Dare - 'Out Of The Silence II' Album Review

Dare - Out Of The Silence II

I know many of my reader has written in and asked, ‘does the world need another Dare album?’. Well, dear reader, please read on…..

Dare are probably best known for their singer/songwriter Darren Wharton (who first rose to fame in the early eighties playing keyboards with legendary Irish rock band Thin Lizzy). Today Dare are one of the most respected and innovative melodic rock bands on the AOR scene, and have gained cult status among AOR fans throughout Europe, the UK and the world. The band’s debut 1988 A&M album ‘Out Of The Silence’ recorded at Joni Mitchell’s Bel Air Studio in Los Angeles, and produced by Nickelback  producer Mike Shipley is still widely regarded today as one of the all time great AOR albums.

Darren joined Philip Lynott’s  Thin Lizzy  at the tender age of eighteen and enjoyed 5 great years with the band touring extensively, alongside  renowned guitarist Scott Gorham, drummer Brian Downey, guitarists Snowy White (Pink Floyd),  Gary Moore and John Sykes (Whitesnake).  Working closely with Philip Lynott, Darren also recorded classic Thin Lizzy albums, such as ‘Chinatown’, ‘Renegade’, and ‘Thunder and Lightning’ on which Wharton co-wrote 3 songs, including the hit single ‘The Sun Goes Down’.  Sadly, the latter was to be Thin Lizzy’s last studio album, and in 1986 Darren Wharton returned to his home town of Manchester where, as an outlet for his creative flare for song writing, working with young Oldham guitarist Vinny Burns, formed his own band, Dare.
Following the   debut ‘Out Of The Silence’, Dare’s second offering  was the explosive ‘Blood From Stone’ produced by Keith Olsen (Whitesnake, Scorpions).Sadly this was the last album recorded for A&M Records after the company was sold to Polygram in 1993.

Now 2018 promises to be another great chapter in the book of Dare, as the band celebrate their 30yr Anniversary with a Special Edition re-release of their debut classic album ‘Out Of The Silence’. Out Of The Silence II has been completely re-recorded and in Wharton’s own words “has taken on a new life”. 

FM did it a short while back with ‘Indiscreet’, and in this instance DWs made a good decision. I love the original album, but the production of this sounds so much better in parts and Vinny’s guitar frippery is right up front and centre. What’s not to bloody like??

So, whilst it isn’t anywhere near as heavy as ‘Blood…’, ‘Abandon’ has a decent production, and Vinny Burns’ guitars are front, back, left right and centre. Wharton’s voice has not changed since the 80s so that’s another good sign as it could have gone South. The original songs are a fresh as they were in the 80s, and that is all down to some great songwriting (and playing). ‘Into the Fire’ has better vocals than the original as they came across a little weak, but now the ‘boost’ button has been pressed and its all very good. ‘Nothing Is Stronger Than Love’ but I personally prefer the original chorus to this new version.

I can see the benefit of re-recording songs if they felt the originals were weak due to what was available at that time, and some songs here do benefit from the modern approach – ‘Into the Fire’, ‘Under The Sun’, ‘Runaway’, and ‘Return the Heart’, but the real classics from their debut – ‘Abandon’, ‘The Raindance’, ‘King Of Spades’ (even more Celtic-ier than before), ‘Don’t Let Go’ and ‘Heartbreaker’ don’t really feel as it theres any benefit as they are ingrained in my psyche.

And that’s part of the issue. The original album is so embedded in my mind that I go to sing the original versions. OK, it was not a perfect album, and production levels are better now and cheaper than the 80s, but it was an iconic album from that period. However, on that note I would say it’s definitely a worthy addition to a current Dare fans collection. I myself prefer to sit with the original. It's a great way yo celebrate the original album and give their fans something a little different to the original. Great songs are always great, they dont always require tweaking.

Does the World need a remake of a Dare album? Not really. But it’s better than a lot of the (more) Celtic influenced music that has been Dare the past few years. I got the Celtic/Lizzy influence in the earlier years, but it was time to separate from Lizzy and forge out a path of their own. I worked in Scotland for 6 months in 1989, but I don’t speak with a Scottish accent.

My only worry is that in 2021 we will see the 30^th anniversary of the fantastic ‘Blood From Stone’, an album that Darren thought was 'too metal'. Just don’t go and revisit this and replace the great guitar work with frilly shirts and an additional parpy keyboard to ponce it back to the soft and fluffy AOR levels ofthe 80s. Darren, leave it!

Score 8.5/10

Original 9/10

Tracklisting

Abandon

Into The Fire

Nothing Is stronger Than Love

Runaway

Under The Sun

The Raindance

King Of Spades

Heartbreaker

Return The Heart

Don’t let Go

Dare are

Darren Wharton

Vinny Burns

Kev Whitehead

Nigel Clutterbuck

Marc Roberts (live keys)

Orange Goblin - 'The Wolf Bites Back' Album review

Orange Goblin – The Wolf Bites Back

Orange Goblin have been holed up at Orgone Studios with producer Jaime Gomez Arellano (Ghost, Grave Pleasures, Paradise Lost, Cathedral) to create their latest opus, titled The Wolf Bites Back. The resulting nine track album will be the band's ninth studio release and will be released via Candlelight/ Spinefarm Records worldwide on 15th June. Jesus, nine albums, and this is my first experience of the Orange Goblin. Despite going to shit loads of gigs every year, our paths have never crossed, and I’ve never gone looking for them….unfortunately. This is their debut for renowned label Spinefarm, and I guess they have been building up to this level and their moment that is fully deserved.

