Archive for the ‘Year 2001’ Category
Mike SuperLava EPs (x3)
Basement 69 - Torn, Worn & Full Of Holes EP
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The Bitchen Hogs EP:
Young Grasshopper EP:
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Label: Superlava Records Producer: Mike Militello & Adrian Emsley Year: 2001 Total Playing Times: 14:41, 9:08 ,9:20 m:s Review date: 03/08/2001 |
| Web site: www.superlava.com Email: venuseye@aol.com |
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| Rating: 60, 55, 67 % | ||
| Verdict: Basement 69 & Bitchen Hogs are retro-rock for those into the psychedelic 60s. For the rest of us, Young Grasshopper offers a reminder of New Wave. | ||
| These three get reviewed together because they are the brain children of Mike Militello (a.k.a. Mike Superlava). Mike’s day (or maybe that should be night) job is as a DJ in various nostalgia based clubs around London. The details can be found at the website. Instead of playing other people’s records, Mike is now creating ones of his own.
Basement 69 Basement 69 is the main project & is described as a rocket-fuelled, southern fried, psychedelicizied 6 piece band. A studio album was recorded in 1999 and the band formed later as a result of positive feedback on the album. To date the band have recorded two albums and this EP. The material is available via the website - www.superlava.com. “Mother Nature” kicks things off with a modern raw retro-rock feel. There is a bit of a contradiction going on in that last sentence, but think Kula Shaker and you’ll get the idea. Spacey garage rock. “Naked To You” continues in a similar high-octane style. After all that racket, “Junky” cools things down at the start, but cranks it back up for the chorus. Once again the 60s influence is there. “Superstar” is a little different, with a retro-pop feel rather than retro-rock. Once again the chorus is almost shouted until the vocals become distorted. The Bitchen Hogs CDs make you listen for all sorts of reasons and with a name like The Bitchen Hogs you just gotta investigate. The Bitchen Hogs is a collaboration between Mike & Californian mate Charlie Vartanian (a.k.a. Chaz Skinbanger) who flies into London for a few days a year to record Mike’s more garagey/surfy/offbeat tunes. The songs are played at Mike’s psychedelic 60s club - Super Elastic Bubble Plastic. The music is slightly more ‘rock’ orientated than the Basement 69 stuff with the guitars more to the fore. Most memorable tune is “The Bitchen Hogs Theme”, which is a 60’s psychedelic instrumental romp that I’m sure you could do all sorts on manic 60s dances to. Young Grasshopper Young Grasshopper is Mike’s powerpop project based around his punk tunes paying homage to The Ramones, The Jesus & Mary Chain, The Pixies… “What Can I Say” is a good slice of jingly powerpop. “Just Can’t Wait” continues with energetic New Wave meets powerpop. On “In My Face” I’m reminded of say Stiff Little Fingers. On the Young Grasshopper Mike finds a formula that comes closest to matching my musical tastes. There seems to be more melody going on and it is more ‘my era’. Overall If I was to pick up one of these EPs it would have to be the Young Grasshopper’s blasts of Powerpop. |
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Vick Le Car’s Blue Moon - s/t
Vick Le Car’s Blue Moon - s/t |
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Label: Record Heaven Music Producer: Vick Le Car Year: 2000 Total Playing Time: 46:58 m:s Review date: 12/06/2001 |
| Web site: www.rhcd.net , www.vicklecar.com
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| Rating: 79 % | ||
| Verdict: Accomplished blues-based hard rock | ||
| On hearing that one of Vick’s influences was Ritchie Blackmore I was expecting something along the line of well known Ritchie worshipper Yngwie Malmsteen. That didn’t fill me with too much enthusiasm as I’ve found his music to be sterile, clinical, and without any passion. In fact, checking out his home page whilst writing this review shows that his influences include Jimi Hendrix, Alvin Lee, Gary Moore, Glen Hughes, Ritchie Blackmore, Jeff Beck, Jimi Page, Eric Clapton, Paco DeLucia, Al DiMeola, George Benson and Carlos Santana.
