STARDUST – Highway To Heartbreak

When Stardust appeared on the melodic rock scene in 2016, they managed to build a fanbase fairly quickly. Their self-released EP captured a likeable sound and by securing the legendary Michael Wagener – producer of classic albums by Skid Row, Warrant and White Lion – to bring the songs to life, the Hungarian band’s career seemed to get off to a better start than most. Fan enthusiasm brought them to the attention those long time champions of AOR/melodic rock, Frontiers Records, who quickly signed up Stardust for their full length debut.

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PRIDE OF LIONS – Lion Heart

Formed in 2003, Pride of Lions is a melodic rock band that combines the musical talents and songwriting of ex-Survivor legend Jim Peterik and vocalist Toby Hitchcock. Their sound blends old style melodic rock with the bombast of musical theatre – a musical mix that’s surely won them as many detractors as genuine fans. Peterik’s gift for a huge chorus has remained obvious, but in Hitchcock, he’s found a musical partner who is often so overbearing that his voice tends to smother any real melodicism Peterik’s songs might have had. This made their first five albums very hard on the ears. It’s not that Hitchcock isn’t talented in his own way – his ‘Reckoning’ solo album from 2019 is actually very good for what it is – it’s just that working with Peterik always tended to bring out his worst vocal excesses. [Peterik’s bloated musical theatre sound, meanwhile, was much better suited to superior singer Dennis De Young…and even that produced mixed results.]

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MARILLION – Live @ Roskilde Festival 1983

For many years, Marillion fans had to make do with the ‘Recital of The Script’ and ‘Grendel/Web’ VHS tapes for their fix of early Marillion live footage.  Thanks to the internet, further footage promoting ‘Script For A Jester’s Tear’ later surfaced, including a brief clip from The Marquee, but this footage from the Danish Roskilde Festival might just be the most exciting yet.

It captures Camel drummer Andy Ward’s brief time occupying the drum stool, making this a vital historical document.  Ward automatically gives the performance(s) a little more energy than Mick Pointer was able (though still not quite enough if Steve Rothery’s expressions are anything to go by on occasion), but anything lacking musically is more than made up for by a ridiculously boisterous audience being tackled by Fish in a fearless mood.

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