Vocalist, Ben Ward, commented:
"We are very excited about this new album. The Wolf Bites Back is our strongest and most diverse collection of songs to date, it’s certainly a lot darker both musically and lyrically. It is still definitely a distinct ORANGE GOBLIN album but we have incorporated a lot more variation on this record and there are hints of Can, Captain Beyond, Wishbone Ash and The Stooges nestling amongst the obvious Sabbath and Motorhead influences. Lyrically I have explored everything from alien serial killers to zombie biker gangs, Buddhist warriors through to descendants of the Salem witches!

"There was definitely a concerted effort to make sure all the songs could work in a live environment which gives the album a more raw, stripped back feel - something that I feel has been lacking from good rock and metal in recent years. Working with Jaime Gomez Arellano was really productive and a great experience, especially going back to tracking stuff to tape. I feel that he got the best out of all of us as musicians and songwriters and that really comes across in the songs, there is an air of confidence and experience. It was also a real honour for us to have Phil Campbell of Motorhead lending his hand to a couple of solos on there too!"

What can I say. If you’re a newcomer, then this is some seriously heavy shit! If you’re nine albums in, I’m guessing its tried and tested and you’re in it for the long haul. What immediately gets to me is the seriously heavy riffage, powerful, doom laden, with a bit of Sabbath thrown in for ‘Sons Of Salem’. More like Sons of Sabbath if you like. Ben Wards vocals are more on the growling side and the opener is the Ronseal style, its written on their sleeve and does what it says on the tin. ‘The Wolf Bites back’ takes me a bit by surprise as I wasn’t expecting a lilting beginning, but then….pow, in comes the guitars and we’re off again! It’s a  great track if I am honest – a cracking groove driven track. Coming from a diet of Classic Rock and AOR, Ward isn’t the best singer I’ve heard, but its all about attitude and style, and his vocals fit the music perfectly. ‘Renegade’ (not a Styx cover) again, grabs you to the throat and wrestles you to the ground. If you have a Motorhead sized hole in your life, then look no further than Renegade as it has Lemmy and Campbell running through it like a stick of rock. ‘Swords Of Fire’ kicks of with an extended bass riff, a bit too long at over half the song, before its back to some early Sabbath drum pounding, before letting go. It’s the weakest song for me so far, but that’s not necessarily a bad point. The others have been so good.

‘Ghosts Of The Primitives’ has a bit more class up its sleeve and is a but bluesy than anything so far. Its proper head-banging stuff, is this, before falling, rising, and again falling and segueing to the instrumental ‘In Bocca Al Lupo’ and serves as a welcome break and allows the ears to reset. Of course the rest isn’t and cannot be sustained, as ‘Suicide Division’ (a ballad, of course it isn’t a ballad!) out Motorhead’s Motorhead, for a couple of minutes of pure neck snapping metal, brutal. ‘The Stranger’ looks as if its about a killer. The lyrics are given extra menace as they are pretty much spoken and shouted by Ward, even as the track builds. ‘Burn The Ships’ sees the guys going back to the beginning of the album in style and substance. If Ward has never been in a Motorhead tribute band before then why not!? A voice as close to Lemmy’s as I’ve ever heard. Finally its onto ‘Zeitgeist’ and it’s a point that just sums up the whole of this album and the band themselves, its pulsating riffs, headbanging and horns, with some great guitar work  (dare I say Lizzy-esque) and driving rhythm. A great song to finish ‘The Wolf Bites Back’.

Orange Goblin certainly have the claws, bite, and wolf roar to make them stand out in the crowd. After 20 years, its their time in the sun, but I should say moon!

Whilst I’ve never been a fan, (up until now – how can you if you haven’t heard them) I cant wait to see this band live as I expect they would be explosive. I don’t know about any of the previous eight albums, but number nine is a perfect place to start.

The most times I’ve written Motorhead without reviewing a Motorhead album.

Score 8/10

Tracklisting

Sons Of Salem

The Wolf Bites back

Renegade

Swords Of Fire

Ghosts Of The Primitives

In Bocca Al Lupo

Suicide Division

The Stranger

Burn the Ships

Zeitgeist

Rich Robinson Of The Black Crowes Announces Debut Studio Album With The Magpie Salute 'High Water I'

The Magpie Salute
Album: High Water I Released: 10^th August 2018
Via Provogue/Mascot Label Group

Check out the video for 'Send Me An Omen' here:

Rich Robinson | John Hogg | Marc Ford | Sven Pipien | Matt Slocum | Joe Magistro

Old friends pass through our lives similar to characters in a time-worn, dog-eared novel.  

As we page through life, they return to walk alongside of us on bold new adventures at all the right moments. Such is the story of The Magpie Salute. For as much as the group represents a musical union of swaggering rock ‘n’ roll, psychedelic blues, and campfire-worthy storytelling, it also marks a reunion of musicians whose paths twisted and turned right back to each other.

