REVIEWSAlbum

MÖTLEY CRÜE CRÜCIAL CRÜE: THE STUDIO ALBUMS 1981-1989

Given the raw amalgam of punk and glam that underpinned Mötley Crüe’s edgy and fiercely independent self-produced debut Too Fast For Love, few could have predicted the band would evolve into the bloated corporate rock machine set to roll through the UK alongside Def Leppard later this year.

British fans will get to enjoy the unique experience that is latter-day Crüe at least one more time during this summer’s Stadium Tour reboot. However, rather than pay an inflated ticket price to witness a band way past its prime, the more sensible move might be to invest in this shiny celebration of the glory years.

You see, long before Vince Neil and co. lost their way (and lost the battle against advancing years), the Sunset Strip’s poster boys were bona fide game changers laying waste to West Hollywood and beyond. During the 1980s Crüe were synonymous with playing hard and partying harder and within a decade the politically incorrect bastard sons of the Sex Pistols had delivered five back-toback records that soundtracked an era of relentless excess. All five and more have been remastered, reworked and remixed to death in the intervening years but that hasn’t deterred BMG from repackaging Too Fast For Love, Shout At The Devil, Theatre Of Pain, Girls Girls Girls and Dr Feelgood one more time.

So what’s new? On this occasion there’s the promise of each record reimagined as a flamboyant splatter vinyl recollecting many of Crüe’s more questionable fashion choices back when denim and Lycra were glam metal’s go to uniform. Housed in a leather-look box with embossed silver logo, there’s no doubt this premium package looks like the real deal. For a band often accused of favouring style over substance, Crücial Crüe is an appropriately colourful retrospective.

Kicking off with a relatively conservative black and white splatter (the visual calm before the storm), 1981’s furious Too Fast For Love is the sound of a band with nothing to lose but so much to gain. Nikki Sixx’s songwriting might have been in its infancy but the electric Live Wire and tantalising title track hinted at the stadium anthems to come. However, if the band’s naivety was all part of the charm during those formative years then it didn’t take long for the marketing men to latch on to a serious money making opportunity. Crüe’s flamboyant looks and earworm hooks were ready made for the FM radio/cable TV generation and 1983’s Shout At The Devil shifted a sensational 200,000 copies in its first week.

If Looks That Kill and Too Young To Fall In Love failed to gain a foothold in the upper reaches of the Billboard Hot 100 then Crüe’s reputation as the bad boys of glam rock was gathering pace. Kicked off Kiss’s tour prior to recording Shout At The Devil and unable to kick their addiction to drink, drugs and partying after the album’s release, the band’s off stage antics became headline news. Crüe’s bad behaviour, just as much as their bad-ass tunes, helped propel their second long player to quadruple platinum status. If the yellow and black splatter included here is more Stryper than Crüe then it’s still an insanely attractive disc. But it doesn’t come close to the so-called hot pink magenta/black splatter brilliantly setting off 1985’s breakthrough UK release Theatre Of Pain. With Tom Werman back as producer this was the top six Billboard smash that secured glammier-than-ever Crüe a truly global footprint.

Released against the backdrop of Hanoi Rocks’ drummer Razzle’s tragic death — at the hands of a drunken Neil — Theatre Of Pain landed with a bang inside both the Billboard Top 10 and the UK Top 40. Increasingly famous or progressively infamous? It didn’t really matter to Crüe’s laissez faire paymasters as the band’s crisp cover of the Brownsville Station hit Smokin’ In The Boys Room, über ballad Home Sweet Home and plenty more scrapes with the law kept them front and centre of the serious music mags and the gossip hungry tabloid rags.

By the time Girls, Girls, Girls (presented here on cyan blue/black splatter) added to 1987’s spectacular hair metal canon, Neil and co. were on a roll. The album that soundtracked an increasingly riotous lifestyle — the title track, Wild Side and Bad Boy Boogie leaving little to the imagination — debuted at number two on the Billboard chart and became Crüe’s first top 20 UK album. A decadent record released in different times, Girls, Girls, Girls nevertheless reveals the Sunset Strip’s scene leaders at the peak of their powers.

If Girls, Girls, Girls represented the meeting point between glam metal and stadium rock then Dr Feelgood (check out the Coke bottle green/oxblood splatter combo!) was evidence of Crüe’s eyes fixed firmly on the corporate prize. Within a decade the band had gone from rough and ready wannabes to polished multi-platinum performers. And if ripe upstarts Guns N Roses had already usurped the Crüe as the most dangerous band in the world then Neil, Sixx and Tommy Lee were still more than capable of testing the old adage that all publicity is good publicity.

