Sunstorm | Emotional Fire

by Mark Allen
Staff Writer –

You know all those Chuck Norris factoids on the ‘Net? For example, “Chuck Norris doesn’t fold paper airplanes, he folds airplanes into paper,” or “The boogeyman checks his closet at night for Chuck Norris.” This pop culture phenomenon paints Norris—Mister Norris to us mere humans—as the ultimate bad-ass.

Well, Joe Lynn Turner is the Chuck Norris of rock vocalists. He is the best, the penultimate, the God with the golden voice before which all other mortal singers must prostrate themselves. When Turner sings the phone book, even the phone book sounds good. Anything Turner sings is automatically elevated to the next plateau simply by the presence of his voice.

Simply put, Turner is a living legend, and while he has been involved with numerous projects, few have resonated with the melodic rock masses as strongly as Sunstorm. Whether it is the man’s amazing vocals, the impeccable production values, the plethora of hooks, or a combination of all three, fans continue to be impressed by what Turner has accomplished with Sunstorm and those favorable impressions should not waver with Emotional Fire, the band’s third offering.

As is their forte, Sunstorm straddle the fence between AOR and melodic rock, dominated by polished guitars but with a hefty keyboard presence to up the melodic ante. Dennis Ward gives the whole project that final Midas touch, proving he knows his way around studio knobs as well as any producer and better than 95% of them.

Now, this album is hardly a bastion of originality, but the sheer quality of the familiar is what impresses. Innovation and experimentation are appreciated by AOR fans about as much as a drunk appreciates water in his whiskey bottle and Emotional Fire delivers exactly what those fans want to hear.

The album is packed with the kind of hit single hooks that bring to mind the glory days of Desmond Child and Jack Ponti. Equally impressive are the harmonies, which should please anyone who enjoys that multi-layered backing vocal sound. And special mention must be made of the drums, which either through the skill of Chris Schmidt or the deft production wizardry of Ward—probably a combination of the two—sound fantastic, big and beefy and absolutely pounding.

Unfortunately, there is a downturn in song quality during the second half. The first half-dozen tracks are prime examples of how good the melodic rock genre can be, but once the remake of Michael Bolton’s “Gina” kicks in, the songs regress into the realm of mediocrity, the sharper hooks of earlier replaced by run of the mill refrains. Thankfully, those early songs are good enough that the album is not severely hamstrung by the sub-par quality of the second half. So what you end up with are great up-tempo rockers like “Never Give In” and power ballads like “Lay Down Your Arms” rubbing elbows with songs like “Follow Your Heart” and “The Higher You Rise” which dance on the edge of the dreaded “filler” tag.

If the back of the album was as strong as the front, AOR fans would really have something to get emotional about, because this would be a contender for best pure melodic rock album of 2012. Still, just like a day that starts off with gorgeous sunshine but ends with a soaking thunderstorm cannot be written off as a total waste, neither can this album be written off as unworthy of your time. Quite the contrary, the first six songs alone, combined with Turner’s powerhouse vocals, pretty much make this a mandatory purchase for any fan of the genre.

Genre: AOR, Melodic Rock

Band:
Joe Lynn Turner (lead vocals)
Uwe Reitenauer (guitar)
Dennis Ward (bass, guitar, backing vocals)
Chris Schmidt (drums)
Justin Dakey (keyboard)

Track Listing
1. Never Give Up
2. Emotional Fire
3. Lay Down Your Arms
4. You Wouldn’t Know Love
5. Wish You Were Here
6. Torn in Half
7. Gina
8. The Higher You Rise
9. Emily
10. Follow Your Heart
11. All I Am

Webpage: www.joelynnturner.com

Label: Frontiers Records

Hardrock Haven rating: 7.5/10

Mr. Big | Live from the Living Room

by Alissa Ordabai
Staff Writer –

Few rock bands have ever managed to successfully convey the spirit of their songs in the unplugged live show scenario. Not for the lack of trying, but perhaps due to the intrinsic pitfalls which await anyone who tries to translate what has been written for the electric instruments into the acoustic format. But even among the success stories, not many know how to rework the material structurally for it not only to project in an acoustic setting, but say something new.

