Mood Swings

Rick Monroe - Shame

1. Shame
2. Pray
3. Trippin’ On
4. Gypsy Soul
5. Can I Call You Home
6. One Becomes Two
7. Don’t You Tell Me
8. Suspicious Eyes
9. Urban Cool
10. Tomorrow Turns
11. Travelin’ Song
12. Best Damn Woman
13. You
14. To Believe

Album Cover:

Total Playing Time: 56:18 m:s

Review date: 26 October 1999

Email: divorcerec@earthlink.com

I described his last album as sitting down and having a chat with your old buddy Rick. The same thing applies here. Whilst the last album took quite a while to work it’s magic, this time my reaction was more immediate. I’m not sure that this album is any more of an instant fix than the debut, I think it is just that now I’m more familiar with his style.

The backup musicians are mostly from a band called The Texas Tornadoes, plus a couple of guys who backup country legend Charlie Pride. It is no surprise then that Rick has stuck with his roots-rock style of music. If you play “Legend’s Diner” and “Shame” back to back you’ll hear a slight difference in emphasis. “Legend’s Diner” relied on electric instruments, but on “Shame” a more acoustic approach has been taken. Song-wise I detect a more roots/country influence compared to “Legend’s Diner” which had more of an underlying rock feel to it.

“Shame” and “Pray” are an uptempo duo to get the ball rolling. Whilst they keep the Mellencamp tendencies in check, “Trippin’ On” lets them run free on this catchy uptempo tune. The first single from the album is “Can I Call You Home?” which is a  semi-ballad dedicated to this wife of 3 years. At this point Rick hits a good spell with the next bunch of songs all hitting the mark. “One Becomes Two” is a slow ballad that bears a resemblance to the work of Lyle Lovett. “Don’t You Tell Me” & “Suspicious Eyes” are another two mid-tempo hits. The guitars crank up for “Urban Cool”  which doesn’t match up to the class of it’s neighbours.  This good patch continues on the Del Amitri-like “Tomorrow Turns”. The mood changes with the disappointing blues/barroom boogie of “Travelin’ Song”. From blues to swing on “Best Damn Woman”, which fares much better. To me, Rick sounds least convincing on the more uptempo numbers and “You” provides further evidence in reaching this conclusion. A ballad, “To Believe”, closes the album.

 A good album which, in my opinion, fades a bit toward the end when Rick tries to introduce some variety into proceedings.

MTM Ballads Volume 2

1. Metropolis - The Power Of The Night (The Power Of The Night)
2. Dare - Cold Wind Will Blow (Calm Before The Storm)
3. Harlan Cage - Making My Way Back To You (Forbidden Colors)
4. Steelhouse Lane - All I Believe In
5. Von Groove - The Damage Is Done (Test Of Faith)
6. Joe Lynn Turner - Can’t Face Another Night (Hurry Up & Wait)
7. Guild Of Ages - Wish That I Was There (Vox Dominatas)
8. Fergie Frederiksen - Crazy (Equilibrium)
9. Jaded Heart - Way Back Home (Jaded Heart IV)
10. Bad Habit - If I Can Do It All Again (Adult Orientation)
11. Danger Danger - She’s Gone (The Return Of The Great Gildersleeves)
12. Axe - I Don’t Wanna Be Alone Tonight (Twenty Years Volume 2)
13. David Carl Band - Arms Of Love (Can’t Slow Down)
14. Jimmy Lawrence - Test Of Time (The World Is Round)
15. Metropolis - Restless Moon (The Power Of The Night)
16. Michael Morales - No Way Out (That’s The Way)

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Total Playing Time: 77:02 m:s

Review date: 4 December 1999

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Metropolis get the privilege of providing two tracks. the title track from their album is a bit of a low key start, but the Westcoast “Restless Moon” certainly deserves it’s place in the team. Another classy recent MTM release is Michael Morales and “No Way Out” closes this compilation in style, as it did his album.

Another slice of westcoast balladry is provided by Fergie Frederiksen. As with the other MTM compilation reviewed this month, the Dare track sounds good here, despite the fact that the complete album lacks impact. “All I Believe In” is the big ballad from the Steelhouse Lane album and the great harmonies sound just as good in this context. I never noticed how much like Dare the beginning of this track sounds before listening to this compilation. With the other MTM compilation it was relatively easy to pick out the weaker tracks, but I can’t really say that any of the tracks here let the side down. With an album full of power ballads I was worried that the album would come across as lacking variety, but that really isn’t the situation. Von Groove and the excellent Bad Habit contribute to the variety with their semi-acoustic offerings.

The person who has listened to MTM Ballads Volume 1 most in our house is actually my wife who’s tastes in much are very mainstream compared to mine, but I’ve been trying to educate her. I’m going to continue her education with Volume 2.