Dr Feelgood represented Mötley Crüe’s final flirtation with Top 40 chart success (notwithstanding the 1991 remix of Home Sweet Home) in the shape of the anthemic title track, Without You and Don’t Go Away (Just Go Away Mad) and the band’s only number one album bookends this hugely satisfying recap of those prolific, often anarchic early days.

One for the trüe Crüe completist? Maybe. But such is the splendid range of splatter vinyls here there’s plenty to pique the interest of those harking back to hair metal’s kaleidoscopic peak — Crüe fan or not.

Words by Simon Rushworth

Beyond The Black Beyond The Black

Formed in Mannheim, Germany in 2014 symphonic metal band Beyond The Black unleash their selftitled fifth studio album via Nuclear Blast Records.

Featuring ten songs plus three bonus tracks, it opens with ‘Is There Anybody Out There’. Ear mauling riffing is pinned down by wrist-snapping snare work. Sweeping orchestral strings and a melodic lead vocal from Jennifer Haben add poise, especially when the shout-out loud and proud choruses break free from their shackles.

An eerie intro for ‘Reincarnation’ heads into another raucous riff, and infectious choruses arrive early on headbanging grooves and band backing vocals. A symphonic metal masterclass comes from ‘Free Me’ as stratospheric height vocals could melt the coldest heart as the rest of the band roar along with 100% conviction, ending on a quivering vocal.

‘Winter Is Coming’ is truly joyous as uplifting lyrics herald a full-on metal meltdown to thaw out this winter. Choruses are belted out with chest-beating, call-to-arms clamour. They tip their hat to power metal furore for ‘Into The Light’ and come out with their heads held high and mighty to bring the hammer down.

A ballad of beauty sees ‘Wide Awake’ ebb and flow on a serene vocal that soothes the soul for four fleeting minutes, picking up pace midway on orchestral strings and sparse snare patterns, ending on a histrionic vocal and guitar solo. ‘Dancing In The Dark’ slams in with a pit opening riff of loud and proud fury, full of stadium-filling choruses and fretboard-burning solos.

‘Raise Your Head’ is a speaker-rattling rocker, and nirvana is reached from all-consuming choruses and molten metal guitar solos. The fuse is lit for ‘Not In Our Name’ to explode with lung-busting vocals that add muscle to the sumptuous choruses. The final track, ‘I Remember Dying’ is a potent ballad of an operatic vocal that swoops and soars around heartbreaking choruses to forge towards a thrilling outro.

Words by Dennis Jarman

THOSE DAMN CROWS INHALE / EXHALE

Welsh natives Those Damn Crows continue to walk their industry-championed line between hard rock and metal with their latest album release ‘Inhale/ Exhale’. Though the title may suggest otherwise, this ten-track record barely leaves room to breathe as the guys prove themselves once again worthy of those main stage antics. The mixes are slick, and the compositions are neatly strung together with iron instrumentations and rasp-filled vocals.

The whole album feels like one sucker punch fist to the sky. Easing us in it doesn’t take long before those epic, soaring choruses take centre stage. ‘Takedown’, ‘Man on Fire’ and ‘Wake Up (Sleepwalker)’ gift us with anthemic sweeps whilst ‘Find A Way’ features some gut-wrenchingly good guitar chug work. Compared to their debut and sophomore releases, Inhale/Exhale kicks the production up a notch. It’s what you’d expect to get when working with producer Dan Weller, but the subtle postproduction twinges and metalinfused sonic layers are really what make the album step forward from the rest.

Frontman Shane Greenhall’s vocals are tightly layered for that usual big Those Damn Crows sound, but we also get some clear cut-throughs on ‘See You Again’, lending itself to Greenhall’s hard rock range. Lyrically the whole album feels like a proclamation of self-strength, but it’s that final pocket of gold track, ‘Waiting for Me’, that bittersweetly rounds off the whole thing with applause. It’s rough-hewn rigour with plenty to stick on repeat. As a bundle, the record does feel written for those big stage shows, but it’s got enough intimacy to keep it bold but dear.