One such band is Mr. Big, which the legendary vets have again proven with plenty of panache on their new release Live from the Living Room. Recorded in Japan in January 2011, this brand-new record not only sets a fresh formula for the familiar songs, but channels a type of energy Mr. Big haven’t tapped into before. A-grade instrumental skill, willingness to take risks, and a fundamental understanding of what works in rock music, all coincide to make this album sound almost like new material. Or at least there are as many surprises here as on any original studio album released by Mr. Big.

The crisp, twangy acoustic guitar on opener “Undertow” sets the atmosphere right off the bat, bringing to mind the rugged energy of Led Zeppelin III, but at the same time complimenting perfectly the fluid, poetic vocals. The guitar and the voice are juxtaposed in such an organic way but at the same time at such an unexpected, raw-edged angle that you barely recognize the song.

What follows – standouts “Still Ain’t Enough” and “Around the World” – keeps bringing to mind Led Zeppelin’s acoustic cuts, but sounds far from folky – this is pure rock, and rock at its most energetic, raucous best. The supercharged interaction between Paul Gilbert’s spare leads and Billy Sheehan’s rumbling, complex bass lines shines a new light in the legendary on-stage dynamics between the two virtuosos – this time sans Gilbert’s neck-break fretboard pyrotechnics, but with chops just as accomplished, and the result – just as convincing.

But the best track of the album is “Take Cover” – an achingly lyrical rendition of the band’s 1996 hit which in this version becomes a quasi-mystical trip, tapping into the vibe of Haight-Ashbury circa 1969. It is a very different song from the studio version – in spirit, in substance and in its message, showing that there have always been other things to this legendary band apart from their awe-inspiring chops and phenomenal experience – things that lie below the surface which have always touched their listeners the deepest.

Recorded in Japan, the album on its second half features a string quartet with arrangements by Takashi Miyazaki. This is where this album makes a U-turn, and the magic of a rock band reinventing its material in a daring, inspired way gives way to a conventional – if not pleasantly sweet – pop arrangement formula. Some of Mr. Big’s authentic spark becomes lost in the process, replaced by a slightly bland – albeit tasteful – convention, somehow reminiscent of Eric Martin’s “Mr. Vocalist” albums he was releasing in Japan over the past 5 years. It’s a decidedly different atmosphere, influenced by the country this live CD was recorded in – nothing new or remarkable, but perhaps resonating well with the expectations of the Japanese audience.

As if to make up for the slope in the excitement level, on closing cut “Nobody Left to Blame” Gilbert and Sheehan plug in their instruments, and the result is a bawdy, rowdy rendition of “Nobody Left to Blame” where the Jimmy Page-inspired guitar becomes a conscious tribute to Gilbert’s personal all-time hero.

To sum it up, the album is a rare proof to the fact that rock as a genre can be just as powerful, raw, and utterly hypnotising even without hundreds of watts of power, outboard effects, or the super-fast guitar wizardry. The heart of the genre remains in great riffs, the songwriting the spirit of discovery and re-discovery which expensive props or technological trickery have nothing to do with.

Genre: Rock, Hard Rock

Band:
Eric Martin – vocals
Paul Gilbert – guitar
Billy Sheehan – bass
Pat Torpey – percussion

Track Listing:
1. Undertow
2. Still Ain’t Enough
3. As Far As I Can See
4. Voodoo Kiss
5. Take Cover
6. Around the World
7. Stranger in My Life
8. All the Way Up
9. To Be With You
10. Nobody Left to Blame

Online: http://www.mrbigsite.com/

Label: Frontiers Records

Hardrock Haven Rating: 8/10

The Magnificent | The Magnificent

by Justin Gaines
Staff Writer

One of the most eagerly anticipated melodic rock projects of 2011, The Magnificent is a supergroup put together by vocalist Michael Eriksen (Circus Maximus) and guitarist/producer Torsti Spoof (Leverage). If you’ve heard any Circus Maximus albums, you know that despite the progressive metal style the band employs, Eriksen’s vocals are pure melodic rock gold. On The Magnificent’s self-titled debut we get to hear him belting out songs in the classic melodic rock style.

