Mood Swings

Archive for the ‘Year 2009’ Category

http://badsister-rock.com/html/english/home_e.html

A positive comeback.

Bad Sister trace their roots back to 1980 when the band was formed under the name Bogart Joint. There followed a period of intense gigging. In 1988 the band changed their name to Bad Sister. The band released their first album, “Heartbreaker”, in 1989. This was followed in 1991 with “Out Of The Business”. In 1993 Suzie Lohmar replaced original singer Petra. In 1996 the band split up. In 2002 following a good reaction to their website, Point Music re-released “Heartbreaker”. This led to a live CD in 2003, Suzie Lohmar re-joining in 2007 and this new studio release at the start of this summer.

The album kicks of with a very familiar guitar riff (Scorpions - Rock You Like A Hurricane) on “Surrender” which is a good Rainbow inspired start to the album. The weak male vocals on the second track, “Zero Zone”, don’t help this track which maybe tries too hard to rock out and ends up sounding like filler. Suzie is back in charge on “Take Me As I Am” to get the band back on track. This track and the following lighter track, “Unless You Talk To Me”, both evoke memories of Heart. “Carry On” is a piano led ballad that actually reminds me of ABBA when the vocal harmonies kick in. “Rocky Road” and a later track, “Hard Times Shuffle”, bring a Rainbow/Purple edge to the music, giving a muscular, less melodic,  approach. In between these two is the parping keyboards of “Heat Of The Night” which vies with the opening track as the catchiest on offer. “Don’t Love Me Again” has the band taking a more successful stab a ballad, this time of the power variety. Melodic Hard Rock is on display on the next couple of tracks “Through The Night” and “Blackmailed”, with the guitar work on “Blackmailed” being particularly effective. Former vocalists Petra Degelow takes over vocal duties for the Bon Jovi “Runaway” influenced “Talk To Me Later”. For a band that seem to favour uptempo rock tracks for the most part, it seems strange that they close with an ‘uplugged’ track called “Last Train”, which does show the variety of style the band offer, but it doesn’t quite seem to have the edge required to make this sort of finale work.

The album is well produced and although the standard of a couple of tracks drops below the others, the overall result is a good album which is bonus for all fans of 80s style AOR/Melodic Hard Rock.

http://www.johntaglieri.com/index2.htm, http://thelivesproject.com/

Enjoyable scene setter for this EP/ebook series.

John Taglieri is a guy that I encountered back in 2000 when I reviewed his “Leap Of Faith” album. Since then he had dropped off my radar. Now he is back with a new project containing not only an album but also a book. In fact, we are talking an EP and a short (75 page) ebook. The song titles mirror the chapter titles in the book.

I have to admit that I’m not that much of a book reader with most of my spare time spent grabbing small info-bytes on the internet rather than taking the time to get into a good book. However, I just happened to be listening to this album during my summer holiday and I have to admit that a printout of the ebook proved to be enjoyable poolside reading. The ‘Lives’ we are talking about are a couple of rejects called Max and Cate. This opening instalment revolves around their meeting and their road journey from New Jersey to Chicago. The project will consist of 4 EP/ebooks released over a 2-year period.

Maybe it is the fact that John is from New Jersey, but I found myself using Bon Jovi and Bruce Springsteen as reference points when writing notes to describe the music. I guess in some ways the EP is a bit like a concept album. In this respect the carnival music of the intro and final track are maybe necessary from a storytelling viewpoint, but don’t enhance the album, especially after repeated listens. The feel extends to the first proper track, “Ferris Wheel”, which has spoken parts and an overall theatrical vibe. After this stuttering start, we cruise down a motorway of comfortable and enjoyable  American AOR rock with a smattering of power pop giving  the songs a contemporary edge.  Whilst I know the EP is available as a standalone product, I think the songs take on a new dimension after you have read the book and the lyrics come to life.

There is also a website which is designed to add an interactive element, via facebook & twitter, to this well thought-out project. This introduction has captured my imagination and I am keen to see how the next instalment of the story of Max and Cate unfolds.

More info: www.crucifiedbarbara.com, http://www.gmrmusic.se/
Verdict: All female band let the music do the talking

Crucified Barbara started out with punk rock on their minds, but have traded that in for a more metal approach. So you’ve seen the album cover at the top of the article and you know that we’re talking about an all female rock band - a genre which gets lots of press coverage, but not always for the music. The girls scrub up well to say the least which will no doubt help them  in many ways, but maybe not to get taken seriously. Not that I think judging from their comical monikers, such as Kicki Wicked & Mia Coldheart,  it will annoy them too much.