Words by Monty Sewell

Black Star Riders Wrong Side Of Paradise

Marking their 10th anniversary with this fifth album release, Wrong Side Of Paradise reminds us how far the BSR musical adventure has travelled. It’s been a rewarding sonic trip that has seen members depart along the way as the redoubtable frontman Ricky Warwick drives this band forward. Warwick’s creative force and defiant spirit are reflected in his committed delivery of WSOP’s eleven tunes.

The opening title track proves as much with its dystopian world gone wrong message delivered with powerful defiance by Warwick. Hustle details the travails of modern life in trying to keep the show on the road with a never say die attitude. There will always be a poignancy to Warwick’s vocal tone. It’s what got him the call of duty as frontman of the reformed Thin Lizzy touring band which elided into the Black Star Riders. While Scott Gorham isn’t present on this recording, he and Jimmy DeGrasso will join the UK tour. Nevertheless, longstanding BSR friend, Jay Ruston, has brought together all the recognisable vocal, songwriting and performance ingredients expected of a Riders recording fans first heard on a couple of singles at the back end of 2022.

Particularly Pay Dirt which digs a deep rock groove. Moulding a Northern Irish saying into a cracking hard rock song, Catch Yourself On is a reminder not to take oneself too seriously, stupid! This probably explains the inclusion of a cover of The Osmonds’ Crazy Horses and, whilst this take doesn’t deviate much from the original song, it produces fun vibes as does this album overall which is the salient element to a good hard rock record. This is a very good hard rock record and one in which Ricky Warwick can wear his Black Star Riders badge with justifiable pride.

Words by Paul Davies

Doomsday Outlaw Damaged Goods

The third album from Doomsday Outlaw has seen the band guided by Chris D’Adda (Deaf Havana) and Dave Draper (Wildhearts, Terrorvision). This partnership and the way the band have evolved over the last couple of years, has produced their finest work to date.

The twelve tracks featured on the group’s latest offering are strongly linked to frontman Phil Poole’s personal life. The vocalist has said, “This album is a continuation of the stories of my life, played out for all to see, filled with heartbreak and redemption. My own version of therapy, Damaged Goods is the latest chapter in my life.” When you hear Poole sing on this, you get the message loud and clear. He puts his heart into every single lyric.

‘In Too Deep’ is a familiar song to start the proceedings. The band brought it out as a single and have played the track live on stage. It’s a slow burning number with a heavy thump of a melody and lashings of bass from Indy Chanda. ‘If This Is The End’ takes it down even further, a powerful and seducing number, while ‘You Make It Easy’ grates and rumbles. The sunken riff is earth-shaking - it’s so deep.

Guitarists Alessio D’Elia and Rowan O’Sullivan pair up on some amazingly structured chords. ‘Runaway’ was the first single released and is a stirring piece, the drums of Nic Rudd being quite a force. The ease of how ‘One More Sip’ drifts along, is quite a shift in the pattern as we hear more of a chorus. ‘Walking The Line’ is a gradual build, a stupendous track with so much soul from Phil again. They end on ‘The Little Things’ and the title is the perfect description for this eloquent and graceful coda.

‘Damaged Goods’ is intense, emotional, and powerful, it will definitely be one of the top albums for this year.

Words by Diane Davies

Host Ix

Host is the new spin-off band from Paradise Lost, formed when vocalist Nick Holmes and guitarist Greg Mackintosh decided to come together and create a new sound. Their debut album IX combines Paradise Lost’s classic gothic metal sound with – of all things – a euro-pop beat.

The album was initially a disconcerting experience: the beat at the start of the opening track, Wretched Soul, gave little clue as to how the song was about to develop. However, the sound soon comes together to form a pleasingly cohesive ensemble. This is most notable in the second track, Tomorrow’s Sky. The euro-pop electronica is there at the start, but it quickly becomes enmeshed with an overarching classic gothic sound. Nick’s vocals remain as powerful yet haunting as ever.

IX is a comparatively short album, but it is one that is tightly written and composed. There are no fillers or bloated guitar solos that need to be endured. Each note, riff and lyric are there for a reason and that is what makes it such a compelling listening experience.

IX’s running order concludes with a cover of A Flock of Seagulls’ 1982 hit, “I Ran.” In this cover, Host take a unique twist by flipping the original on its head and transforming the song into something that feels cold and barren.

Despite the initially disconcerting experience, the album soon comes together to create an entirely unique sound and one that would be especially appreciated by those who already enjoy music from both the goth and EBM scenes.