Eriksen and Spoof handle songwriting duties, with assists by members of Leverage, Urban Tale, Circus Maximus and Brother Firetribe, so you know The Magnificent is going to be a first class melodic rock album. The hooks and melodies are HUGE, and it’s polished to perfection. This is the kind of bright, shiny AOR that has as much in common with classic bands like Journey and King Kobra as it does newer acts like Brother Firetribe and Houston. It has to be said that the lyrics are incredibly cheesy in the best possible ‘80s power ballad kind of way. This is going to give some Circus Maximus fans heartburn, but if you take it in the spirit in which it’s intended, you’ll have fun singing along to songs like “Cheated By Love,” “Angel” and “Love’s on the Line.”

Oh, and the vocals are pretty decent too. Actually (and does this really surprise anyone?), Michael Eriksen’s vocals are the main attraction here. The man has such incredible power, range and emotion that he can sing just about anything, but he absolutely shines on this album. The Magnificent gives him a chance to really showcase his melodic ability and emotional delivery, and he’s every bit as responsible for the album’s larger than life sound as Spoof’s dazzling guitar work and production job.

There have been a lot of really good, but not necessarily essential, melodic rock albums released this year. The Magnificent is one that not only reaches that essential level; it smashes its way to the head of the pack. If you’re a fan of high quality melodic rock with powerful, dynamic vocals, this is a must-have album. Open-minded Circus Maximus fans should also get a kick out of this fantastic album.

Genre: Melodic Rock

Band:
Michael Eriksen (v)
Torsti Spoof (g) (k) (v)
Rolf Pilve (d)
Sami Norbacka (b)
Jukka Karinen (k)

Track Listing:
Holding On To Your Love
Cheated By Love
Memories
Angel
Satin & Lace
Love’s on the Line
Bullets
Smoke & Fire
Tired of Dreaming
If It Takes All Night
Lost
Harvest Moon

Label: Frontiers Records

Hardrock Haven rating: 9.25/10

Beggars & Thieves | We Are the Brokenhearted

by Justin Gaines
Staff Writer –

After more than a decade-long absence, Las Vegas-based melodic rockers Beggars & Thieves – whose 1990 debut remains one of that era’s most overlooked gems – are back with a new album. The band’s fourth studio album is titled We Are the Brokenhearted, and if you think the years that have passed since 1999’s The Grey Album have made the band rusty, We Are the Brokenhearted quickly puts that idea to rest.

What immediately stands out about We Are the Brokenhearted is how polished and mature the album is. Even in the beginning Beggars & Thieves was noticeably more melodic and emotional than their Sunset Strip counterparts, but at this point in their career the band has taken that melodic polish and heartfelt lyrics to a new level. There’s still a rock n’ roll energy and some sweet guitar hooks, but by and large this is a smoother, more subtle album than most Frontiers releases. It’s got heart and soul to spare, that’s for sure, and it’s hard to tell who gets the most credit for that – Louie Merlino with his emotional vocal performance or Ronnie Mancuso and his soulful guitar work.

We Are the Brokenhearted is a very solid album overall, and while the harder-rocking songs like “Seven Seconds” and “Midnight Blue” (sadly, not a Lou Gramm cover) are fun enough, it’s the more relaxed songs like “We Come Undone,” “Beautiful Losers” and the title track that really showcase just how good Beggars & Thieves are at this kind of melodic rock.

If you’re one of the faithful who have followed Beggars and Thieves throughout the years, you already know We Are the Brokenhearted is well worth picking up. If, like a lot of us, you lost track of this band in the decades since their debut, now is the perfect time to catch up with one of melodic rock’s best-kept secrets.

