Alec Mendonça. The music was recorded in Rio de Janeiro (aside from a few drum parts recorded in Sweden) and the tapes were then sent to Los Angeles, where ex-Unruly Child vocalist Philip Bardowell laid down his vocal tracks. The resulting album offers thirteen hook-laden songs which push all the right buttons – especially for Philip Bardowell fans.
‘Can’t Make It (Can I)’ opens the album with the band in full-on rock mode, focusing largely on Caio de Carvalho’s guitar riff, although there are moments where some classic sounding AOR keyboard work breaks through. Although this is great, it’s on the slower numbers where the band sounds more comfortable, particularly those with a traditional mid-paced arrangement. ‘Listen To Your Heart’ is the album’s masterpiece. It’s a classic example of AOR – the keyboards take a stabbing approach and the bassline is uncomplicated, but it’s the vocal arrangement which is key: Bardowell sounds absolutely at ease and his lead vocal is fabulous; on the chorus, it has a well-placed backing vocal as a counter-balance. ‘Once That Feeling Comes Again’ is a standard mid-paced rocker, but stands out due to another use of stabbing keyboards, as well as featuring a couple of pleasing keyboard flourishes. ‘You’ begins as a grandiose piano-led piece, where Bardowell could be accused of over-singing. Things settle down with the addition of drums and guitars, at which point the track becomes another in a long line of songs which sound like they’ve come off the AOR factory’s production line. There’s nothing wrong with it, but ‘Force of Nature’ offers better moments.
‘Lonely Soul’ is an excellent soft rocker, which should please fans of Jeff Scott Soto and ‘Long Way From Home’ features some well played pompy keyboards, before settling into a techy 80s groove on its verse; this track sticks out a little, as its stylistically quite different to the other songs. ‘Hail Mary’ opens with some terrific soaring guitar lines, before the main riff kicks in. As with most of N.O.W.’s material, it has a mid-paced approach. The pre-chorus feels a little out of place but a couple of effective guitar fills help to make it work; when the chorus eventually arrives, it resembles melodic rock at its best, with another big hook. ‘I’m Free (But Not Ready To Go)’ is slow-burner of a song which seems to take a long time to get to the chorus. While the chorus is memorable, I would have shoehorned an extra one in, before the two minute mark, especially since verses are in a key not best suited to Bardowell’s voice. Once it hits its stride and he gets to hit the higher notes, though, it becomes another standout track. The closing number comes with a great lead guitar part, full of vibrato. With regard to the lead guitar in the end section, Caio almost steals the show here with some smart fretboard work. It never upstages the song, though, as once again the chorus here is incredibly strong.
Although there are no bad songs here, the (polished) demo quality of the recordings stops the album being truly great (it’s also worth mentioning that for some reason ‘Long Way From Home’ has also been mastered at about a third of the volume of the rest of the disc). However, fans of melodic rock – and particularly fans of the mid-nineties releases via labels like MTM – should find plenty of enjoyment here, even if ‘Force of Nature’ sounds like something you’ve heard a thousand times before.
March 2010

JAYCE LANDBERG – Good Sleepless Night

Posted on by

Erik Jayce Landberg is a Swedish guitarist and composer, specialising in chorus driven hard rock. His 2008 album ‘Break The Spell’ was praised in melodic rock circles due to its solid musicianship. It’s also impressive that ex-Yngwie Malmsteen and Vindictiv vocalist Göran Edman was also on board for that release, given that Landberg was relatively unknown at that time.Landberg’s second offering ‘Good Sleepless Night’ is a more than worthy follow up, featuring its share of enjoyable tracks. The album opens with a heavier number, ‘My Valentine’, which comes with a chuggy riff and slightly treated vocals. During the mid-section, Jayce launches into a superb guitar solo, which features some decent metal shredding; what’s most amusing here is that the band speed up just to accommodate the solo (a technique used to great effect on the self-titled album by Swedish cult band Pole Position). Luckily, Landberg shows some restraint and this is one of the only times he takes this approach. ‘The Devil’s Wine’ and ‘Skyscraper’ are more mid-paced, providing classy examples of melodic hard rock. On the latter, Göran Edman is in great shape vocally. There’s something unmistakably Swedish about the style of hard rock here and I’m pretty sure it’s not just Edman’s accent.

‘Invasion’, another track with a mid-paced fists-in-the-air approach, features vocals by another ex-Malmsteen man – Mark Boals. For those of you familiar with the styles of Edman and Boals, you’ll know they take a similar vocal approach. Personally, I’ve always favoured Edman, given the choice. This album is no exception, since although ‘Invasion’ features some decent musical moments, Boals’s vocal is a little too squealy for my tastes. Once again though, Landberg is on form and the guitar solo here is a belter, despite wandering into neo-classical territory on occasion.