Words by Peter Ray Allison

Jamie Kyle Wild One

Proclaimed as ‘The Goddess of Hard Rock’, Jaime Kyle is not only a multi-award winning songwriter (her work has achieved 19 million sales worldwide), but she has also performed and recorded with some of the biggest names in the business, such as Bad Company, Toto, ZZ Top and Foreigner. Her music has been covered by so many top performers, take ‘Wild One’ for example, this song was recorded by Faith Hill and topped the charts for four weeks, it was also covered by Kelly Clarkson.

Feisty and determined, Jaime is never downtrodden, her positive attitude has won her numerous accolades, including being the first female from Nashville to achieve a major Rock deal in New York. Jaime’s powerful vocals and engaging spirit are the reasons she is seen as one of the forerunners of female artists that led the way for those like Taylor Swift. This new album was kindled by Jaime’s childhood in the Kentucky countryside, a place that allowed her imagination to flow. Jaime explains, “It’s about not being afraid to follow your own dreams and believing in yourself in the face of adversity.”

‘Wild One’ is a collection of twelve compositions that display the outstanding talents of this writer, performer, and producer. Besides the powerful title track and ‘Driving with The Brakes On’ that features Kris Barras on guitar, there are tranquil moments with ‘Blue Night’ and ‘Not About Love’. More gritty numbers like ‘Perfect Love’ and ‘Dirty Goodbye’ and the sublime ‘Broken’ provide contrast and leave you astounded. There is so much depth and creativity woven in these numbers.

I can hear Country roots and Rock inspiration combined with the smoothness of the production. ‘Wild One’ is an album that you can play whatever mood takes you, a stunning piece of work.

Words by Diane Davies

The Quireboys Orchestral Quireboys

Schisms primarily occur in bands when simmering hostilities boil over especially when longevity breeds contempt between equally strong-minded members. Internal band politics, often petty, and the power play shift back and forth and come to a head as members splinter off to then argue their claim to the naming rights. This spectacularly occurred when The Quireboys found it necessary to eject founding singer Spike and continue to forge ahead without this mercurial frontman and, on the evidence of this album, the sold-out show this live recording is culled from proved to be a genius move. Under the guidance of Guy Griffin, the redoubtable guitarist since their debut album, A Bit Of What You Fancy, who has also stepped into the role of lead singer, the future looks very bright indeed for these veteran rockers. The addition of an orchestral backing from a string quartet and brass trio adds a finesse to the raw and gritty rock rumble across this sixteen-track selection from an eventful career, so far. Griffin is ably assisted by mainstays Keith Weir on keyboards and Paul Guerin on guitars plus Pip and Nick Mailing bringing up the rhythmic rear.

The contrast between crunchy rock blending with a sophisticated classical sheen, delivered by informally and formally trained musicians, has always been an alluring temptation for rock bands. On the evidence of this release, The Quireboys avoid the bear trap of pretension that awaits most rock bands who attempt such endeavours. Blackwater, from 2008’s Homewreckers & Heartbreakers record, particularly proves this point. The ‘taking it back to church’ southernhued swirl of guitars and organ swings a devilish rhythmic punch for the angelic string and brass section to glide over. Whilst not quite in the league of Little Feat with The Tower Of Power Horn Section -what is? - the addition of brass delivers a Louisiana vibe that works well with these oldschool tracks. Checking out how debut album ditty There She Goes Again’s barroom swagger and Original Black Eyed Son is transformed by joyous brass, hold out hope for a further studio orchestral collaboration. This live recording favourably fills a lacuna in new music from a band undergoing a major transformation and fortune certainly favours this brave band on this finely orchestrated release.

Words by Paul Davies

Jared James Nichols Jared James Nichols

On January 13th, 2023, Nashville based singer, guitarist, and Gibson brand ambassador Jared James Nichols released his self-titled third album via Black Hill Records. And judging by the power of these twelve songs, it’s more unleashed than released!

The album opens with ‘My Delusion’, but it’s far from delusional as his Gibson howls around bouncy grooves, and the rhythm section is no slouch, adding a backdrop for a put up or shut up vocal from Jared. Other highlights include the feisty ‘Easy Come, Easy Go’ as huge riffs up the intensity ante for four minutes of air guitar heaven. Nichols’ slinky slide work and ferocious feedback brought to mind early Ted Nugent.