Pulled together by guitarist Rich Robinson, it continued a storyline he began in the Black Crowes with guitarist Marc Ford and bassist Sven Pipien. Meanwhile, vocalist John Hogg shared Hookah Brown with Robinson as keyboardist Matt Slocum and drummer Joe Magistro both joined him for solo records and tours over the years. 

Now, these six individuals conjure magic on their full-length debut of original material, High Water I [Mascot/Eagle Rock], for August 10th 2018 with High Water II to come in 2019. 

“It’s the recontextualization of playing with one another,” Robinson states. “When I was putting this thing together, I was thinking about how even though we may not have played for almost a decade, it just comes back immediately. The chemistry is unexplainable. Of course, I’m the same guy who played with the Black Crowes and wrote all of those songs, but this is a different context for myself, Marc, and Sven. It’s the convergence of three different worlds and eras for me. We’re all here together in this one place. Simultaneously, it’s amazing for Marc and Sven to play with Joe and Matt and John to be in the middle of it all. For me, that was really cool to witness. This is what I wanted to do.”

“The more time we spend together, the more I realize how much of my life is involved with Rich,” Ford reveals. “This is probably the best band I’ve ever been in. As a player, it challenges me. There’s something beyond us that we’re agreeing with. This music wants us to be a part of it. Rich and I just agreed that whatever it took for us to drop our bullshit—so be it. That way, we could let this happen in our lives. It’s better when we’re together than when we’re not. We’re better friends than we’ve ever been. I’ve learned more about him in the last year than I had in the past thirty. Rich and I have been able to pick up this fragmented broken piece of a very bizarre life together and unite as grown men and say, ‘Wow, that was something. Let’s see what we can do with it.’”

“We’re all very aware of this position we’re in,” adds Hogg. “Rich and Marc have this intense and long history together in quite a public way. At the same time, you’ve got Sven who’s been in the band forever, and Joe has been with Rich for 15 years. I have this history with Rich. I won’t lie; it’s all quite unusual,” he laughs, “I’m working with the greatest musicians I’ve ever worked with. The dynamic is powerful and positive. There’s been a number of long journeys that suddenly all coalesce.”

As those roads converged, the Magpie Salute first took flight in 2016 when Robinson assembled the original ten-piece incarnation for a now seminal Woodstock gig. The group went on to sell out four consecutive nights at The Gramercy in January 2017 chronicled with a historic Guitar Player cover featuring the two six-stringers. By the top of 2018, the band delivered a total of 77 seismic sets worldwide comprised of a 170-song repertoire of covers, Crowes’ tunes, and solo material. Acclaim came from Guitar World, Relix, and more, while Rolling Stone summed it up succinctly as “Explosive.” They unveiled their debut, The Magpie Salute (Live), topped off by one original “Omission.” By the time they retreated to Dark Horse Studios in Nashville with Robinson in the producer’s chair, the vision crystallized with the six-person lineup. 

“Touring as a ten-piece is cool, but it’s more like a revue,” admits Robinson. “Everything on stage was great. When you’re ready to record, there’s a lot of space that needs to be considered though. We didn’t want it to get too chaotic or too hard to sift through. The core was really important and needed to shine as a strong six-piece. It was great to build something new last year. We were born in a sense. Now, we’re working towards something as a tight unit.”

“We bashed out all of the framework on tour,” continues Ford. “When we got off the road, we focused and let it really shine.”

The Magpie Salute are launching High Water I with “Send Me An Omen.” The twang of a hummable riff roars under Hogg’s towering delivery before spiraling into an entrancing melody punctuated by gang harmonies and butter smooth solos.

“It’s a rock ‘n’ roll song,” asserts Robinson. “It’s about a relationship that’s not working. By the time it gets to the chorus, there’s a happier singalong juxtaposed to John’s lyrics. I enjoy messing around with songs that tow the line between dark and light.”

“Mary The Gypsy” charges ahead on bombastic drums and thick guitars that give way to an anti-establishment chant. “It’s a charge to get rid of this false positive corporate mentality of cynically looking at creators,” sighs Robinson. “It’s the same thing it’s always been. Bankers are running this industry and trying to tell artists how to make money. Why not just create what comes naturally to you?” 

A rustle of acoustic strumming opens the floodgates on “High Water” as the vocal vulnerability underscores unrest teeming just beneath the surface. “It touches on the whole overarching theme of the record,” Robinson goes on. “It’s discussing humanity and everything we’re going through.”

The group spreads its wings on the sweeping “Sister Moon.” “That came from John and I staying in a house together,” recalls Ford. “We lived together 24 hours a day for ten days. We would just sit, poke at the fire, and tell stories. Many ideas came from that. That’s how ‘Sister Moon’ started. It’s so vibe-y and beautiful. John and I had never met before. The track is like us meeting.”

Elsewhere, the plaintive and poignant “Colorblind” details Hogg’s perspective on growing up of mixed African and Swedish descent. “It was quite complicated being somebody of mixed race when I was young in London,” remarks the singer. “I was looking at some of the feelings I experienced. In a time where race and gender issues are getting inflamed, it’s current to think on what this means.”

The slow burn of drums and string plucks swings towards a dramatic close on the sparse, yet soulful “Open Up.”