‘Sun Dance’ is a driving instrumental, highly reminiscent of Joe Satriani, maybe with a little Gary Hoey thrown in; overall, it has a very natural flow. Interestingly, for someone who’s been compared to Yngwie Malmsteen, the main focus here is on groove and melody, rather than shredding and virtuosity for the sake of it. For ‘The Thorns’ Jayce trades in his guitar and plays the Steinway piano. During this somewhat melodramatic ballad, Göran Edman is in fine voice and, once again, harmony vocals are used to great effect. ‘Abduction’ is a piece of guitar virtuosity that feels like Lanberg’s answer to Eddie Van Halen’s ‘Eruption’. Naturally, it’s not as good as that Van Halen landmark and I’d say it felt like filler, but it redeems itself at the last moment by featuring a flashy bass solo, played by Europe’s John Leven.

With so much solid material on offer, it seems unfortunate to mention the album’s bad moments, but I feel it’s only fair I should do so for a balanced review… ‘Bitch Is Back’ provides stompy hard rock enjoyment on the surface and makes excellent use of harmony and multi-tracked vocals, but is let down by poor songwriting and an unnecessary phased vocal effect on the verses, but thankfully, its punchiness means it’s short. Also letting the side down lyrically is ‘All I Wanna Do’, which wanders past the point of tacky and becomes slightly embarrassing. It’s nowhere near as bad as Chad Kroeger’s smutty meanderings on Nickelback’s ‘Dark Horse’, but it’s still one of those moments where you’ll find yourself wishing that musicians would leave keep their sexual ardour to themselves.

Although it features those couple of dodgy tracks, ‘Good Sleepless Night’ is a strong album. It’s been said that it comes recommended for Yngwie Malmsteen fans – probably due to its connections with both Göran Edman and Mark Boals. While on that basis Malmsteen’s followers are likely to give this a listen, I feel this is an album an appeal beyond that, as it offers far fewer neo-classical influences than most of Malmsteen’s work and, as consequence, feels less self-indulgent. Most melodic rock fans should find something to enjoy here as, like Landberg’s debut, ‘Good Sleepless Night’ offers accessible songs and musical prowess.

March 2010

MAGDALLAN – Big Bang

Posted on by

Although he’d been previously known for his work with Joshua and Shout in the late 80s, I was a little late in discovering Ken Tamplin, first hearing a track by him on a record company CD sampler in the early part of 1994. After hearing that track (‘Dancing on a Volcano’, from the ‘Tamplin’ LP), I knew I had to hear more of his stuff. Later that same year, a friend lent me a copy of this Magdallan album.He originally lent it to me thinking I’d like it, since he thought the first track was a bit prog-metal influenced.  He hadn’t remembered Ken Tamplin was the band’s vocalist!

Of course I liked it – but not for the “prog metal” reasons my friend thought I would [aside from its general speed and a slightly edgy, metallic guitar riff, I’m not even sure why he thought it was prog metal. It’s likely he confused them with Magellan].In fact, my liking of this album had nothing to do with that first track; I found its full-on bombast a bit of a turn off. I was, however, more than impressed by the band for various other reasons.  Firstly there was that Ken Tamplin connection (this album gave me a proper introduction to his work and I continued to buy his albums for a good few years afterwards), but also I liked the other band members: I’d been familiar with Lanny Cordola and Ken Mary previously, as they’d been members of House of Lords, a band whose first couple of albums I’d rather liked.  So, since Magdallan featured a few musicians I was potentially interested in, I’m not sure how this album had managed to slip under my radar for a couple of years…

If I’m honest, I still don’t like that opening track, ‘End of the Ages’, much at all. While Ken Tamplin’s voice is strong, the band spends the best part of the track trying to outplay each other at full pelt.While the level of musicianship should be respected, the approach taken seems to be at the expense of the song.While some of Lanny Cordola’s guitar solos here are very good, when they’re combined with the fast rhythm section, it becomes very tiring.As a track, it’s far too demanding on the listener.Hats off to Brian Bromberg, though, for a jaw-dropping bassline.

With that out the way, the rest of ‘Big Bang’ is fantastic.  If you’re looking for huge melodic rock: look no further!‘Radio Bikini’ (not sure why they chose that name) is the stuff that late 80s rock radio was made of.  It couples a huge chorus with a mid-paced rock riff, topped off with the kind of huge harmony vocals which would make Mutt Lange proud.  ‘Shake’ opts for a funkier edge, led by bass player Brian Bromberg, whose work here is inspired, since it has a huge presence and manages to firmly stay within the hard rock parameters despite showing a strong funk influence, rather like the work of Marcel Jacob (sadly missed).