A mean and moody vibe from ‘Down the Drain’ flows through this blues with balls heartbreaker, reflected by the emotion in the vocals. Wahwah guitar touches howl at the moon towards bombastic choruses.

‘Hard Wired’ is a yanking, cranking beast of a song as a skin flaying feedback intro settles into a steady pound for an ebullient earthshaker that settles down midway with dreamy guitar lines until all hell breaks loose for a fretboard burning outro.

‘Bad Roots’ is a bass heavy headbanger that rages hard and heavy on a hot rails to hell ride on an almost whispered vocal until it muscles up for a twenty four carat riffed outro. ‘Skin N Bone’ is a soul-searching ballad but with balls that loses none of its power for a short but sweet number to sooth the soul.

The album rather aptly concludes with ‘Out of Time’. A song that has a psychedelic feel that evolves from a serene intro of sparse guitar, bubbling bass, and one final blast of guitar. Job well and truly done!

Words by Dennis Jarman

Tarja

BEST OF: LIVING THE DREAM

With an impressive solo career that now spans well over 15 years, Finnish songwriter and soprano, Tarja has amassed a wealth of incredible material which is on show here in a collection of remastered hits and personal favourites. First up on the album however is a brand new track, Eye of the Storm. Opening with a haunting, almost tango-like melody which gives way to a more traditional symphonic metal feel. The song feels like a musical tapestry is being woven which combines folky melodeon phrases and crunchy guitar riffs with Tarja’s own inimitable soaring vocals to amazing effect.

The journey through Tarja’s selections begins with the single, I Walk Alone from her 2007 album, My Winter Storm. Glassy arpeggios mixed with orchestral hits, vocal harmonies and epic chorus combined to make this one of Tarja’s most commercially successful singles, seeing it chart in the top 50 across Finland, Germany, Austria and Switzerland. From the same album, there is also Enough and the alternative version of Die Alive. Among the showcase of singles can be found treasures such as Diva from 2016’s The Shadow Self. A captivating tune with an almost carnivalesque vibe that builds with swelling strings and a blasting horn-section before segueing into an amusing break at the circus and back again. You definitely get the feeling that this one is here as a self-deprecating nod and cheeky reminder to herself of some of the politics and relationships she has experienced over the course of her career. Other highlights on the album include the soulful radio remix of the ballad, I Feel Immortal from the 2010 album What Lies Beneath. Also, some of Tarja’s most impressive collaborations are featured here with artists such as Alissa White-Gluz, Björn “Speed” Strid and Jason Hook.

In summary, this release represents the highlights of a truly phenomenal career so far and the promise of so much more yet to come.

Words by Simon Potthast

NOT NOW NORMAN IT’S NOT THIS ONE

Named after a misbehaving Cockerel, Taylor Grace Mitchell founded her band in 2019. Having a disability that affects her bones, she has faced bullying and the mental health issues that arise from being ‘different’ and overcoming them. These days she is full of self-confidence, and with Dad, Zander Brown on guitar to push her even more, the emerging band from the North-East have dropped a thirteen-track debut album that lies in a similar vein as Novacrow and the late lamented ‘Tomorrow Is Lost’, although NNN has more Classic Rock elements.

Taylor has a sharp and direct approach to her vocals that match her personal lyrics. We are in battle mode as ‘Judas’ and ‘What I Want’ revive life experiences, and the words of unrequited love on ‘Houston’ are some we can all relate to.

‘Little Frankenstein (The Franken-Lee Remix)’ is an offensive remark that Taylor once faced, but she has answered the name-calling with humble retaliation, “I know I’m in pieces, the pain never ceases, that ain’t gonna change, it doesn’t prevent me from being the best me”.

‘Little Cheryl’ has a really simple kick and echoes ‘The Pretty Reckless’ and ‘Joan Jett’ in particular, both influential figures for Taylor. The more strident ‘Shut Your Mouth’ and last track ‘End of Day (RELOADED)’ are both filled with guitar riffs that surge frantically before the cheeky giggle on the latter has the final say.

This isn’t just another female-fronted band; this is a girl who despite everything, can write songs about personal problems and difficulties, turning them with a ‘back in your face’ attitude. Having already supported bands like ‘Follow Deep’ and ‘Scott Cavanagh’ and reaching runner-up place at NE Volumes ‘Battle of the Bands 2022’, this is a band you shouldn’t overlook.