Joining Vick in the band is an impressive lineup of musicians whose CVs include Angel, Rainbow, Ace Frehley , BOC etc. Vick and his band have created a blues-based hard rock album that harks back to late 70’s and the 80’s. Opener, “I Don’t Want You”, is a Glenn Hughes style blues rocker with plenty of guitar work swarming all over it, but it doesn’t quite grab you the way an opening track should. Matters improve on the Bad Co. meets Rainbow blues-edged hard rock of “Son Of A Witch”, which impresses musically if not in the song naming department. A touch of funk is added to the formula on “Never Stranded” and that makes me think of Glenn Hughes or even Hughes/Thrall. It is a busy track that comes to life when Vick lets loose with his guitar work. “Between Heaven & Hell” is yet another mid to up tempo blues rocker. Ed Terry’s vocal are impressive throughout the album, coming across as a mixture of Joe Lynn Turner and David Coverdale. In fact, this track is precisely the sort of music I can imagine JLT putting on one of his albums - I’m reminded of his Holy Man album. “Take My Hand” is a change of pace with a slow bluesy ballad. “Run Like A River” is a bluesy workout from the start before it moves up a gear into Deep Purple meets Bad Co meets early Whitesnake. The vocalist does a good job of fitting in with the music.Given the fact it has burn in the title, it is not surprising that the next track, “Turn & Burn” starts off immediately in a very Deep Purple vein. Once again Vick & his guitar take centre stage and stamp their authority all over the show. The next couple of tunes, “In New York City” & “One More Shot”, are both blues influenced hard rock numbers where the chorus outshines the rest of the song. “Condor Pass” is an instrumental which reinforces what we already know by this point - Vick is a fine guitarist. The final track, Shinin’ On, isn’t composed by Vick and is more of a straight ahead rock tune compared to the blues rock of the rest of the album. This is a good blues- based hard rock album, where Vick and Co. put in good performance on a set of songs which are ‘fit for purpose’. If your music tastes include Purple, early Whitesnake, Glenn Hughes, Bad Co, Free and Joe Lynn Turner, then it is well worth investigating. |
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Velocity - Acivator
Velocity - Activator |
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Label: Accelerator Records, Dreamscape Music Group Producer: David Victor Year: 2001 Total Playing Time: 21:21 m:s Review date: 12/06/2001 |
| Web site: Email: www.acceleratorrecords.com |
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| Rating: 87 % | ||
| Verdict: Open minds will be rewarded | ||
| With 1998’s ‘Impact’, Velocity were the darlings of the online reviewing community. That album had heaps of praise conferred upon it. I’m included in those who gave it positive reviews. Although, truth be told, it wasn’t quite the jaw dropper that I had been expecting given some of the other reviews I had read before hearing the album.
I thought the band had called it a day when this popped through the letterbox. With the long gap between albums, the band clearly struggled to continue as a unit. ‘Impact’ was a party rock album that people seemed to latch onto as the Saviour of that genre. Expecting something along the same lines as “Impact”, I stuck this in the CD player. The opening track, and first single, from the album - “Stay” - grabs you by the throat and starts beating you about the head. Shit, this is heavy! Mainman David Victor is sounding seriously pissed. The sound is a mixture of heavy modern rock and David’s classic rock vocals soaring over the top. It is a combination that will take established Velocity fans by surprise and shock some of the ’stick in the mud’ classic rock elements of the fan base. Next up is ‘Beautiful & Useless’ which does a wonderful job of summing up so much about modern culture. This one rocks out hard as well, but the chorus grabs you a little more this time. I love cynical lyrics on this track. This track possibly looks back more to the hard rock of the previous album. “Alive” is a slow burning rocker that is dominated by David’s soaring vocals. It maintains the power associated with the rest of the album. One noticeable fact is that the lead guitarist is taking a back seat. If this song had been on the debut album the lead guitarist would have had a lot more work to do. Next up is “You” that is a party rock tune that has been considerably beefed up. A sparse and melancholy start to “Stranger” gives it a brooding atmosphere, before it graduates to become another big slice of hard rock ala Van Halen meets Dio. It alternates between the two - the sparse quiet parts and the VH/Dio rock parts. And there you have it. Not what I had expected at all. If “Impact” was equivalent to Harem Scarem’s debut album, then this sits somewhere between “Mood Swings” and “Voice Of Reason”. The whys and wherefores of the change in style (or the EP instead of LP length after such a long break) don’t matter - this is what Velocity sound like in 2001. Approach this with an open mind and it will work. Go in there with lots of preconceptions and you’ll be turned off. |
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Hamadryad - Conservation Of Mass
Hamadryad - Conservation Of Mass |
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Label: Unicorn Records Producer: Andy Cherna & Jean-Francois Desilets Year: 2000 Total Playing Time: 57:56 m:s Review date: 12/06/2001 |
| Web site: www.unicornrecords.com , www.hamadryadmusic.com
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| Rating: 85 % | ||
| Verdict: Impressive prog! | ||
| This Canadian band formed in 1995, but only finalized their line-up in 2000. This is the band’s debut release on Unicorn Records, who released the excellent Mystery compilation that I reviewed recently.