‘Wounded Hearts’, a big Whitesnake style ballad, feels much simpler again.  It features another top vocal performance from Tamplin.Also less demanding is ‘Love To The Rescue’, a pumping hard rock workout; once again, Cordola grabs an opportunity to really show some chops in the guitar solo department, although unlike most of ‘The End of the Ages’, he’s a bit more restrained. The title cut has a confident swagger and, once again, the multi layered vocals are used to fantastic effect.  Bromberg’s bass work goes for a funky edge again here and Lanny turns in an off-kilter guitar solo which raises a smile.  This would have been the ultimate attention grabber before the horns were laid on!  The Led Zeppelin inspired, acoustic blues stomp of ‘Old Hard Line’ captures the whole band on top form.Tamplin’s blues rock vocal style is faultless, Ken Mary settles into an understated drum groove, Bromberg’s bass playing has warmth, but it’s Lanny who stands out the most: his acoustic work is second to none – really stylish.  A few bluesy vibes carry over to ‘Dome of the Rock’, but, this time, the band return to full-on rock mode.  Bromberg’s contribution is superb, his busy bass runs lying behind a decent riff laid down by Lanny.Multi-layer vocals are the icing on the cake – somewhere between Queen circa 1974 and early Journey, they turn a decent rock tune into a pomp fan’s dream.  Choirs of vocals swamp ‘House of Dreams’, the album’s ultimate lighters-in-the-air big hair rock moment.As with ‘Wounded Hearts’, the slower pace allows Ken Tamplin’s vocal to really shine.

Dozens of sampled voices played through a keyboard (a la ‘Leave It’ by Yes) kick off ‘Cry Just a Little’ before things settle into a standard rock groove.Again, the backing vocals are huge and is in good company with the rest of the album.  Lanny throws in a really metallic guitar solo – and not to be outdone, Bromberg’s bass playing is really complex throught.  Musically, this is quite demanding on the listener, but by this point of the album it shouldn’t be a mystery why these musicians are so well respected by melodic rock fans.

If you’ve never heard ‘Big Bang’ you’ll probably have half an idea what an album featuring Ken Tamplin backed by most of House of Lords could sound like.If you like your melodic rock to be larger than life and well produced (allegedly this cost about a quarter of a million dollars to make), then you’ll love this.

March 2010

 

AC/DC – Live From The Atlantic Studios

Posted on by

Following 1980’s multi-million selling ‘Back In Black’, Brian Johnson helped steer AC/DC to uncharted heights.  The band have headlined festivals the world over, filled arenas and held an enduring popularity.

No matter how good or how popular the band became in the 80s and beyond, the material AC/DC released in the 70s is among their very best.  On recordings like ‘High Voltage’ and ‘Let There Be Rock’, their style is a little looser and the rock ‘n’ roll ethic hasn’t yet given way to the band’s slightly more metallic tendencies explored throughout Brian Johnson’s tenure fronting the band.

The studio albums are great, but it’s on the live albums where the early AC/DC really hit home. It’s often said that 1978’s ‘If You Want Blood’ is one of the great live albums of the age – that’s a theory with which it is hard to argue and the 2CD soundtrack to the ‘Let There Be Rock: Live In Paris’ film has some cracking performances.  However, it’s ‘Live From The Atlantic Studios’ which captures the band on most consistent, lean and mean form.  The intimate setting really gives the performance spark.

Bon’s voice is strong throughout the 40-odd minutes; he’s in good spirit, chatting with the small audience between numbers. ‘Live Wire’, ‘Problem Child’ and ‘High Voltage’ set the stage and the Aussie live wire sounds really focused; Phil Rudd and Cliff Williams are impeccably strong in their understated role as rhythm section.  What really works here, though, is the volume of the guitars; ‘Live At The Atlantic Studios’ has a feeling throughout of a studio run-through and as a result, the eight numbers don’t offer much difference to the band’s recordings in terms of performance, but that bit of extra volume means these tracks stomp over many of their studio equivalents.  Solid renditions of ‘Dog Eat Dog’ and ‘Hell Ain’t a Bad Place to Be’ maintain the spirit well, but it’s during the second half of the set that AC/DC relax a little and the fun really begins.