Words by Diane Davies

Avatar Dance Devil Dance

Dance Devil Dance is Avatar’s 9th studio effort, featuring eleven tracks of what might be known as Swedish heavy metal.

The album features heavy riffs, blended with some occasional grunt work and a little dose of synth, and sound effects to compile this opus release. There are some great tunes here, kicking off with “Dance Devil Dance”, a statement to give direction to the rest of the album. You would be hard-pushed not to tap your feet on this tune with a great hook to get into the groove. Followed by “Chimp Mosh Pit”, you can imagine the live reaction just by the song title.

“Valley of Disease” follows with an aftertaste sounding a bit like Killing Joke to me, pounding your ears gracefully. “On the Beach ‘’ features more grit and wit, pulsating through your hi-fi if you’re willing. “Do you feel in Control” is a complete mosh pit in itself and is sure to have you stomping around in no time.

“Gotta Wanna Riot” is pure joy, with a little inspiration from Slipknot, if I dare say so myself. Nevertheless, I would insist you give this a twirl and don’t forget to turn it up to eleven. Next up, “The Dirt I’m Buried In”, would be the commercial side of Avatar featuring verses to dance to and a chorus line for all to join in.

“Clouds Dipped in Chrome” is another riff-laden stomper for the arena, with a fair amount of anger and passion in this little number. “Hazmat Suit” follows sounding more like traditional metal, for me, the weakest track of the album. However, the penultimate number, “Train”, shows a different angle to the band’s song writing. It tells a story reminiscent of a 50s horror flick narrated by Vincent Price, perfectly executed.

The album closes with “Violence No Matter What’’ featuring none other than Lzzy Hale. A classic for Avatar, a song made for Rock/Metal radio for sure.

Words by Russell Peake

Jethro Tull Rokflote

This fleet fluted follow up to ‘22’s ‘The Zealot Gene’ finds Ian Anderson immersed in Norse tales hence the Rock Flute twist on this album’s title. Originally intended to be an instrumental release, Anderson once again adopts the Jethro Tull moniker to deliver a softer folkish rock album in keeping with the continuity of recent Tull and Ian Anderson solo releases. In fact, this is the sound of Ian Anderson continuing to construct a fine third act in a music career that has few parallels. It’s a third act that began with 2012’s ‘Thick As A Brick Part 2’ then ‘Homo Erraticus’ released under his own name. This album, along with last year’s ‘The Zealot Gene’, finds Anderson resurrecting the Jethro Tull brand. However, they are albums that slot seamlessly into the exclusive ranks of Ian Anderson’s exceptional solo discography.

‘RokFlote’ tellingly begins with an old Norse prophetic poem about the story of the creation of the world, its end and rebirth as Voluspo morphs from a beguiling narration into a flute of the gods poetic musical force. Tull fans were first alerted to a new album of music with the release of the single, Ginnungagap, filling the void with its sophisticated rock arrangement reminding of the compositional excellence one expects from Tull songs. This record has many such instances as Ithavoll, the meeting place of the god’s noted in Voluspo, is underscored by fuzzy guitar and pounding percussion. Smelting together the Thor and Odin mythology, Hammer On Hammer fashions a melodious tale of battle. Wolf howls ring out on the intro to Wolf Unchained as a chugging guitar motif blasts forth on possibly this album’s rockiest track. The fine mix of accordion, organ and flute clothed in a sparkling coat of folk-rock music on Trickster (and the Mistletoe) reminds of similar compositional instrumentation to be found on Tull’s ‘Broadsword And The Beast’ record. Similarly, The Navigators’ synths and guitar riffs hark back to ‘Broadsword’s’ admixture of old-world lyrical themes and heavy folk rock music. As does Guardian’s Watch with Anderson’s cultured arrangement of melody and complementary acoustic and electric instruments.

Overall, even though it is a restrained, quiet production, RokFlote is a recording that rewards upon repeated listen. In a para-physical context, one can imagine this subtle and carefully hammered into shape Norse tales inspired album will be warmly welcomed on Valhalla’s huge sound-system by the legendary Odin himself.

Words by Paul Davies

DOKKEN THE ELEKTRA ALBUMS 1983 - 1987

According to a reflective Jeff Pilson, the man who replaced Ratt-bound Juan Croucier with Dokken on the cusp of an MTV breakthrough, it was the egos that killed hair metal’s most gifted nearly men. Forty years after the highly regarded bass player jumped aboard a full-throttle rollercoaster ride of riotous rock and roll excess, it’s with a sense of regret, rather than celebration, that he looks back on the most colourful period of his storied career.