Whilst the Mystery album had plenty of crossover potential between the progressive and melodic rock markets, this album has it’s roots firmly planted on the progressive side of the fence. Every time I approach a new progressive rock album I expect to hear yet another bunch of Dream Theater clones. This time I was pleasantly surprised. The band have a style of their own and that makes them stand out from the crowd for me. The opening soundscape, “Eternal Loop”, reminds me of something from a sci-fi movie. The opening riffs of “Amora Demons” made my heart sink on the first listen - that Dream Theater cloning I mentioned. When the vocals start they sound like Jon Anderson. Eventually the track takes on a middle Eastern flavor. Overall, I’d compare the track to Magellan. “Carved In Rust” is a short vocal track with hints of Gentle Giant. The high-register vocals ride upon a gentle guitar background for “Still They Laugh”. Choral voices lead into the classical prog of “The Second Round” which reminds me of my favorite recent prog album SMPTE. On “Still They Laugh Pt2″ the band continue where they left off but this time the keyboards give a more epic feeling. “Shades Of Blue” is a gentle track that drifts effortlessly along in a Rush/King Crimson vibe. With “…Action!” we finally get to a song of true prog dimensions - 10 mins long. Another Rush like start with almost a funk/jazz rhythm guitar going on gives way for the lead guitar to take center stage for a slow workout giving this section of the track a relaxing feel. Just as you are relaxed it moves up a gear again. This time it utilizes the Rush/KC approach of the start but with more energy and with more axe work. “Nameless” gets off to an uptempo start and is one of the heavier tracks on offer. Like many progressive tracks it takes a few twists and turns before the end - sounding like Yes, then Uriah Heep and slowing to an atmospheric crawl for the second half. “The Second Coming” features acoustic (almost folk/country) guitar and it’s simplicity is in contrast to the complexities explored on the rest of the album. The album closes with the suitably epic “Watercourse Hymn” that to these ears has plenty of Yes-isms. Hamadryad have created an intricate album that yields more with each listen. Dedicated prog fans will love it and no doubt it will be a 2001 Top 10 contender for many. Melodic rock fans who dip into prog occasionally. like myself, could buy this and be happy that their prog ‘needs’ have been well satisfied. |
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Avalon - Avalon II
Avalon - Avalon II |
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Label: Fractal Records Producer: Manfred Leidecker Year: 2001 Total Playing Time: 36:57 m:s Review date: 30/05/2001 |
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http://artists3.iuma.com/IUMA/Bands/Manfred_Leidecker/ http://www.musicbuilder.com/Avalon/ Email: |
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| Rating: 75 % | ||
| Verdict: Old fashioned pomp metal | ||
| This material on this CD was written and first performed during the late 70s. But it wasn’t recorded until 1990 and mixed in 2000.