Genre: Melodic Rock

Band:
Louie Merlino (v)
Ronnie Mancuso (g)
Erik Gloege (d)
Blake Newman (b)

Track Listing:
1. We Come Undone
2. Oil & Water
3. Innocence
4. Never Gonna See You Again
5. Beautiful Losers
6. Seven Seconds
7. Stranded
8. Wash Away
9. Midnight Blue
10. We Are the Brokenhearted

Label: Frontiers Records

Website: www.myspace.com/beggarsandthieves

Hardrock Haven rating: 8/10

Mecca | Undeniable

by Ron & Don Higgins
Staff Writer –

Undeniable, commonly referred to as Mecca II, is the excellent follow-up to Mecca’s brilliant debut release nine years ago. Calling this album a labor of love is an understatement, as it took six years to complete (songwriting began back in 2005) and it was completely re-recorded a whopping three times! Fortunately, the labor was worth it as they have once again turned out a melodic rock tour de force.

In 2002, Mecca exploded onto the scene with an AOR masterpiece featuring the talents of singer/songwriter Joe Vana, David Hungate and Fergie Frederiksen of Toto fame and ex-Survivor legend Jim Peterik. It took the melodic rock world by storm and quickly became a litmus test for all future AOR releases. After the amazing success of the first album, main man Joe Vana began writing songs with Swedish guitarist Christian Wolff and, several years later, renowned guitarist Tommy Denander. The road to the second record was a bit bumpy at times due to some unforeseen and unfortunate circumstances, not the least of which was the death of co-producer/engineer Bryan Mitchell.

Mecca’s second album kicks off in grand fashion with a perfect song titled, “Perfect World” about everyone’s never-ending quest for perfection. It’s an excellent song, starting off with heavy keyboards and then Joe’s amazing vocals. It has an extremely catchy chorus, and top-notch production. This song alone pretty much captures the beauty and essence of the entire album. It’s exactly what you would expect from Mecca and, for that matter, Frontiers.

Other standout tracks include “10Life (Ten Lifetimes)”, “I Know”, “Did It for Love”, “Deceptive Cadence”, “W2W” and “Undeniable”. “10Life (Ten Lifetimes)” is a rocking love song that starts off with some blistering guitar work reminiscent of George Lynch. Part way through, the tempo changes and it slows down until it hits the chorus where it picks back up. The chorus, “I’d wait 10 lifetimes. Let me out of this jail of the heart. Don’t you know that true love isn’t far?” is quite memorable and clearly expresses the singer’s romantic affections for the unnamed object of his affection. Musically, it harkens back to “Silence of the Heart” from their debut. “I Know” features some stellar backing vocals. It’s a straight- ahead rocker with excellent guitar work once again. Lyrically, it’s a song about perseverance. “Did It For Love” features a slower piano and keyboard intro. Once the guitars kick in it really shines. The pounding drums are quite good as well. They have a clear, crisp sound with lots of fills. And par for the course, this one features another memorable chorus, “… you’ll know I did it for love.” It ends the way it begins, with a nice piano outro. Although most songs on this fine album deal with romantic love, this song is all about the love of the art of making music. Mr. Vana sums it up nicely this way: “music has to be about MUSIC….NOT money…when it becomes that, you to me become all I dislike about this business.” “Deceptive Cadence” is a lovely ballad and another ode to love. This is Joe’s favorite song that he has ever written, which should tell you something. The keyboards really shine on this one. Yet another standout track is the rocking “W2W”. “W2W” stands for “Wire to Wire” which is a fun little tune about a car race. This is one of the heaviest tracks on offer, providing smile-inducing, fist-pumping pleasure. Finally, the title track “Undeniable” is simply classic AOR with Joe using his powerful voice to profess his love for the album’s unnamed inspiration.

Although this tremendous album features mostly stellar hits, there are a few misses. “Closing Time” has some nice crunchy rhythm guitar and incredible singing again, but features much too heavy keyboards, including the keyboard intro that sounds as if Paula Abdul is about to get funky with a cartoon cat. “From the Start” also contains some unusual keyboard sounds akin to the sound Darth Vader might make while running a vacuum cleaner. And “Life’s Too Short” is actually a nice song with some great lead and backing vocals and harmonies but starts with a spoken word element with the singer speaking in a whisper. Creative, to be sure, but not in a pleasant way. The bass work by Tony Levin on this particular tune is outstanding, however.

The album wraps up in fine fashion with an interesting solo piece featuring Joe’s vocals and just a piano with a single short guitar solo in the middle. It is an extremely passionate song and very emotional. A highlight from an album of highlights.