In a recent chat with the revealing Rockin’ Interviews podcast, prior to the release of this peakera boxset, Pilson admitted that Dokken’s various members — including outspoken founder and frontman Don Dokken — ‘just couldn’t get past our egos’.

And Foreigner’s rhythm king is in no doubt that failing to overcome those divisive personality clashes ultimately cost the band its best shot at hard rock’s big leagues. Maybe.

Or perhaps it was because of — rather in spite of — those egos that Dokken came so far in the first place.

Self-confidence and bravado often go hand in hand with prodigious talent: had it not been for Don Dokken’s single-minded approach being at odds with sidekick George Lynch’s fret-fuelled tunnel vision then a band that released three platinum albums on the bounce might never have made it out of the starting blocks.

‘New recruit’ Pilson might never have experienced the glamour, the glitz and the girls.

And Dokken might have stalled long before Billboard Top 20 smash Back For The Attack cemented a legacy well worth revisiting.

If the Los Angeles quartet was looking for a USP prior to the North American release of critically acclaimed debut Breaking The Chains they probably wouldn’t have chosen in-fighting and infantile squabbling as their tour de force.

Yet part of the fascination with Dokken — even in the early days — was that the singer and lead guitarist never really appeared to get on.

Professionally their potent partnership yielded some of the finest hard rock music of a generation and yet personally Dokken and Lynch simply didn’t hit it off. Band mates don’t have to be good friends in order to create damn good music. And let’s face it — Dokken’s band mates were never best mates. They didn’t need to be.

The Elektra Albums 1983-1987 is remarkable proof that conflict can, on occasion, reap rewards. And this long overdue five-disc set offers a stunning snapshot in time as Dokken somehow triumphed in the face of self-inflicted adversity.

If the reworked and remixed Breaking The Chains — the album was available in Europe two years prior to its US release — failed to capture the imagination of fans Stateside then tracks like Live To Rock (Rock To Live) and Nightrider did, at least, scream potential.

And there was just enough quality to persuade Elektra to give Dokken a second chance.

Redemption arrived in the shape of 1984’s feisty follow-up Tooth And Nail — an entirely apt title given that Dokken and Lynch were already at each other’s throats and unable to work in the same studio together.

Those strained labour conditions led to original producer Tom Werman handing over the reins to Roy Thomas Baker but the unlikely result was a sparkling example of genre-defining mid 80s commercial rock.

Into The Fire, Just Got Lucky and Alone Again all muscled into the US rock charts on the back of smart marketing and watchable videos — the combination of Lynch’s soaring solos and some seriously smooth vocal harmonies pacing a record many believe was Dokken’s best. Even the gamble of introducing the album with a 95-second instrumental paid off: almost Without Warning the flamboyant Lynch looked capable of giving Eddie Van Halen a run for his money.

Buoyed by the relative success of Tooth And Nail, a rejuvenated Dokken went for broke on 1985’s Under Lock And Key. Peaking at 32, it stuck around the Billboard 200 chart for an impressively stubborn 67 weeks with singles The Hunter, In My Dreams and It’s Not Love reminding the masses that Ratt didn’t have a monopoly on polished west coast glam rock.

Widely described as a US take on Def Leppard’s Pyromania, the unbreakable Under Lock And Key was masterfully helmed by production duo Neil Kernon and Michael Wagener.

Sonically superior to Tooth And Nail, the band’s third long player perfectly showcased Lynch’s impressively light touch as the dextrous six-stringer accelerated towards true guitar hero status. But how did Dokken feel about his sidekick’s seemingly unstoppable rise?

As long as Under Lock And Key maintained its relentless push towards platinum status it seemed the best of enemies were prepared to grin and bear it. Two years later and Dokken were back. Back For The Attack. And with a remixed version of hit single Dream Warriors bolstering an already rock solid setlist it appeared Don and George — despite their differences — were set fair for the stellar career their individual talents always deserved.

The brilliant Burning Like A Flame benefited from some Bob Ludwig wizardy as the master mixer sprinkled his magic all over the made-for-MTV hit. And Lynch’s four-minute instrumental Mr Scary was simply sublime.

Spread across two discs to complete this definitive 5xLP set, Back For The Attack still stands toe to toe with 1987’s most coveted releases — Hysteria, Appetite.., Whitesnake’s ’87 et al — as an example of technology and talent combining to create something truly special.