“That one looks inward,” Robinson explains. “Think of someone who has been closed off for an entire lifetime. This person inhabits one place. Finally, the world opens up. It’s a cool ending.”

In many ways, the name reflects the spirit of The Magpie Salute. 

“I’ve always loved the element of crows, but they have a dark connotation,” Robinson elaborates. “Magpies are revered by ancient and indigenous cultures around the world, because they walk that bridge between dark and light. A magpie is also a cousin to a crow. This band was a cousin to the Crowes last year. Now, there’s a superstition where you salute a magpie if you see him. It supposedly wards off bad spirits. A salute means, ‘We come in peace.’ That’s our goal. We just want to play together. It made sense.”

In the end, The Magpie Salute’s story is just beginning to get good. 

Baptized by High Water, these friends start anew.

“I want people to realize it’s something different and also a little familiar,” Robinson leaves off. “I hope they can connect it to the records that defined their lives. Music is there to give us joy, perspective, and show angles we haven’t seen before. I appreciate it more than ever. It’s a gift.”

“I hope listeners can be relieved of some of their burdens by hearing us have fun and share our stories,” smiles Hogg. “That’s all I could ask for.”

Ford concludes, “Ultimately, there’s a spirit of reconciliation over the whole thing—because we all dropped a lot of bullshit to get together and make this music happen. There’s freedom and power in that. It’s a pretty righteous record as a result. It’s a lot of grown men who have lived and are still standing to bravely and truthfully tell about it.” – Rick Florino, May 2018

Track Listing 1. Mary The Gypsy
2. High Water
3. Send Me An Omen
4. For The Wind
5. Sister Moon
6. Color Blind
7. Take It All
8. Walk On Water
9. Hand In Hand
10. You Found Me
11. Can You See
12. Open Up

Sunstorm - 'Road To Hell' Album Review

SUNSTORM – Road To Hell

The blurb from Frontiers sent to me by Gary Levermore at Frontiers stated that “Any hardcore fan of hard rock will certainly be no stranger to the story of Joe Lynn Turner’s career. From his early days with Fandango to his successful stints fronting Rainbow, Deep Purple, and Yngwie Malmsteen and through his heralded solo career, the New Jersey-born singer has had his vocal talents on display for decades now”.

Well that’s pretty accurate, the rest of the release went onto Sunstorm who I’ve only recently bothered to listen to because basically I’m a lazy git and typically missed decent music.

I’ve seen JLT a couple of times and he’s still got the pipes (I think is the way of saying he’s a decent singer). That said I think JLT would do better just doing Sunstorm stuff with a few Rainbow classics chucked in (please don’t tell me he did and I missed it which is very possible). I refer you to the previous lazy git comment.

It did accurately stare that “JLT’s vocal talents shine so brightly in when performing this style.” Well that is indisputable. The lad can sing.This review comes to you courtesy of Britain’s Got Talent (if ever there was description of a show that should be investigated by the Trades Description people). What happened was: I’d had a quick listen to Road To Hell, it left me a bit “Meh”. However Mrs W put on BGT and I fired up my headphones and spent 3 nights playing Road To Hell and whilst obviously similar to Edge of Tomorrow it grew on me…..a lot.

To seal the deal last night I had to walk 2 miles home after an unplanned piss stop on my train home. I had 2 options, the walk and a pee or swamping the train as Scotrail had an out of order bog. I found a suitable tree hidden from CCTV, unloaded a couple of pints of Stella (other suitably strong lagers are available) and set off home with Road To Hell in my ears. A far better option than the drunken chat of fellow travellers and piss soaked jeans.

 

My ignorant review is as follows:

'Only The Good Will Survive' – a fast bouncing start with high energy that falls into a catchy chorus and the JLT voice still as strong as ever. For me the guitar riff is what drives this in-between choruses. There is no denying the catchiness of the riffs and the fact this is a quality melodic rock opener.

'The Road To Hell', the title track starts with a slower heavier feel and a slow building sound that isn’t unlike the vibe from the Straight Between The Eyes album released about a million yeas ago, it also wouldn’t be out of place on a Magnum album and I mean that as a compliment. 'On The Edge' – straightforward melodic rock with real quality with the inevitable Hardline feel that Alessandro Del Vecchio brings to the whole album. Again the chorus is a belter, the guitar again underpinning the whole song.

'Blind The Sky' – A pick up from On The Edge with more urgent feel and the layered chorus has a great feel and the song just has that bit more about it. The backing vocals and more vibrant guitar making a superb song. 'My Eyes On You' – keyboard intro with guitar coming over the top, dare I say it again, it has a real Hardline feel and the song has a retro feel to it, the vocals are pure quality. 'Future To Come' – top melodic rock intro that fires into another pure AOR piece of work, not my favourite but the quality of the musicianship can’t be faulted. 'Everywhere' – ballad, the piano and JLT voice build up to the guitars coming in to lift the song. The JLT voice simply has great tone and an effortless way of hitting the notes without straining even on the higher ones.