Overall, this is a fabulous piece of work and establishes Mecca as a true AOR force. The production is top-notch and the vocals are impeccable. On the first album, Joe split vocals with Fergie Frederiksen but this time around he has to carry the torch alone, and carry it he does. Joe’s son Joey also does a nice job singing backup and the guitar playing on this album is first-rate. The keyboards are front-and-center which sometimes is a good thing and sometimes, well, not so much. Regardless, this is an exquisite album and a must-buy for anyone that’s a fan of great melodic rock music in the vein of Survivor, Toto, Journey or Pride of Lions.

Band:
Joe Vana
Joey Vana
Mark Alano
Wally Hustin
Rick Vitek
Brian Moritz
Eric Ragno

Additional Musicians:
Tommy Denander
Christian Wolff
Tony Levin
Pat Mastelotto

Track Listing:
1. Perfect World
2. Closing Time
3. 10life
4. Life’s Too Short
5. I Know
6. Did It For Love
7. From The Start
8. Deceptive Cadence
9. W2W
10. Undeniable
11. As I Walk Alone

Label: Frontiers Records

Hardrock Haven Rating: 8.9/10

Fergie Frederiksen | Happiness is the Road

by Franco Cerchiari
Staff Writer –

Dennis “Fergie” Frederiksen, having recently won the battle against a rare form of liver cancer, comes back with his newest contribution, Happiness is the Road. One can assume after having defeated such a battle, happiness would indeed be the road, and all the freedoms that come from being able to travel down a road – any road. So the title of his latest project is quite fitting.

Happiness is the Road, with an impressive list of musicians —  including Dennis Ward, Eric Ragno Dirk Bruinenberg and Nathan Eshman — is a collection of radio friendly, melodic AOR that showcases the amazing voice Frederiksen does possess. Much like the legendary Steve Perry, the tenor that is Frederiksen is a perfect match for AOR as it enables him to lift the feel of the track and his voice floats above the melodies. A telltale difference between this and his extraordinary 2007 release with guitarist Tommy Denander, Baptism of Fire, is that this CD comes across as more subdued and almost thoughtful, while Baptism of Fire was truly energetic and vigorous.

Happiness is the Road shows a different side of this talented vocalist/songwriter where he lays out to the listening public some of his personal trials which he has had to endure over his life. The music meshes well, and as always, with such as producer as is Dennis Ward the sound is nothing short of pristine and smooth. Insightful yes, and overall more dramatic than lively, but after hearing about the recent tribulations having been placed before Frederiksen, perhaps this is to be expected.

Opening with “Angel, (Mirror to Your Soul,” this piano heavy track talks about love, and a woman’s longing take control. Other great tracks include the rocking “First to Cry,” the reflective title track, with its lyrics speaking of “….chasing a dream.” “Lyin’ Eyes,” with its similarity to Toto or Survivor was excellent, as was “Handwriting on the Wall,” and the keyboard talents of Eric Ragno more than come across on “The Savior,” and the almost power guitar chords shine on “The One.”

Coming at the almost end of the CD is the true highlight and “The Future Ain’t What It Used To Be.” The lyrics are heartfelt and touching, the vocals almost majestic, the chorus soars, the guitar solo uplifts and the power and passion of this track was tangible.

For taking on the challenge of beating such a rare disease, Fergie Frederiksen is truly an inspiration too many, for creating a standout collection of music over the years, Frederiksen is to be thanked and for offering this, an inward look of his life, Frederiksen has done himself proud.

Genre: Melodic Rock/AOR

Track Listing

Angel (Mirror to Your Soul)
Elaine
First To Cry
Follow Your Heart]
Happiness is the Road
I Still Believe
Lyin’ Eyes
Love Waits For No One
Writing on the Wall
Happiness is the Road
The One
The Savior

Musicians

Fergie Frederiksen – vocals
Dennis Ward – bass, keyboards, backing vocals
Eric Ragno – keyboards
Nathan Eshman – guitars
Dirk Bruinenberg – drums

Label: Frontiers Records

Hardrock Haven rating: 7.5/10

Def Leppard | Mirrorball

by Nikiforos Skoumas
Staff Writer –

Mirrorball is the brand new live album by leading glam metal band Def Leppard, issued by Frontiers Records. Having enjoyed a career that spans over thirty years, the British band has just released its first official live album. Mirrorball is a 2 CD plus DVD set capturing the band on their 2008-2009 world tour in support of their latest studio album Songs from the Sparkle Lounge.