This Canadian band formed in 1975 as a 5-piece hard rock band. After a period of intense touring and rehearsal, the band was signed to London Records a year later. They released their first album, Voice Of Life, in early 1977. The band toured to support the release, developing a ever more bizarre live show (exploding mannequins with flashpots in their heads, flames rising from lead singer Myles Hunter’s hands and a host of other antics). The band disbanded in 1979. Myles Hunter moved to Toronto and began “Michael Fury”, Robert Holtz joined “The Cooper Brothers”, Brian Sim put together the avant-garde group “The Crucial Moments” with bass player Brian Redding of “Five Man Electrical Band” while Manfred Leidecker and Tullio Granata went on to perform with several bands one of which evolved into “Eight Seconds”.The band reunited several times during the 80’s leading to the recording on the material on this album in 1990/1991, which had first been written and performed in the late 70’s. The band are possibly planning to record more material and perform live in the future. Avalon’s style reflects the time in which the music was written - the late 70s. Back then we weren’t so hung up on pigeonholing music. The band combined hard rock, pomp. metal and progressive rock and yet managed to appeal to a broad rock audience. These days I’m sure the band would have selected to appeal to one sub-genre of rock. If Avalon were starting up right now I imagine their style might be neo-classical or prog-metal. Anyway, enough theorizing, what does this CD sound like? In what seems to be a trend, this is yet another album where the opening track fails to impress me - it seems to take a long time to go nowhere. Thankfully ‘From The Magi’ is a glorious track which is in total contrast to the opening blunder. In terms of style, it is Dio meets Magnum meets Styx. I think fans of early Magnum would really enjoy this. ‘Your Forever’ follows on from where ‘From The Magi’ left off. The Magnum/Styx/Kansas comparison is still valid on this track, with perhaps a little Asia thrown in. Eventually this builds up to a nice instrumental workout towards the end of the track, played a breakneck speed. This instrumental plays out this long track as the vocals never start up again. ‘Angelique’ is a ballad based on a mixture of acoustic guitar and blues electric guitar. A nice ballad, in the vein of Styx/Yes, that provides the necessary color variation in the material. The track that follows, the uptempo ‘Hands Of the Devil’, has good instrumental sections, but is hardly essential listening The final track is a 10 minutes epic called ‘The Ride to St. Petersburg’ which is performed live. The opening section, ‘Wish Your Horses Well’, reminds me of Iron Maiden and it is easy to see how this style of music could well have inspired Maiden’s epics. Maiden, this time combined with Thin Lizzy, again crop us as a comparison for the instrumental ‘Battle’ section. The final section, ‘Set Us Free’, again has vocals. In today’s musical climate, this album sounds dated. Depending upon your point of view, that can be either be a good thing or a bad thing. If your music collections includes the likes of Styx, Magnum, Kansas, Iron Maiden or Uriah Heep, or indeed that Avalon debut album, then this is one for further investigation. Those bands make appearances, albeit not large ones, in my collection which explains why this one gets a warm if not ecstatic welcome to my collection. |
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Savannah - Forever’s Come & Gone
Savannah - Forever’s Come & Gone |
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Label: Z Records Producer: Michael Sweet Year: 2000 Total Playing Time: 42:07 m:s Review date: 19/04/2001 |
| Web site: www.savannah.org.uk , www.zrecords.net Email: |
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| Rating: 85 % | ||
| Verdict: Good old fashioned Stadium Rock | ||
| Savannah’s 1998 debut got a glowing review from me. Their stadium sound was joy to listen to. The band face the difficult task of following up that acclaimed debut.