MTM Volume IV - Rock Is Coming Home

1. Steelhouse Lane - If Love Should Go (Slaves Of The New World - Bonus track Japan)
2. Dare - Run To Me (Calm Before The Storm - Bonus track Japan)
3. Danger Danger - I Do (The Return Of The Great Gildersleeves)
4. Jaded Heart - Live & Let Die (Jaded Heart IV)
5. Storyteller - What She Wants (Storyteller)
6. Harlan Cage - Can’t Tame The Raven (Forbidden Colors)
7. Beggars &Thieves - Gypsy (unreleased)
8. Reingold - Killer On The Loose (Universe)
9. Guild Of Ages - Let It Go (Vox Dominatas)
10. Metropolis - Never Look Back (The Power Of The Night)
11. Axe - Let The Music Come Back (Twenty Years Volume 2)
12. Michael Morales - That’s The Way (What’s The Way)
13. ACT - Abandoned World (Today’s Report)
14. Brett Walker - Rain In My Heart (Lift Off)
15. Joe Lynn Turner - No Room For Love (Hurry Up & Wait)
16. Brian McDonald - Wind It Up (tba)

Album Cover:

Total Playing Time: 72:07 m:s

Review date: 3 December 1999

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Quite few of the albums upon which this compilation is based have already been reviewed in Mood Swings. For example, Metropolis, Michael Morales and ACT all got dissected last month with the first two getting a very positive thumbs up from me.

The Japanese bonus tracks by Steelhouse Lane and Dare give the album a strong start and certainly don’t sound like the filler expected of bonus tracks to these ears. In fact, I’m enjoying the Dare track more that I would have expected given my somewhat cool reaction to the album. The unreleased Beggars & Thieves track was another shock. Whilst I could take or leave, and erring on the side of leaving, the album, “Gypsy” is an great GnR meets Rolling Stones number. Whilst I’m on the subject of being pleasantly surprised, the Harlan Cage track, “Can’t Tame The Raven”, with it’s Magnum meet Survivor vibe, is a far better than I expected, as I never really ‘got’ their debut album and promptly forgot about them.

Danger Danger, Guild Of Ages, Axe and Joe Lynn Turner all provide consummate performances without varying from their own formulas. As Deep Purple/Rainbow were my first love in the hard rock world, I’m always going to like Joe’s ventures into this area. When it comes to choosing tracks for a compilation, I guess it’s all a matter of personal choice. Reingold’s Rainbow-influenced “Killer On The Loose” wouldn’t have been my choice from that album as I think the cop car radio sample spoils it. It’s a similar story with Jaded Heart where the cheesy kiddie’s choir at the start of “Live & Let Die” knock the edge off an otherwise decent tune. The strong production on the Jaded Heart track makes like difficult for Storyteller who’s lightweight progressive style sounds weak in comparison. Another looser in the same department is Brian McDonald who’s track sounds muffled to me. Brett Walker’s track also sounds a bit out of place amid the heavier company, but this lightweight catchy number has certainly wetted my appetite for his new album.

As with all compilations, it has it’s highs and low, but thankfully there are more of the former. Whither you buy this as a look before you leap into the individual albums sampler or simply as a rock compilation album, I don’t think you’ll have many complaints.

The Situation - the situation

1. Say Uncle
2. What Would DeNero Do?
3. In The Zone
4. You Are The One
5. Thin Skinned
6. One In A Million
7. Our Situation
8. Zydecco Road
9. My Mother Likes Black Men
10. Prophet Of Doom
11. Hurricane Jo

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Total Playing Time: 39:04 m:s

Review date: 3 December 1999

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They say variety is the spice of life, well, The Situation certainly provide you with a spectrum of musical styles & lyrical themes. However, blues-based rock is probably the term that covers most the album. With all these different things going on, it is difficult to make up your mind just where The Situation are coming from, or indeed intending to go. As far as I can tell, it’s all about having some fun and isn’t that what music is all about.

Talking of fun, the white-boy rap of “What Would DeNiro Do?” and the funk of “My Mother Likes Black Men”, both hit the mark in the smiles department. Dire Straits would appear to be the influence on “Say Uncle” and “In The Zone” (which adds a little bit of funk). “Thin Skinned” reminds me of Squeeze’s “Cool For Cats”. When the band are in a more serious mode we get power-pop (”One In A Million” & “Prophet Of Doom”) and John Cougar Mellencamp roots-rock (”Our Situation” & the album’s top tune, “Zydeco Road”). “Hurricane Jo” finishes the album in a David Lee Roth meets Aerosmith style.

“The Situation” is the album for when you just wanna sit back, relax and improve your mood with a mixture of music and humour.