Given their punk heritage it is no surprise that the band play heavy metal of the sleaze rock variety and a quick summary would be to describe them are Vixen meets Motley Crue. They have toured with Motorhead and the overall vibe from their music is reminiscent of Motorhead pals Girlschool.

“Killer on her Knees” kicks off the album decently, but “Pain & Pleasure” which has more a  hard rock rock base and a catchy chorus fairs better. The first single from the album, “Sex Action”, shows that the band aren’t afraid of trading on their gender.  Crunchy is a  word that I’d use to describe quite a few of the tracks and “Creatures” certainly fits that description.  “Jennyfer” has the band change pace and style with Vixen & Lita Ford springing to mind.

The next couple tracks “Dark Side” & “Can’t Handle Love” are decent, if unremarkabke, mid album tracks. Even the title “Blackened Bones” conjures up images of Metallica and this track has the girls taking a heavier approach. From one bunch of megastars to another on “Danger Danger” where GnR get the Crucified Barbara spin.  This leaves “Rats” and “Feels Like Death” to close the album with more crunchy rock.

Quite often with all female rock bands it seems that the music is a bit of an afterthought with the publicity machine focusing on other aspects of the band. In the case of Crucified Barbara, the girls have created an  album where the music is good enough to do the talking and the whole image thing can be merely be the icing on the cake.

More info: www.prey-nation.com, http://www.gmrmusic.se.
Verdict: Nostalgic melodic heavy metal 

Prey are a new name to me but they have been in existence since the late 90’s. The band consists of THOMAS NYSTROEM (Guitars), PETER BAECKE(Bass), FREDRIK PLAHN(Keyboards) and PATRICK JOHANSSON (Drums). The band recorded their debut album, “The Hunter”, for Mausoleum Records in 2005. In 2008 they then signed to the GMR Music Group and created this album in their own studio, also mixing and producing it themselves.

Listening to this album takes me back as I haven’t listened to this type of melodic heavy metal for ages. It harks back to the heyday of this type of hard rock music during the 80’s. In fact, it isn’t true to say these guys are pure melodic heavy metal as on a few tracks power metal is also added to the mix. However, the band keep the tracks short and melodic which usually is a plus for me, but curiously I found myself wanting the guys to add some ‘rock out’ instrumental sections to give some of the tracks an extra dimension.

The opening title track is a good blast of melodic heavy metal. Likewise the following track, “Deliver The Goods”. On “Playing With Fire” the band up the pace and they sound like a mixture of Accept & Stratovarius. What seems like a more aggressive start to “Bloodred Sky” mellows into something more melodic reminding me a little of P:O:B. Ten were one the purveyors of melodic hard rock during the 90’s and they crop up as point of reference for “Get Out”. Initially “Into The Fire” conjures up sounds similar to Dream Theater forged with Eloy but settles down to the same hard rock vibe of previous tracks. The band romp their way through the power metal of “In Memoriam” towing through “Addicted” and “Run” in it’s wake before embarking on more Stratovarius style power metal on “Personal Fantasy” to close the album.

I’m a sucker for this type of 80’s melodic metal and it is easy for me to enjoy listening to this album.

More Info: www.fabbox.net
Verdict:A sunny mixture of Westcoast, Pop & AOR.

Fab Box consist of Fabrizio Ugolini, formerly of Italian hard rock band Revenge, and Massimo Bozzi, who has released two solo albums and been involved as producer, arranger and musician with various Italian pop acts. Their shared passion of acts like Toto, Journey, Bryan Adams and Richard Marx brought them together to write songs. Recently they have been involved with LA producer Fabrizio Grossi to write songs for Joseph Williams and Danny Vaughan. As celebration of the 10 year anniversary of this artistic collaboration they have recorded this album.

This album arrived with me just at the same time as the somewhat rare good weather here in Ireland and the overall Westcoast vibe to the album was a perfect match. Normally I dust off my LA Cowboys CD to accompany this sort of weather.