'Resurrection' – a much faster full on rock song with a nod towards Death Alley Driver but with a modern feel. It speeds through and whilst not ground breaking it does the job. 'Calling' – Hardline start and a piece of melodic quality. As with all previous songs the sound and feel are of a bunch of mature musicians who can play this stuff in their sleep. 'State of the Heart' – a more intense feel, the most complete and full sound on the whole album in my humble opinion although not the most memorable song because some of the previous tracks could do with this production. Guitar solo by Simone Mularoni is sweet, short and to the point. 'Still Fighting' – it reminded me of something and then I realised, it was very similar in feel and tempo to Only The Good Will Survive down to the opening riffs almost being twins. It was a bit like the time I saw Europe at Milton Keynes and they opened and finished with The Final Countdown. To be honest the first time was superb, the second time obviously lacked the impact of the first although still grabbed your attention albeit you feel slightly cheated.

Sunstorm are melodic rock quality, the addition and input of Alessandro Del Vecchio is clearly apparent and the Hardline influence is there to be heard. This is not a bad thing although I dispute the claim that the last 2 albums are particularly “heavier”. The first 2 are well worth a spin. The choruses are catchier than an STD and the production and musicianship are stunningly good.

I was won over, play Road To Hell a couple of times, it’s a grower and Sunstorm are a proper band and not just a JLT ego trip, the sum of the parts etc.

NOTE - Joe as a Rainbow fan, I hope you are recovering well after your recent heart attack. We are not ready to lose another giant. We wish you well in your recovery.

A solid 7/10.

TRACK LISTING:

1.     Only The Good Will Survive

2.     The Road To Hell

3.     On The Edge

4.     Blind The Sky

5.     My Eyes On You

6.     Future To Come

7.     Everywhere

8.     Resurrection

9.     Calling

10.  State Of The Heart

11.  Still Fighting

  

PRODUCED BY: ALESSANDRO DEL VECCHIO,

EXECUTIVE PRODUCER SERAFINO PERUGINO
STUDIO: IVORYTEARS MUSIC WORKS, SOMMA LOMBARDO, IT
RECORDED BY: ALESSANDRO DEL VECCHIO
MIXED BY: ALESSANDRO DEL VECCHIO
MASTERED BY: MAOR APPELBAUM

BAND MEMBERS:
Joe Lynn Turner: Lead vocals
Nik Mazzucconi: Bass guitar
Simone Mularoni: Lead Guitar
Alessandro Del Vecchio: Keyboards
Edo Sala: Drums

Links: 
http://joelynnturner.com/
https://www.facebook.com/joelynnturnerofficial
https://twitter.com/joelynnturner

Monster Truck Announce New Album 'True Rockers' + New Track 'Evolution'

 

MONSTER TRUCK
Return with new album ‘True Rockers’
Released: 14^th September 2018
Mascot Records / Mascot Label Group

Check out the brand new track Evolution:

 Catch Monster Truck on the Main Stage at Download Festival - Saturday June 9th

 Monster Truck return with their brand new album ‘True Rockers’, which will be released on Mascot Records/Mascot Label Group on 14^th September 2018.

It’s been two years since the mighty ‘Sittin’ Heavy’ came out and in the 18 months that followed its release, they played over 150 shows, which included arena tours with Nickelback, Billy Talent and for the final ever European Deep Purple tour - They also played with Black Stone Cherry, Volbeat, The Temperance Movement, Jane’s Addiction, Rob Zombie and Alter Bridge.

They  embarked on their biggest European headline tour to date selling out venues across the continent and thundered through main stage festival slots at RockPalast (Germany), Ramblin’ Man Fair (UK), Download (UK), Rock on the Range (US), Shiprocked (US) and Rock in Vienna (Austria) amongst others.

During the time on the road the band took a recording rig on tour and songs came together for what was to become ‘True Rockers’ and they began to send material back and forth to producer Dan Weller (SiKth, Young Guns, Enter Shikari). “When the inspiration strikes, use it, if you’re not gonna use it, you’re wasting it” says frontman/bassist Jon ‘Marv’ Harvey, “as soon as you think of something could be a good song, work on it, immediately. Inspiration is so valuable.” They then returned to Echo Mountain Studios in Asheville, North Carolina in July 2017 to record the album.

True Rockers’ is the sound of a band letting lose and having fun. Harvey affirms, “We want people to listen to it and have fun, have as much fun as possible.” “Yeah, that’s what I was gonna say too,” adds guitarist Jeremy Widerman. “I mean right off the beginning of the album you hear me scream at Marv. That just kicks off the entire vibe of the album. Us in a room, having fun, joking and yelling at each other.”

Album opener ‘True Rocker’ is a statement of intent and features Mr ‘I Wanna Rock’ himself, Dee Snider (Twisted Sister). “He’s a true rocker, who’s more perfect than Dee Snider” says Harvey.   ‘Thundertruck’ is another juggernaut and was originally from the ‘Sittin’ Heavy’ sessions but was abandoned. Widerman says. “We had worked on that with me playing that lead part, and it left a big gaping hole in the heaviness of the song. Once we shifted that line over to the organ, we were like, this is awesome.”

‘Devil Don’t Care’ oozes blues-rock swagger and tackles the notion of people staunchly rooted in religion and  they explore real depth in the emotional ‘Undone’ which was written about people that struggle with addiction and the feeling of hopelessness, while album closer ‘The Howling’ poses the question, are spirits real?