With a backlog of review to complete, this one was tagged onto the end of a long reviewing session without the usual pre-review Mood Swings listening period. A quick run through and I think that a combination Journey and early Danger Danger is still be best way of describing how the band sound. “One More for The Road” kicks off the album with a big sound and rocks out. It immediately rang alarm bells when I first heard the album because the more rocking tunes on the debut were the one’s that didn’t quite work for me. A rocking start, nothing more. The band continue to rock hard on “All Or Nothing”, but pull one of their killer choruses out of the hat to save the day. “Last To Know” builds up gradually to develop a big stadium sound that combines riffs, melody and a big chorus. Although the band are still rocking hard on this tune, fears that they may have “toughened up their sound for the second album” begin to subside. The D2-style “Live To See Tomorrow” finally sets my mind at rest. The title track is a big power ballad that Savannah carry off with ease. “Backs To The Wall” continues where “Live To See Tomorrow” left off - another big chorus rocker. “Day After Day & Night” is a mid-tempo Journey-esque number that curiously features a low key chorus. An upbeat lighter mood is created on “Make Time” which features acoustic guitar and organ, before “Fight Your Way (Out Of Love” sees the band back on more familiar ground with another uptempo melodic rocker. The album closes with “The Questions”, which is a refined piano-led ballad. The band have successfully followed up the debut with an album that is equally impressive. For me it means that this batch of reviews have ended on a high note with the type of music that I love. |
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Reincarnation Volume One - NWOBHM Compilation
Reincarnation Volume One - NWOBHM Compilation |
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Label: Heavy Rock Records Producer: ? Year: 2001 Total Playing Time: 68:09 m:s Review date: 19/04/2001 |
| Web site: www.heavyrockrecords.com Email: info@heavyrock.co.uk |
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| Rating: 63 % | ||
| Verdict: Hit and miss nostalgia tip | ||
| As I’m sure I’ve said before in the page of Mood Swings, the NWOBHM played a large part in forming my musical tastes and I used to love listening to the Friday Rock Show on BBC Radio 1 which played tracks and studio sessions by many of the bands. In more recent years, Lars Ulrich of Metallica’s fascination with the music has helped to bring it to the attention of younger listeners. It certainly was a good time to be a rock fan. Of the bands featured here, I remember Quartz and The Handsome Beasts. However, there were a hell of a lot of bands emerging at the time and my old gray cells aren’t up to remembering them all.
Ricochet - The single, “Midas Light”, is the band’s claim to fame in the NWOBHM history books. It contains all the NWOBHM hallmarks and is a good example of the genre. The other two tunes fail to match up in comparison. The band enjoyed re-recording “Midas Light” so much that a complete album will follow later in the year. Quartz - Not only a band that I remember but a couple of tunes - Satan’s Serenade & Mainline Rider. The band were closely associated with fellow Brummie’s Black Sabbath, with Tony Iommi producing their first album. The sound is NWOBHM meets Sabbath. Demolition - Demolition’s no-frills rocking is too basic and generic to do much for me. Razorback - Razorback was a collaboration between members of Stray and Nightwing. The band cover “Faith Healer” in tribute to Alex Harvey who died in the arms of Razorback’s singer. The best tune is “The Game” which plods along somewhat, but which does include a touch of melody in the chorus. Damien - “The Finn” from Ricochet toured Germany and stayed to form this Anglo-Germany outfit. “Words” is the best tune on offer and is one the better songs on this compilation. A Damien album is being planned. Handsome Beasts - The band are best know for their large vocalist. The band are currently re-recording their unreleased 3rd album. This is a taster. “No Kinda Lovin’” is a slow bluesy ballad. Quartz and Handsome Beasts outclass the other contributors to the album. Ricochet and Damien hit the mark with one tune each. This is interesting as a trip down memory lane for me, but during future listening sessions I’ll be being selective about the tracks I listen to. |
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Brunorock - Demo 2001
Bruno Rock - Demo 2001 |
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Label: Producer: Year: 2001 Total Playing Time: 15:03 m:s Review date: 19/04/2001 |
| Web site: www.brunorock.com Email: info@brunorock.com |
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| Rating: 86 % | ||
| Verdict: Fresh sounding modern AOR | ||
| Bruno Rock is an Italian singer/songwriter who has released material sung in his native tongue. This demo is his first in English.
Bruno’s music is modern AOR. Take the music of Bon Jovi circa Keep The Faith and bring it up to date with some modern pop influences such as Roxette and you’ve got Bruno Rock. Thinking of that combination of AOR and pop, isn’t that what Rick Springfield gave us in the 80s? Bruno is performing a similar role in the new millennium. One of the elements giving the music a fresh modern sound is the drum machine. The use of up to date drum patterns actually helps on this occasion. These are modern rock tunes you could dance to! All fours songs are a combination of good vocals, catchy tunes and a fresh sound. Picking highlights is difficult. “Spread Your Wings” is uptempo pop-rock with a great chorus that pounds it’s way into you brain. “Silohette” has great strong vocals at the start and just keeps getting better as it mixes rock and pop to perfection. Come on somebody, give this guy a recording contract! I’d really like hear what he’d do on a full length album. |
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Spaced Out - Spaced Out
Spaced Out - Spaced Out |
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Label: Unicorn Records Producer: Antoine Fafard Year: 2000 Total Playing Time: 54:09 m:s Review date: 19/04/2001 |
| Web site: www.unicornrecords.com Email: |
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| Rating: 65 % | ||
| Verdict: jazz-rock intrumentals | ||
| Spaced Out were form in Montreal in 1998. They are the brainchild of bassist & composer, Antoine Fafard. Spaced Out’s description of their instrumental music is “polyrhythmic games combine with modal colours to form a unique music that is instantly recognizable”. The bands influences include Allan Holdsworth, Frank Zappa and ELP.