In fact, that is a bit of a simplistic description of the album as there are strong lightweight AOR and even pop themes also on display. Opening track “Tell Her I’m Alright” sets the overall Westcoast vibe rather well. Next track, “Nobody Tonight”, had me scribbling down Cutting Crew, Mr Mister and Peter Cox as I’m getting an 80’s AOR meets pop feel to the track that crops up again on other tracks such as “The Key”. On tracks such as “Inside”, “A Matter Of Time” and the Westcoast meets Boyzone “You Are The One” this balance tips toward the pop end of the spectrum.

Around the middle of the album the tracks edge closer to pure AOR with Mark Spiro being a reference point. I like listening to a variety of music, but AOR is like “coming home” for me and it is therefore no surprise that tracks like “Together”, “I Still Believe”, “Reason Of The Heart” and “Always” are the ones that particularly appealed to me. The version of the album which I reviewed, which is the special digipak edition available at their website, has a bonus track, “Eres mi vida”, sung by Francis Benitez on vocals which has a Tina Arena feel.

This album contains an entertaining mixture of lightweight music styles which has made it the perfect accompaniment to sunny weather we have been experiencing recently.

More info: http://www.redgoodbye.com
Verdict: Alt-rock for AOR-heads.

Red Goodbye came into existence when Grammy-nominated songwriter, and founding member of Spyro Gyro, Jeremy Wall introduced songwriter/vocalist Andrew Horn to songwriter/guitarist Alex Ruimy whilst they were at college. The guys quickly gelled and the songs on this EP are some of the many they have penned together.

I stumbled upon their music through a music submission website. With less time than I would like to devote to writing reviews for Mood Swings, I have to say the vast majority of artists I preview get rejected, but even though Red Goodbye are a little outside what I normally feature at Mood Swings I asked them to send me the full EP for review.

The other item that peaked my interest with these guys was the fact that they list one of their early-90s influences as my fave prog rockers Dream Theater. That list of influences also includes Alter Bridge, 3 Doors Down and Creed, all of whom I have to admit I don’t know that much about. The little bit of research I did suggested that Creed are a definite reference point and based upon the positive experience with these guys I plan to check out Creed at some point in the future. The Dream Theater influence doesn’t seem to have made it through onto this collection of songs.

The most striking point on first hearing their music is the deep rich vocals which remind me of a country singer, but I can’t remember the name. I guess if I mention the Crash Test Dummies and Hootie then you will get the idea, but only smoother than either of those two.

The music is polite alt-rock with a big production and seems pretty radio friendly to these ears. Almost like an AOR version of Nickleback or Daughtry. The fact that I mentioned AOR in the description might give you a clue that I surprised myself and really liked this one. There is something stirring and yet relaxing about Red Goodbye’s music that keeps me listening, whereas many of their contemporaries fail to make an impression. Yes, many of the song’s are all similar sounding, but in this case I like the basic sound enough to overlook the genre’s rather uniform approach to songwriting. I think that this has a lot to do with the positive vibe I get from the music. In the lyrics department, the band are a notch above average. I especially like the words of “God and Girl”.

In my stereotyped world these guys should be pigeonholed as alt rock which an old-time rock fan like me shouldn’t be listening to. And yet, despite the criticism that I level at this type of music over lack of variety in the songwriting department, I find myself listening to this album frequently.

More info: http://www.idguinness.com/home.html
Verdict: Intelligent progressive rock

Id Guinness is a Canadian artist who has performed with a number of Canadian artists and bands such as KD Lang, Randy Bachman and The Wyrd Sisters. He is a touring member of the Wyrd Sisters. He has previously released a 6-song “Beat The Heat” EP, but is his first full album release.

His list of influences includes Roxy Music, David Bowie, Pink Floyd, Peter Gabriel, U2, The Beatles and Radiohead. That is quite a diverse set of influences and it also covers quite a few decades of music. The obvious question is will this retread old ground or will Id create something new and interesting.

Thankfully the latter applies as Id fuses all these influences into creating what at times reminds me of a less intense Porcupine Tree sound. However, whereas Porcupine Tree’s music is clearly identifiable as them, Id’s influences tend to be to the fore on many tracks with the listener left wondering what is the core Id Guinness sound lurking underneath. A minor criticism and one which if often levelled at debut albums. An identifiable sound is something that needs to developed over time.