The album had been put to bed but the band were still bouncing around ideas and they had the opportunity to work with award winning producers Gavin Brown and Maia Davies on songs ‘Evolution’, Young City Hearts’ and ‘Hurricane’. “We had a chance to work with some hit makers so we took the chance, and what came out is different than anything we have done. Gavin and Maia were fantastic to work with. It added a lot of colour to the record and allowed us the opportunity to take a risk and branch out a little,” explains Harvey.

Elaborating further Widerman adds, “It almost wouldn’t be a Monster Truck record if we didn’t reach the supposed end of the process and then double-back to track a few extra songs in order to strengthen what was already a strong record to us.

Harvey has become a father since the last record was released and this life changing moment had a real effect on the songwriting. Whereas ‘Sittin’ Heavy’ was a more “serious” record, ‘True Rockers’ is the sound of a band letting lose and having fun. Harvey affirms, “We want people to listen to it and have fun, have as much fun as possible.”

In 2019 they will celebrate their 10^th Anniversary and for a band that wasn’t going to take things seriously, they have already achieved an incredible amount in that time. “I think you have to know where you came from, otherwise how do you know where you’re going.” Harvey says. “You can’t forget your roots, we started from such a pure place of just a party. I literally couldn’t ask for anything better. How am I so lucky that I get to do this, perseverance pays off.”

This is the essence that is pumping through ‘True Rockers’, a band that formed only for fun back in 2009 have toured the world because they connect with their fans who want that from them. Upon the release of ‘True Rockers’ they will be three albums in and are steamrolling through the world picking up people along the way that want that wild ride and its feels like they are only just getting started.

Widerman adds, “Looking back to the beginning I think in a way, I knew it, I really did. Within the first couple of rehearsals we ever did. I always think back to how I knew this was something different to anything else I’d ever done. It was weird because I had to manage how excited I was, we all agreed that this wasn’t gonna be a band that signs a record deal and goes on tour. I was like, holy shit, this is better than anything I’ve ever done before. How am I going to convince these guys to go with it?”
“I know who I am, A true rocker, I am a true rocker, I feel the music from inside baby, from within, I'm good to go on just about anything, No time for brakes we move full speed ahead, I know who I am, a true rocker”  True Rocker

Don’t tell Monster Truck that Rock is dead. Rock isn’t dead, it’s alive and burning a trail across the globe. Don’t fuck with the Truck.

Track Listing:

1. True Rocker
2. Thundertruck
3. Evolution
4. Devil Don’t Care
5. Being Cool Is Over
6. Young City Heart
7. Undone
8. In My Own World
9. Denim Danger
10. Hurricane
11. The Howlin’

Jean Beauvoir - 'Rock Masterpieces Vol. 1' Review

Jean Beauvoir – Rock Masterpieces Vol. 1

AOR HEAVEN is currently gearing up to release the first of two retrospective albums highlighting the music of Jean Beauvoir beginning in the summer of 2018. Jean Beauvoir: Rock Masterpieces Vol. 1 and Vol. 2 feature songs from his solo career including his International multi-platinum debut "Drums Along the Mohawk" album, from his band Crown Of Thorns, his band Voodoo X, which also made music and video history, some fan favorites and a couple of unreleased singles which are a part of several soon to be released projects. AOR HEAVEN will begin releasing his follow up album Jean Beauvoir" Rock Masterpieces Vol. 2 by the end of 2018, beginning of 2019. The songs on both albums will be remastered. 

Beauvoir is also working with best selling British author Simon Cox (Cracking The Da Vinci Code) on a new book which will capture his storied career in music and entertainment. The iconic Blonde Mohawk of Jean Beauvoir has been an ongoing major influence on US and International pop culture in music, sports, film and TV; including several cartoons; influences that are still being seen and heard today. As a member of the Plasmatics, the most outrageous, controversial, successful Punk band ever and a longtime songwriter and producer for the Ramones, hailed as the greatest Punk band in the world, Jean Beauvoir is forever linked to two of the most revolutionary bands of the twentieth century. He was a member of the Plasmatics during their most successful and revolutionary time in music and is the only member of the Plasmatics who went onto a successful solo, production and writing career with over 40-million records sold to date and featured on over 240 albums.

Music from his solo debut album 'Drums Along the Mohawk' was hand picked by Sylvester Stallone for the film Cobra which led to Beauvoir making a deal with Al Teller (President of Paramount Pictures). Through working closely with Branson, Stallone and Teller, Cobra received the highest advertising budget for a Hollywood film to date at the time featuring the single "Feel the Heat" as its title track. 

Thank heavens for ‘No Limits’, a BBC show from one of the major importers of melodic rock/AOR, Jonathan King. This show was better than a lot of TV shows at the time (the UK had yet to receive the mecca of all music, MTV) so we got our hits in small doses through Top Of The Pops, ECT, and The Tube. King was ahead of the curve, introducing me as a 17-19 year old to bands such as Guiffria, Warrior, (Patti Smyth), and songs we would never have heard of from the likes of Lou Gramm, Sammy Hagar, Y&T, and Jean Beauvoir. This was my first interaction for his single ‘Feel The Heat’. I thought it was fantastic, a song that went against my rock upbringing on bands like Rainbow, Rush and Whitesnake to name just three. The guy had a huge mowhawk, a great voice, and in FTH a huge chorus. I was in for the long run. Also from ‘Drums…’ is the very pop-y ‘Missing The Young Days’ and shows how diverse he was back in the 80s.