A little less esoteric description of the music might be jazz-rock fusion. The band’s music combines influences from rock, jazz and funk. The band serve up their mixture of rock and jazz, structure and improvisation, in 4 to 6 minute slices. I couldn’t even attempt to find the words to distinguish individual tracks, maybe the musicians amongst you could. Suffice to say that most tracks comprise of funky rhythms, keyboards and guitar workouts. Of the first 6 tracks, “Magnetyzme” with it’s dominant bassline, stands out. On the 7th track - Pensestuax - the pace is more relaxed. The band let the drummer dominate “Futurosphere”. The album closes with the hypnotic “Glassosphere” where synths sit on top of the rumbling rhythm section giving it a Jean Michel Jarre quality. My opinion of this album varies from day to day. Sometimes it matches my mood and I think it is excellent. At other times, I find it annoying pretentious twaddle and it gets changed after a few minutes of the opening track. I’d have to say though, that jazz-rock isn’t a genre of music I listen to very often. If jazz-rock is one of the forms of music you like listening to, then check out the band at www.mp3.com/spacedout . |
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Mystery - At The Dawn Of A New Millennium
Mystery - At The Dawn Of A New Millennium |
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Label: Unicorn Records Producer: Michel St-Pere Year: 2000 Total Playing Time: 70:31 m:s Review date: 19/04/2001 |
| Web site: www.unicornrecords.com/mystery Email: |
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| Rating: 85 % | ||
| Verdict: Classy pomp with progressive leanings | ||
| Mystery were formed in 1986. In their career they have released 3 albums - Mystery in 1992, Theatre Of The Mind in 1996 and Destiny? in 1998. The more progressive direction of Destiny? prompted singer Gary Savoie to quit in 1999. A new singer, Benolt David, has been found, but the whole process has led to a delay in recording a new album. To plug the gap and close a chapter in the history of the band, this compilation album has been released.
Mystery’s music is a mixture of pomp and progressive elements - comparisons being Kansas, Styx and Saga. These are all top class acts in my book and Mystery are easily on a par with them. Once we get over the slightly dubious start of “Destiny?”, “Theatre Of The Mind” is a captivating Styx-like tune. By the time you’ve listened to “Before The Dawn” and “In My Dreams” you’ll agree that the word that best sums up Gary’s vocal is ‘beautiful’. “Black Roses” is an 8 min epic that takes a few twists and turns and at one point heads off into Jethro Tull territory which if fine with me. Around this point you’ll notice that all the tracks have a slow start and build up gradually. My one criticism of the album is that after 6 or so tracks of this, it gets somewhat predictable and I certainly found myself looking for a different tact. Whilst not a full frontal attack, at least “Cinderella” does crank up the guitars in a brisk manner and it turns out to be one of the more rockin’ numbers on offer. The album closes with a trio of songs from the third album. A Styx-like beginning heralds the pomp-AOR of “The Mourning Man”. Another slow start to “Submerged”, before the band move up a gear and rock out a little. It is nice to see that the band have learnt a few tricks along the way as this is better than “Cinderella” from the first album. The band’s progressive leanings reach fruition on the 15 min epic - “Shadow Of The Lake”. Where would the world of progressive music be without Dream Theater? On this final track Mystery add a touch of DT to their sound, rather than merely plagiarizing it. The band tackle the epic format with ease and “Shadow Of The Lake” vies with “Theatre Of The Mind” to be my favorite track. If you haven’t checked out Mystery before, this compilation makes an excellent starting point. |
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