For all the talk so far of retro influences opening track, “Rising River”, actually has a hint of U2 about it. Clearly Pink Floyd are a big influence and this shines through on “The One That Got Away”. “Jade Garden” slows the pace with a down beat track that at first reminded me of Coldplay ,but surely they don’t write songs with a decent chorus. Bowie is another influence that crops up a couple of times, such as on next track “I Have Seen The Future” and most obviously on the cover of “Always Crashing In The Same Car” from “Low”. “Down To This” & the title track remind me of artists like Camel and Barclay James Harvest, with ELO also cropping up whilst listening to “Negative”. “The Joke” is a ballad in a form of a duet with a female vocalist. It is a cross between a Pink Floyd song and a modern country ballad. The atmosphere is chilled out a little more with the delicate “Beaches”. “Beautiful Goodbye” picks up the pace, and needs the guitar work to help it keep it’s head above water. “25 Watts” on the other hand is a much better version of a straight catchy rock song. The final track, “Wailing Wall”, is a spacey affair that pays homage to Pink Floyd.

This is an intelligent progressive rock album that has been well constructed and like all good progressive rock albums each play seems to reveal more of it’s beauty.

More info: http://www.johnorrfranklin.com/

Verdict: a good commercial pop rock album with progressive elements coming through in the guitar work.

John Orr Franklin is a singer, songwriter and guitarist hailing from Austin, Texas, USA. “Transformation” is a follow up to his debut album “Pathways”. Both albums were written, engineered, and produced by John for release on his own label. The band on the album consists of Rob Palladino & Brandon Aly on drums, Josh Batschelet & Kris Mathesen on bass and Laurel Hostak adds vocals to the title track. “Pathways” didn’t get too much publicity as John was keen to return to the studio to record this album.

At his website and in the promotion material, John describes his music as progressive rock as this is the area where most of this influences come from. Whilst I can hear those progressive influences coming through in places, I’m not sure that progressive in the main tag I’d attach to this. Anyway, let’s run through the tracks and see what we end up with.

“For All The World To See” is a catchy Tom Petty style start to the album, whilst the following “Dance Till Three” slows things down slightly with some fluid guitar work. Parts of “Kiss the Sky” seem to have a Celtic hint to them, but if you’re from America I guess Cajun or Country could equally well apply. “Disappear (Only One World)” is a good pop rock song that has a hint of Robert Cray about it. On “Flow” John shows his guitars skills on a Neil Schon type instrumental track. On the Alan Parsons sounding title track it is the Pink Floyd guitar parts that first make the progressive elements of John’s work audible.

Robert Cray, maybe Eric Clapton, spring to mind when listening to the bluesy commercial rock of “The Dove”. The title “Summer” perfectly fits the next retro sounding track as it lilts along. The instrumental “Chrysalis” gives John another chance to rock out a little more with some fine guitar work. These instrumentals break up the album nicely. Taken on a song by song basis the vocals are all more than acceptable, but my minor quibble is that it seems to me that the same style is utilised on every song, whereas some variety would have been a positive contribution. On the longest track on the album, “True 2 U”, the progressive elements show up again. About a third of the way through the guitars step up and rock out in a Molly Hatchet meets Led Zeppelin style. “This Day” is a gentle song to fade out the album is a style similar to latter day Pink Floyd.

This is a good commercial pop rock album with progressive elements coming through in the guitar work. I’ll have the admit that listening to the instrumentals I would have like to have heard some of the other tracks ‘rock out’ a little more. Having, said that John and his music give out a positive vibe and making this album a joy to listen to.

More Info: http://rickmanwiller.com/

Verdict: Quirkiness works!

Rick Manwiller is a member of Dakota, playing keyboards, guitar and also doing some of the vocals. I’m not too sure what is happening with Dakota, it has been quite a while since their last album. In the meantime we have new solo album from Rick to listen to. In fact, this is his third solo album, having previously released “Another Fine Mesozoic” and 1998’s “Living at Square One”.

The album starts off with a West Coast meets Billy Joel pop track, “Going Nowhere”, that is what I’d expect from Rick. “Answers” follows this by adding a little of brass to the formula. The third track, “Cadaver Dogs”, which is my favourite track, is a West Coast track that wouldn’t be out of place on a Toto album. The album then slows right down with a country rock ballad called “Red State Blues”.