Thanks to grunge and music at that time having little to excite me in the way of music, bands like Crown Of Thorn’s passed me by until I heard ‘Hike It Up’ at a rock disco in Wigan. Yes, Wigan! I turned to my esteemed colleague to ask who it was. Once explained I picked up the phone (internet was still shite) and snapped up their debut about 3 yrs after it was released. It was that good, it filled a gap that had been missing. It was superb.

If this were my choice, this whole CoT debut album should have been on Vol 1, as it as strong from start to finish. ‘Hike it Up’ is a killer of a track, like Kiss on steroids. ‘Crown Of Thorns’, ‘Dying For Love’, ‘Secret Jesus’ are all big, anthemic numbers where Beauvoir’s vocals are huge. The bloke is on fire.

There’s a few songs that are new to me – ‘Heartbeat’, has a sprawling guitar riff, that intertwines with his vocals, and whilst not one of the best songs on offer here, it’s a decent enough track. ‘The Awakening’ (Voodoo X) is a nice ballad in the first instance, before grabbing you by the ears and making you sit up and take notice with its up tempo Whitesnake Still Of The Night vibe.  It’s bloody excellent. ‘Voodoo Queen’ is one of those huge songs I’d wait for at the end of a film in the 80s playing over the credits. If it wasn’t on a soundtrack, why wasn’t it?!!. ‘Rock Ready’ and ‘Faith’ in particular shows that Beauvoir still had the knack of penning a good song or three. ‘The One’ isn’t one that I’d pick as it’s a filler when compared the strengths of everything around it here. Finally it’s onto ‘Standing On The Corner For Ya’, and is the stripped back version c/w gospel choir backing, and its given a new lease of life. Both the original and this show how many of his songs are great with full electric backing or stripped back.

Its fitting that most of CoT debut make the cut here. I’d still be looking to find room for ‘Winterland’ in Vol 2, as its my all time fave CoT track. There’s a gap from albums ‘Destiny Unknown’ and ‘Karma’. I hope this doesn’t mean that some of these will be missed from Vol 2. The also excellent ‘Lost Cathedral’ album hardly gets a mention.

The PR info states “Today, Jean Beauvoir is also recognized as "One of the Most Influential Black Rockers of All Time". In my eyes it should read ‘Influential Black People of All Time” Period.

This is essential for anyone that like their music with a huge slab of riffage and big anthemic, melodic choruses. If you are not fully au fait with this output (like me) then this is an essential purchase of one of rocks true icons.

Roll on Volume 2!

Review by Chesy

SCORE - 8/10

Tracklisting

Faith

Crown Of Thorns

Dying For Love

Feel The Heat

Lyin’

Heartbeat

The Awakening

Missing The Young Days

Hike It Up

Secret Jesus

Rock ready

The One

Voodoo Queen

Standing On The Corner For Ya

Hi-speed life - EP

Hi-speed life - EP

Introducing Hi Speed Life. These guys are a huge hit in their hometown of Adelaide, Australia and are currently preparing to release their next release later in the year working with local producer extraordinaire Darren Mullan of Adelaide Recording Studio’s, the man behind the mighty Jac Dalton sound amongst others.

Peter Eime on base, Paul Kennedy on lead guitar, Dom Furina on drums and Danny Gates on vocals, make up Adelaide band Hi Speed Life. Hi Speed Life take pride in producing an original sound of rock.

Listening this new Australian group, it’s clear these recordings are demo versions but they give you enough indication as to what to expect if these guys eventually release an official album.

On first listening, I’m not 100% impressed. ‘Every Day’ & ‘Fake It’ pass by without any attempt at pricking my ears up that are waiting for that thundering chorus to kick in. These tunes just roll by unnoticed as nothing seems to really happen in them.

‘If You Wanna Fight’ is no different but then things change when ‘Rocket Man’ kicks in. This is very brit-rock style stuff and a breath of fresh air compared to what I’ve heard so far, with it’s The Kinks  ‘You Really Go Me’ style riff.

‘Take Me Down’, although holds some nice riffs in the verses, just doesn’t pack a punch when it comes to the chorus, but does kick into a great solo, which, for me, saves the song. The whole EP, taking into account that this is a demo version doesn’t sit right with me. This band does not in my opinion deserve a recording contract. It’s basic rock n roll. Nothing magical, different, or catchy enough to allow your ears to part company with whatever they are doing at the time and start listening to what’s in front of them.

And then ‘Rangatang’ kicks in. It starts with a lovely bass riff, which is then picked up by the guitars and slides into the verse. This is more like it. It has a hint of Smashing Pumpkins to it and is by far the best song on the EP so far. My ears have finally pricked up!!

‘Breathe Now’ is another good effort and it’s riff reminds me of Ross The Boss ‘By Blood Sworn’. ‘Make It Right’ is another great tune. Seems these guys have saved the best tunes to the 2^nd half of the EP!! We conclude with ‘Same Old Thing’ which has lots of similarities to their fellow countrymen AC/DC, but on a lower scale, but not a bad rock n roll tune.

Overall, I’m not sure these guys would be a hit over these shores. They would need to come up with more tunes like ‘Rangatang’ and ‘Breathe Now’ in order to win our hearts.