Featured on this live package is the established line up of lead singer Joe Elliott, bassist Rick Savage, drummer Rick Allen and guitarists Vivian Campbell and Phil Collen.

The songs for their biggest part are performed to the letter on Mirrorball (including the guitar effects and audio samples), though featuring minor improvisations here and there. Joe Elliott puts on a surprisingly strong vocal performance that lacks nowhere in comparison to the original versions.

Mirrorball, being a Leppard live album could not possible fail to feature such multi-platinum hits as “Rocket,” “Animal,” “Love bites,” “Hysteria,” “Pour Some Sugar On Me” and “Photograph.” Still it is arguably the darker, more dramatic songs of their catalog that benefit mostly from being captured live namely “Too Late for Love,” “Foolin” and “Switch 625.” As any Def Leppard live show, Mirrorball has its acoustic moments early on the second disc with “Two Steps Behind” and “Bringin’ on the Heartbreak.”

Beyond the live album, the package features three brand new studio songs: “Undefeated” has the groove, vocal swagger and melodic verse found on their classic mid ‘80s works. “Kings of the World” is a minor-melodic power-ballad featuring choir vocals, overall reminiscent of “We are the Champions.” “It’s all About Believing,” is definitely the most melodic amongst the three new songs easily entering AOR territory, this song brings strongly to mind Journey’s “Don’t Stop Believin” (in terms of vibe).

Moving to the live DVD, the video includes a behind-the scenes documentary of the ‘Sparkle Lounge’ tour of 2008-2009 while also featuring live performances of four songs along with two music videos. One has to criticize management for not including a full length DVD on the Mirrorball pack. The latest live packages issued by Frontiers Records; Whitesnake – Live at Monsters of Rock’ and Jorn – Live in Black, included the full video equivalent of the 2CD track list. Clearly one could easily find a plethora of audiovisual live performances by Def Leppard.

Genre: Hard Rock

Line-up:
Joe Elliott: Lead Vocals
Rick “Sav” Savage: Bass Guitar, Vocals
Rick Allen: Drums
Vivian Campbell: Guitar, Vocals
Phil Collen: Guitar, Vocals

Track Listing:
Disc 1:
01. Rock! Rock! (Till You Drop)
02. Rocket
03. Animal
04. C’Mon C’Mon
05. Make Love Like A Man
06. Too Late For Love
07. Foolin’
08. Nine Lives
09. Love Bites
10. Rock On

Disc 2:
01. Two Steps Behind
02. Bringin’ On The Heartbreak
03. Switch 625
04. Hysteria
05. Armageddon It
06. Photograph
07. Pour Some Sugar On Me
08. Rock Of Ages
09. Let’s Get Rocked
10. Action
11. Bad Actress
12. Undefeated (new studio track)
13. Kings Of The World (new studio track)
14. It’s All About Believin’ (new studio track)

Disc 3:
1. Rock! Rock! (Till You Drop)
2. Armageddon It
3. Pour Some Sugar On Me
4. Hysteria
5. Nine Lives (Music Video)
6. C’Mon C’Mon (Music Video)

Label: Frontiers Records

Hardrock Haven rating: 7.5/10

House of Lords | Big Money

by Justin Gaines
Staff Writer –

Long-running American melodic rock band House of Lords is back with Big Money, their eighth studio album. For the past few releases, House of Lords has essentially been founding vocalist James Christian and a rotating cast of musicians. This time around, the lineup is mostly the same as the one on 2009’s Cartesian Dreams, with bassist Chris McCarvill the only new addition. With Christian as the key songwriter and producer, not to mention the voice of the band, the core House of Lords sound remains intact album to album.