Eric Lambert - Just The Way I Feel

1. Oh, Ok
2. South Side Tan
3. Left Coast Girl
4. Love Can Make It Alright
5. What My Love Can Do
6. Treat Me Right
7. Just The Way I Feel
8. Got The Kind Of Love I Need
9. Little Town Blues
10. Man & Wife
11. Gnome Breakdown
12. House On The Moon

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Total Playing Time: 47:03 m:s

Review date: 2 December 1999

Email: lambert@ericlambert.com  

As I mentioned last month in my review of Michael Lee Firkins my exposure to blues music doesn’t extend much beyond Stevie Ray Vaughan. Therefore thinking of comparisons is a more difficult task compared to reviewing a more AOR artist. Certainly when listening to this I’m reminded of Eric Clapton.

Eric Lambert keeps things moving at a moderate pace and there’s no certainly no long drawn out slow blues to allow your attention to wander. ‘Acoustic blues boogie’ is the phrase I’d use to describe the majority of the tunes. The selection on offer includes the traditional barroom blues of “Treat Me Right”, light acoustic blues on “Just The Way I Feel”, Clapton-esque “Love Can Make It Right”, soul/Blues Brothers of “What My Love Can Do”, the instrumental “Gnome Breakdown” and the electric blues of “House On The Moon”. “Love Can Make It Right” & “Got The Kind Of Love I Need” are the two tunes that made the biggest impression.

As far as I know Eric Lambert handles the vocals himself and herein lies the main inhibitor to my enjoyment of the album. Eric’s voice has a got a kind of ‘catch’ to it and sounds ‘weak’ in places. Whilst this is might be authentic when it comes to sounding just like a one of those pioneering bluesmen, it isn’t to my tastes.

3rd Window - Tell Me Why

1. Tell Me Why
2. Beautiful Day In The City
3. In A Crowded Room
4. A Lot Of Lonely People
5. Somewhere Beyond The Blue
6. Shades Of You

The band:

Total Playing Time: 25:23 m:s

Review date: 2 December 1999

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The whole rock chic thing has been done by the like of Alanis Morrisette, Sheryl Crowe etc, so what can 3rd Window offer that hasn’t been done a million times before. Well, their twist, apart from the dual dreadlocks, on the theme is to take an acoustic base to build the vocals upon. Bryn’s vocals also have a soul foundation. From the rock world, I guess early Heart would be a valid comparison.

If I tell you that the opening line of the opening song is “I’ve never been burned by a fire of hate like this”, then you can work out that we’re not talking cheerful little tunes, but rather thought provoking lyrics dealing with the life and how to make your way through it.

The straightforward approach of “Tell Me Why” and “Beautiful Day In The City” makes way for a funky bass-line on “In A Crowded Room”. The track that made the biggest impact on me was “A Lot Of Lonely People”. It’s a slow to mid-tempo number that reinforces it’s message with a strong chorus. “Somewhere Beyond The Blue” glides in sporting a lazy jazz/blues vibe, whilst “Shades Of You” terminates the album with the most urgent offering.

Drew Barrett - The Strolling Minstrel

1. City Of Sin
2. Worked Myself To Death
3. Lovers
4. A Change Is On The Way
5. Soldier Song
6. Is There Somewhere Else We Go
7. A Song For Sara
8. Judicial Breakdown
9. Visitors from Saturn’s Moon
10. Caught In The Act
11. Billy-Bob

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Total Playing Time: 51:02 m:s

Review date: 1 December 1999

Email: drewbarrett@netscape.net 

The opener, “City Of Sin” hits you with a wall of swirling guitars and Drew coming across as a mixture between David Bowie and Morrissey. On the next track, “Worked Myself To Death”, the deep vocals are still present for the verses, but Drew moves up to a more normal vocal range for the chorus. This track is my favorite from the album, it’s got a big hook and is simply very ’sing-able’. Indeed, Drew displays an impressive variety of vocals throughout the album. The duet with sister Corinne, “Lovers”, which reminds me of the Nick Cave & Kylie Minogue single from a few years ago, is another highlight and sets the pace for much of the album, which is slow to mid-tempo numbers. “Soldier Song” is the first tune to give a hint at Drew’s past metallic leanings. The guitars take on a more urgent metallic edge and the vocals move into a higher register, but, with the help of Corinne’s background vocals, it steers a course which isn’t too far from the feel from rest of the album. “Visitors from Saturn’s Moon” again brings early David Bowie to mind with it’s deep vocals and acoustic guitars. The final track, “Billy-Bob”, is a shot at the presidency of Bill Clinton.

This is a difficult album to categorize. The deep vocals give it a dark, yet not depressing, feel and the music sits somewhere in the middle of rock, pop and possibly even AOR. This all combines to give it a modern feel. A rewarding experience for those prepared to look outside the confines of the standard musical genres.