Reviewed by Sty

Rating 5/10

Hi Speed Life are:-

Paul Kennedy —Guitars

Danny Gates —Vocals

Dom Furnia —Drums

Peter Eime —Bass

No Hot Ashes release new video, 'Glow'

No Hot Ashes are probably in the Guinness Book Of Records for releasing a debut album, some 33 years after they first formed. When it did finally see the light of day, NHA is one of the best melodic rock albums you'll hear all year.

Proving that its no fluke, No Hot Ashes will be playing on the 'Baroness' stage at Download next weekend (Sunday).

If youve been wondering if you should dip your toe in and buy their album, then shame on you. Heres a taster of why you should be owning their album...

Need more proof? Heres my review from March - https://www.chesyrockreviews.com/2018/03/no-hot-ashes-no-hot-ashes-album-review.html

Hogjaw - 'Way Down Yonder' Album Review

Hogjaw – Way Down Yonder

Hogjaw hail from the deserts of Arizona, and are no strangers to European shores. Last year they played 40 plus headline shows supporting the release of their new album, ‘Way Down Yonder’, recently released by Snakefarm Records.

‘WDW’ is album number six, and I’m sorry to say I’ve not heard of them before now. If you are like me, and not a hardened fan, but a complete newcomer, here’s a quick low down on Hogjaw. I spent all of my teenage years in the 1980’s, and listened (still do) to the main players at that time – Lynyrd Skynyrd, Blackfoot being a staple diet, alongside an entrée of Molly Hatchet and .38 Special.  If any of these 4 bands make you all nostalgic for the 70s and 80s, then please, please look no further than these guys, as they epitomize all that is good and was great about American Southern rock. Hogjaw wear their music on their sleeve (literally) – its creepy swamp water and is as Southern as moonshine. In fact, I’m guessing its what they had in their bottles as babies.

I have no point of reference with their previous output, just my 1980s upbringing. With opening song ‘Back Home Today’ one thing strikes me immediately, and that’s how good Jonboat Jones is (great forename, dude!). He reminds me of Darius Rucker of 90s band Hootie & The Blowfish. There’s also a running riff that very similar to Queen Of The Stoneage’s ‘No One Knows’. We’re  off to a good start.

There’s some song titles that could only come from a Southern Rock band – ‘Brown Water’, (I’m scared too to read the lyric sheet), ‘North Carolina Way’, ‘Talk About Fishin’’ and the un-mistakeable ‘Got A Pencil’.

‘To Hell With The Rest’ melds Skynyrd with ZZ Top with some pretty decent guitar playing, and Jones’ melody shining through. “Brown Water’ thankfully isn’t a song about the shits, its whisky, thankfully. It’s a faster paced rocker with plenty of energy. ‘North Carolina Way’ is 100% proof pure Lynyrd Skynyrd, with JJ sounding a lot like Van Zandt, with its relaxed verse, before unleashing a powerful chorus.  Title track, ‘Way Down Yonder’’s’ riff, is almost a toned back version of Rainbows Sixteenth Century Greensleeves (more to follow…). It has smokin’ and smoulderin’ guitar work, coupled with decent harmonies, and even some a capella with added handclaps for added effect. Its the best song on WDY by a country mile – its their Stargazer (Hint. Or is it?).

‘Dark Horse’ is a slow down, a chance to take stock and catch your breath, with its darker lyrical content. ‘I take back (almost) what I said about the title track, ‘Redemption’ is the best track on the album. It’s a sprawling, moody beast of a number. Like any good song its based around a great guitar sound, harmonies, and an anthemic like chorus. Played live, this will probably be a 15 minute opus! ‘Got A Pencil’ goes back to its Southern roots, slide guitar, machine gun drumming (like Brian Downey), and when combined, takes the song up a level or two. ‘Never Surrender’ has its riff come right out of the blocks at ya. It has more of a spoken word vocal for the verse, and shows that Hogjaw do not follow trends and do things their own way.

Tracks 1-9 are pretty much southern rock staples, until track ten. ‘Beast Of Burden (Roll On)’ made me do a double take at my computer as I thought I’d skipped a track or two. The riff for this almost note for note ‘Stargazer’ with new lyrics, make no bones about it. You could call it plagiarism, I prefer to call it a tribute to obviously one of their favourite bands. If they love it as much as I do, then good on ya. Try and get past the riff and it’s a good enough song. Finally its onto the last track ‘Talk About Fishin’’ which is bluegrass/country and like Star-Burden is far removed from the rest of the songs.

Despite know having a Scooby Doo about Hogjaw, it’s been a very pleasant surprise in hearing them six albums in. That said, I’ll be checking out my digital supplier of streamed music to check out their back catalogue, and if you’re a fan of any of the bands I discussed at the top of this review, then you should to.

Catch them on tour in the UK in October

Score 7/10

Tracklisting

Back Home Today

To Hell With The Rest

Brown Water

North Carolina Way

Way Down Yonder

Dark Horse

Redemption

Got A Pencil

Never Surrender

Beast Of Burden (Roll On)

Talk About Fishin’

Hogjaw are

Jonboat Jones – Vocals & Guitar

Jimmy Rose – Lead Guitar

Elvis DD – Bass

Kwall - Drums