An extended version of the bluesy rocker ‘The Jack’ appears here in its best rendition, largely due to having retained the original album lyrics – much preferred over the sexually themed ones, full of schoolboy humour (pun intended) used on ‘If You Want Blood’ and other live performances.  An extended arrangement allows the band to really fall into a solid blues groove, with Angus turning in a fine solo en route. The band close their set with the double rock ‘n’ roll whammy of ‘Whole Lotta Rosie’ and ‘Rocker’.  Both numbers by this point had been established as crowd-pleasers, but during ‘Rocker’ especially, you can feel the sweaty atmosphere, as Angus and co tear it up.  It would have been fantastic to have been there: it’s such a great shame this set never filmed for posterity.

For those of you who have the studio albums and have loved them for many years, there’s little else to add, as you know exactly what you’re in for.  AC/DC at their most powerful, in front of a tiny audience?  If you want a snapshot of a hugely influential band at their most vital, ‘Live From The Atlantic Studios’ gives you what you need.

Bon Scott (09.07.46 – 19.02.80)

February 2010

*’Live At The Atlantic Studios’ is available as part of the AC/DC ‘Bonfire’ 5CD box set.

SAMMY HAGAR – Street Machine

Posted on by


Between leaving Montrose in 1975 and joining Van Halen a decade later, Sammy Hagar was a busy man. During that decade he embarked upon a solo career whereby he released eight studio albums and two live albums, as well as a collaboration with Neal Schon, Kenny Aaronson and Mike Shreive (released as HSAS: ‘Through The Fire’).

A great deal of this work represents quantity over quality as far as I’m concerned.Most of those studio albums contain three or four really great numbers, bolstered by approx half a dozen dispensable ones to bring things up to album length.1977’s ‘Musical Chairs’ doesn’t even stretch that far. After the opening good times of ‘Turn Up The Music’, most of what follows is lacklustre; even a deliberate attempt to rock during ‘Reckless’ feels a little flat, due to an over-reliance of Alan Fitzgerald’s organ, played like a limp Jon Lord. (It’s also worth mentioning that any decent material from fan favourite ‘Danger Zone’ [1980] is killed by a really flat production job from Geoff Workman).

Among Sammy’s pre-VH solo work though, you’ll find one genuine gem.1979’s ‘Street Machine’ is a solid offering which no fan of late 70s hard rock should be without.The Red Rocker and his band are firing on all six here right from the opening number, the simple boogie-rocker ‘Growing Pains’.The no-nonsense rock vibe carries through ‘Trans Am (Highway Wonderland)’, where the rhythm section of Chuck Ruff (drums) and bassist Bill Church (who’d previously worked with Hagar in Montrose) are the real stars.Chuck’s drumming style is very natural; he knows how to rock out, but never in a way which upstages Hagar.Bill Church’s bass style here – and throughout ‘Street Machine’ generally – is solid.He could be compared to a hard rock John McVie: you know the style, a firm anchor – plodding but never dull.

‘This Planet’s on Fire’ (one of the album’s better known numbers) is a full-on rocker, driven by Gary Pihl’s circular riff on lead guitar.He also gets to turn in a fairly hard edged solo – this will undoubtedly be one of the standout tracks for those wanting Sammy and co to rock in the way that Montrose’s ‘Bad Motor Scooter’ and ‘Space Station #5’ had previously.The ballad ‘Child to Man’ offers one of Hagar’s strongest performances, but it’s Gary Pihl’s guitar touches which makes it so memorable.Its subtle bluesy notes compliment Hagar’s voice perfectly.Also more reflective, ‘Never Say Die’ provides another standout.Here, Hagar and the whole band are at their absolute strongest: Sammy’s voice retains its hard rock qualities but he sings like a man who’s been let down, his voice showing a passionate side not quite so evident elsewhere.

Musically, ‘Plain Jane’ is a decent slice of 70s power pop, matching handclaps and a singalong element with hard rock guitars, reminiscent of work by Rick Derringer on his ‘Face To Face’ LP (recorded at a similar time).Hagar’s voice though remains hard and a little husky, so it’s likely this’ll always be far more associated with the hard rock tag.

The rest of the album’s material also passes muster. ‘Wounded In Love’ and ‘Feels Like Love’ both offer decent mid-paced rock stompers; ‘Falling In Love’, driven by ringing guitars features backing vocals by Boston members Brad Delp, Barry Goudreau and Sib Hashain giving it a slightly overblown late 70s vibe and ‘Straight To The Top’ is a fun workout with more than a nod to fifties style rock ‘n’ roll.

The difference in quality between ‘Street Machine’ and any of Sammy’s previous solo albums is astounding. Although Hagar’s best solo albums wouldn’t appear until sometime later (1987’s self-titled album, aka ‘I Never Said Goodbye’ and 1997’s ‘Marching To Mars’), ‘Street Machine’ – like the Montrose debut – does a decent job in highlighting why Hagar was a hero to US rock fans a long time before his alliance with Van Halen.

February 2010