The next track, “Attack Yoseff” heads off in a Blues Brothers direction. Get your Pork Pie hats out! The album heads off in another direction with a jazz-funk fusion style that again has hints of Toto on “I Got 2 Go”. “Pathocrazy” is full of weirdness and reminds me of Rob Zombie of all people. In total contast “The One Who Got Away” is a ballad with a Richard Marx meets Garth Brooks vibe. The brass section comes out again for “Rokki The Porn Star” but the jazzy chorus I actually find rather annoying and I seldom listen to the whole track.

Happily “Easy Way Out” has the album back on track with a song that will please Dakota fans. The West coast meets funk of “New Shoes” helps it win the prize for the catchiest track. The quirkiness that gave us “Pathocrazy” is back on “Krunk” which sounds like Toto doing battle with The Smurfs (yes, The Smurfs!). The album closes with a warm sounding, track called “The Best That I Could Do” which features some great storytelling lyrics.

Reading some info at Rick’s website it seems that the album is split into two sections (yeah….just like the 2 sides on good old vinyl albums). The tracks up to and including “Pathocrazy” are devoted to Rick’s commentary on the his “love of politics” (or maybe more accurately his gradual disillusionment with politicians and the political system), whilst the second half, “the politics of love” deals with more routine rock song lyrical content.

When I reviewed the Anti-M album earlier this month I summed it up by saying “Diversity works!”. Maybe I’m being lazy, but the same summary applies here. Ah! Hold that headline, I’ve thought of a twist on that - “Quirkiness works!”.

More info: http://www.anti-m.com/, www.myspace.com/antimband

Verdict: Diversity works

To fully appreciate this album you first have the know the history of Anti-M. The first album by the band was a surfing concept album called “No Waves In Hell” which seems to have been a none too serious attempt with the focus on electronic synth music but with quite a quirky mix of styles. For the second album the band went for a Depeche Mode approach with Ronnie Montrose on guitar helping the band to get more exposure. During the lead up to this third album John Wardlaw discovered female fronted goth rock bands such as Lacuna Coil, Within Temptation and Evanescence and Barbara Moseley, who had guested on the second album, was asked to join as main vocalist. The band is completed by Jon Moseley on guitars, Ruston Slager on keyboards, John Wardlaw on (guitars, bass, keyboards +) and Derek Poultney on drums and programming.

The references to female goth rock bands and the presence of Ronnie Montrose on a previous album certainly hint a rock affair, but the band haven’t abandoned their past completely, which makes for a interesting journey through the album tracks.

“Dream in Metaphor” has a spoken vocal and Spanish guitar at the start before moving onto more determined guitars and a electronic programmed backing, which is the type of music you might expect on a guitar player’s solo album. The female fronted goth style mentioned earlier takes over on the next couple of tracks - “Let U In” and “Damage”.

When it comes to sheer beauty the winning track has got be “Deep” where Barbara’s vocals simply shine. In contrast “Rage” has an epic middle eastern vibe. The relaxing “It’s All Inside” changes pace and vocals to male. “Little Things” is a mid-tempo track that evokes thoughts of Suzanne Vega’s Luka. The first time I listened to the next track “Beautiful Babe” I thought I had some sort of computer virus as David Bowie seemed to appear from nowhere. In fact, Anit-M feature 3 vocalists with the third one sounding very like Ziggy in his 80’s Let Dance persona. “Waita While” is another chillout session from vocalist No. 2.

The reason I went into the band’s past at the start of the review was because their electronic past surfaces on “Rose Of Love” and “Godzilla vs Rodan”, especially the latter which is hardcore electronica.

“Into The Rain” moves things back into more of a rock vein as it builds up into a slow guitar workout. “Incineration” cranks up the guitars for a short instrumental. “Shiver” leads into the slow rock ballad “Damage In The Dream”. As “The Sixth Extinction” get into full flight it seems like Tangerine Dream might have been an influence somewhere along the line. “No Kill I” seems like it is going to close the album with a Gary Numan/Kraftwerk electronic affair but the guitars take over, then Barbara’s vocals cut in and the band rock their way to the end.

Quite a long journey at 70+ minutes and quite a diverse one. It seems like there is at least 3 different bands - electronic, female fronted goth & progressive instrumental rock - trying to grab my attention. When thrown togther in the melting pot that is Anti-M, the result is an interesting album that is well worth listening to.