Atello - The Big Payoff

1. Intro
2. Love Me Down
3. Emotional Blackmail
4. (You’ve Got A) Grip On My Heart
5. Your Love
6. Full Moon Fever
7. Hold On
8. Blind Justice
9. Big Payoff

Album Cover:

Total Playing Time: 39:40 m:s

Review date: 26 October 1999

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Any band that so openly admits such influences are painting a huge target on their backs in today’s harsh environment for that style of music. The group certainly can’t be accused as going for the “big payoff” market at the moment.

“Let Me Down” was a pleasant surprise the first time I listened to the album. I was expecting something altogether more metallic sounding. Instead, there is a Firehouse vibe going on here. This theme is continued throughout the album, but is most noticeable on songs such as “Emotional Blackmail” & “The Big Payoff”. The title track features a crunchy Firehouse style, creating one of the best tunes on the album which is helped out by some good guitar work.

On “Your Love” Van Halen get added to the formula producing a 80’s style metal tune with a commercial edge. I get the feeling that Ozzy was the inspiration behind the metallic “Full Moon Fever”, at least on the opening few bars. Blind Justice also rocks out with a NWOBHM feel. “Hold On” starts off quietly before moving up a gear and features a few volume & tempo changes. In the ballad department, “You’ve Got A Grip On My Heart”, fares well, despite being a bit jaded on the lyrics & style front.

Harking back to the glory days of melodic hard rock, Atello’s gamble of sounding distinctly retro pays off. They might not be able to retire on the proceeds from this pay off, but there should be enough to get them back in the studio to build upon the solid base they’ve built here.

Michael Lee Firkins - Decomposition

1. Still Alive And Well
2. Manic Depression
3. I Need You
4. Pink Panther
5. I Know A Little
6. The Window
7. Little Wing
8. Pick Up The Pieces
9. Caravan

Album Cover:

Total Playing Time: 41:53 m:s

Review date: 26 October 1999

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This is an album consisting almost entirely of cover versions, with only one original composition. The merits of such an undertaking can be debated, but it should be remembered that Metallica produced their most worthwhile album, in my opinion, when covering other peoples tunes.

Helping Michael out are Sonny Reece on vocals, Trevor Thorton on drums, John Purtle on bass and Neil G. Ives also on bass.

You’ll recognize the most of the song titles, so I guess you’ve figured out by now that this is a blues-based album. When it comes to this style of music Stevie Ray Vaughan would be my main source of exposure, although I’ve obviously heard the originals of the Jimi Hendrix and Lynyrd Skynyrd originals.

On an album so obviously guitar orientated you might expect the vocals to be a bit of an afterthought, but Sonny Reece does an excellent job and certainly holds his own against the guitar heroics on display. What can I say about the cover versions? They are well executed and I didn’t get the ‘why bother to cover that’ feeling when listening to the album.

When watching the cartoon, I’ve always found the Pink Panther theme tune to be slightly annoying, so I was therefore very surprised to find myself enjoying this ‘bluesified’ version. The original composition, “The Window”, fares well amongst the more familiar material and until you become more acquainted with the album provides you with something fresh to think about.

This was a welcome diversification in my listening habits as I haven’t heard any blues in quite a while. A great deal of blues music is created by borrowing from the early blues men, so against this backdrop perhaps covering some modern tunes is perfectly understandable. I personally would have like to have seen a couple of more original compositions on here. 

Dreamland - Tales From Area 51

1. Charlie 242
2. Master Of Motion
3. Leo’s Chew Toy
4. Until We Meet Again
5. Sloppy Jane
6. Hit Me
7. Get Out Of My Way
8. Alien Funk Machine
9. Where’s Charlie (reprise)

Album Cover:

Total Playing Time: 45:18 m:s

Review date: 26 October 1999

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“Charlie 242″ sets the scene with some radio communications indicating that flight ‘Charlie 242′ is flying out to intercept a UFO before “Master In Motion” has some lead guitar work sitting on top a blues-influenced riffing. “Leo’s Chew Toy” introduces a lighter note to proceedings in the form of an funky uptempo number. This is followed by the slow blues of “Until We Meet Again”, which is very relaxing. “Sloppy Jane” strolls along with a confident gait, before “Hit Me” heads off still further into funky territory over which the lead guitars shred. A combination of Boston & Lynyrd Skynyrd would appear to be the influence behind “Get Out Of My Way”. It might have been difficult to think up the name in the first place but somehow “Alien Funk Machine” sounds pretty much like it’s title might suggest. By the time “Alternative Route” and “Where’s Charlie?” come around I usually have trouble distinguishing individual tracks but they are no less worthy of our attention.

Dreamland are a talented bunch of musicians and they’ve crafted some acceptable pieces of music to show off those talents. If I listen to a few tracks at a time I’m impressed, but sitting down to listen to the whole album I find the music loses it’s impact somewhat.