Big Money is an interesting title for this album. It seems more appropriate to the band’s early days, back when KISS mogul Gene Simmons was calling the shots and the band’s fortune was on the rise. The title track does take you back to the debut album. With its swagger and bombast it could have been right at home next to classics like “Pleasure Palace” and “I Wanna Be Loved.” The rest of the album swings a bit less, alternating between the kind of soulful AOR of Christian’s solo albums and the traditional House of Lords sound. The smooth “Someday When” is a real highlight, and one that should melt most AOR fans’ hearts. “The Next Time I Hold You” is more of a pure ballad, but it ends up being almost too sappy for this otherwise rocking album. The bluesy “Searchin’” and almost Zeppelin-sounding “Living in a Dream World” keep things rocking at the halfway point, as does the hook-heavy “Run For Your Life.” The album goes out with a bang, with rockers like “Seven” and “Blood” that almost sound like Demons Down b-sides. The musicianship is tight throughout, as is the production, and of course James Christian is in top form.

Big Money is exactly the kind of album we’ve come to expect from House of Lords in recent years. They’re not going back to the Giuffria-era sound, and they’re not reinventing the wheel. Christian and company have figured out a sound that works, and when the result is such a solid platter of melodic rock as this, it’s hard to argue with it. If you’ve been on board for the last 2-3 House of Lords albums, Big Money will not disappoint.

Genre: Melodic Rock

Band:
James Christian (v)
Jimi Bell (g)
BJ Zampa (d)
Chris McCarvill (b)
Jeff Kent (k)

Track Listing:
1. Big Money
2. One Man Down
3. First To Cry
4. Someday When
5. Searchin’
6. Living In a Dream World
7. The Next Time I Hold You
8. Run For Your Life
9. Hologram
10. Seven
11. Once Twice
12. Blood

Label: Frontiers

Website: www.jameschristianmusic.com

Hardrock Haven rating: 8/10

Work of Art | In Progress

by Nikiforos Skoumas
Staff Writer –

Swedish AOR/melodic rock group Work of Art caused quite a stir in 2008 with the release of their debut album Artwork and has since been regarded as one of most promising newcomer AOR acts. Work of Art is essentially a musical trio featuring lead singer Lars Safsund, guitarist/keyboardist Robert Sall and drummer Herman Furin. Since their debut, Work of Art members have been rather sought after musicians, having participated in various acclaimed projects within the melodic genre.

Robert Sall has been a key contributor to the hit AOR project W.E.T. while also performing and composing on the simultaneously released X-Origin debut. Lars Safsund has lately fronted Italian AOR super-group Lionville on their sensational debut.

Even though press and fans awaited enthusiastically the release of a Work of Art follow-up, a more skeptical party would question whether a new WOA album could match the artistic standards of their debut, bearing in mind members’ involvement in external ventures.

Well, much like Artwork, W.E.T. and Lionville the new WOA album In Progress is a superb creation taking their established songwriting formula to the next level. The melodic lines and choruses are more extensive than ever with a clear direction towards a heavier, though equally appealing and popular style of melodic rock.

Above all, performance intensity is the name of the game on WOA’s new album, guitars and keyboards exchange harmonies and rhythm in quicker succession than before. In addition the guitar and keyboard layers have also been increased without however complicating the compositions, simply making the choruses all the more climactic.

In Progress is track-after-track AOR brilliance that waists no time, “The Rain,” “Nature of the Game,” “Once Again,” and “Never Look Again” are indeed instant classics, bound to set new standards for the genre. In good tradition, the album features a song named after a girl in “Emelie,” never forgetting the powerful video-single that is “The Great Fall.” The airplay potential of this album is endless, since just about every song on offer could have served as a single.

Another sign of WOA’s brilliance is to be found on the lyrics being neither pessimistic nor optimistic. In a similar sense it is equally hard, even for an experienced fan, to decide whether the melodies are major (happy) or minor (sad) on any given song.

Once again WOA have delivered a landmark in melodic rock/AOR that should appeal to any fan the genre. If there is one band that has the potential to make the genre accessible to a wider audience that is definitely Work of Art.

Genre: Melodic Rock / AOR

Line Up:
Lars Säfsund – vocals
Robert Sall – guitars, keyboards
Herman Furin – drums

Track Listing:
The Rain’
Nature Of The Game’
Once Again’
Never Love Again’
Eye Of The Storm’
Until You Believe’
The Great Fall’
Call On Me’
Emelie’
Fall Down’
Castaway’
One Step Away

Label website: Frontiers Records/

Hardrock Haven rating: 10/10

Issa | The Storm

by Mark Allen
Staff Writer

Issa, the Norwegian bombshell with a voice as gorgeous as her physical attributes, is back with her sophomore album, and while The Storm is good, it sometimes sounds like the golden-throated goddess is still struggling to find her niche. She doesn’t want to be labeled a pop princess, but neither does she want to be a bad-ass hard rock chick, so instead she tries to straddle the fence between the two, seeking to unite sugar-coated pop accessibility with guitar-driven rock credibility in an uneasy alliance.

Many melodic hard rock fans scoffed when Issa’s first album hit the streets, scornful that she played it so safe, unwilling to truly let the rock rip. Such hostilities will not decrease with this follow-up effort, which finds the hardness factor even more slightly subdued, the bombastic elements of the debut dialed back in favor of a smoother, more AOR-oriented approach. It’s still fairly catchy, but more straight-forward, less over the top. This change in direction could be attributed to the fact that, unlike the debut, Issa actually participated in the songwriting process this time, working with the likes of Chris Laney (Crazy Lixx), Robert Sall (Work of Art), and Magnus Karlsson (Place Vendome), and she is on record as stating these songs more honestly reflect who she is as a person and performer.

As a performer, Issa is dynamic, gifted with great range. She possesses the ability to sing as soft and sweet as a lullaby one moment, then unleash power and attitude the next. She is often described as a cross between Amy Lee (Evanescence) and Avril Lavigne; add to that some Shania Twain and Amy Wolter (Fighter) and you’re starting to get the general idea. It’s a voice well suited for this kind of rock-edged AOR, packed with prettiness and power in equal parts.

Daniel Flores’ production is absolutely immaculate, more polished than a Marine’s medals, smoother than the fantasy-inducing curves of Issa herself. You’ve got a better chance of finding a chastity belt in a whorehouse than you do of finding any rough edges on this album. The engineering is superb, every instrument expertly mixed to complement each other, from the punchy guitars that drive the songs to the authoritative drum work to the melodic keyboard flourishes.

The Storm does suffer from a sense of sameness. Almost all the songs follow a similar structure: open with a crash of drums and power chords, quiet down for a keyboard-drenched verse, begin escalating things on the bridge, then rock out (well, as much as Issa “rocks out”) on the chorus. Sometimes a little variance goes a long way; as it stands, far too many tracks stumble into a mid-tempo rut with little to distinguish them from all the others.

That is not to say there are no standout tunes, because there are. “Black Clouds,” with its dark atmospherics and driving rhythm impresses right out of the gate, then impresses even more as the soaring chorus takes off. “What Does It Take” seems written with hit single status in mind, featuring the best hook on the album. “You’re Making Me” is guaranteed to induce spontaneous foot tapping and head-bopping while “We’re On Fire” latches onto your cochlea with subtle stickiness.

Issa does not yet deserve to be crowned the queen of melodic rock, but neither does she deserve to be mocked as the jester. While this album will not storm its way to the top of anyone’s “Best of 2011” list, it is a solid AOR album and in the male-dominated melodic rock genre it’s always nice to see/hear one of the ladies come out to play. More killer and less filler would serve her well next time around, but even with the flaws intact, this is more than good enough to prove that Issa is here to stay.

Genre: AOR / Melodic Rock

Band:
Issa (vocals)
David Sivelind (guitar)
Johnny Trobro (bass)
Daniel Flores (drums, keyboards)

Track Listing
1. Looking for Love
2. Please Hold On
3. Take a Stand
4. Invincible
5. Two Hearts
6. Black Clouds
7. You’re Making Me
8. Gonna Stand By You
9. We’re On Fire
10. Too Late for Love
11. What Does It Take
12. The Storm

Label: Frontiers Records

Webpage:

Hardrock Haven rating: 7/10

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