And perhaps Don Dokken realised his band’s ‘classic’ line-up had finally run its course against a backdrop of bad blood, brilliant songwriting and the odd Billboard hit. Two years later Dokken broke the chain…allowing Lynch to walk and closing the book on his band’s greatest chapter.

Words by Simon Rushworth

GRANDMA’S ASHES THIS TOO SHALL PASS

Paris alternative trio Grandma’s Ashes have pulled it out the bag with their most recent release ‘This Too Shall Pass’. An album that is a perfect representation of how this band have nailed the art of intertwining genres to create a perfectly unique hybrid of sounds, covering everything from classic 90s grunge, progressive rock, hard rock and even elements of traditional folk.

We are given a delicate opening number with the beautifully layered acapella piece titled ‘À Mon Seul Désir’ setting a tremendous tone for what the rest of the album must hold. Second track in and we are hit with the punchy track ‘Cold Touch’ as a refreshing contrast to the introduction. A unique element to this release is the interlude tracks which break up the album as little pockets of sound surprises, highlighting technical vocals and gorgeous melodies. Every track had me hooked and intrigued to hear more with a few highlights of mine including Aside and Borderlands, both of which showcase a variety of sweeps and swerves with true musicianship.

A solid release that I hope is just the beginning for this talented group!

Freshly endorsed by Oranges Amplifiers, they are going to wreak havoc on stage for a while! Grandma’s Ashes’ new album ‘This Too Shall Pass’ arrives on February 17th 2023 via Nice Prod.

Words by Charlotte Hooper

THE ROLLING STONES GRRR! LIVE

There is no other living band as well connected as The Rolling Stones as this live album package proves with its blue-chip roll call of special guests. Culled from the Stones archives, this 2012 concert, recorded at Newark, NJ on their 50 & Counting Tour, is an intoxicating document of a band celebrating its half-century landmark. The entire concert CD also contains the then two new tunes Doom And Gloom and One More Shot recorded in a flash at a Paris studio prior to this tour. The Stones reconvened following a five-year hiatus after their two-year global trek Big Bang tour ended in 2007 and witnessing this CD/DVD package, it feels like they have never been away.

Recorded and filmed at their December 2012 Newark, New Jersey to commemorate the band’s 50th anniversary, the DVD includes a full concert plus three bonus tracks from a previous night’s show at this venue. With Jagger apering about, Keith and Ronnie riffing in excelsis and an ever inscrutable Charlie swinging perfect time, it’s a sensational on-screen live spectacle, originally shot for PPV, in which all special guests spill their musical guts. Lady Gaga enters the big red-lipped stage to scream her soul through Gimme Shelter. Bruce Springsteen rolls with the Stones on Tumbling Dice and Mick Taylor returns to beef up Midnight Rambler all to the total astonishment of the 27,000 strong audience proving that The Rolling Stones never fade away.

Words by Paul Davies

Joe Bonamassa Tales Of Time

Guitar virtuoso Joe Bonamassa is well renowned for his live albums. The artist has recorded concert albums at some of the most prestigious venues in the world.

This time around we find JoBo at the legendary Red Rocks Amphitheatre in Colorado. But what makes this album any different from the many Bonamassa live albums released in the past? For each concert album that follows, Joe always delivers a show that is unique and unlike the others that came before it.

On this occasion, Joe performed the entirety of his recent studio album Time Clocks plus seminal tracks from his back catalogue.

Up-tempo opening number Notches grabs the listener’s attention at the top of the album. This track really comes to life and features a different dynamic from that found on the studio release.

The Heart That Never Waits is a wonderful slice of blues, that will certainly please the purists out there. Whilst the dramatic sounds of Curtain Call conjure up images of guitar greats such as Jeff Beck.

Bonamassa’s emotive guitar playing during Mind’s Eye is of particular note. Furthermore, just like on the studio album The Loyal Kind is one of the highlights of this wonderful live recording.

The passion, tone, and appreciation of space during Joe’s performance on Known Unknowns particularly stands out. Whilst a poetic airing of Time Clocks showcases a slightly more progressive rock sound to Bonamassa’s repertoire.

The album concludes with a pair of wonderful blues standards by way of Just ‘Cos You Can Don’t Mean You Should, and the riff fuelled Evil Mama.

Joe Bonamassa’s live performances continue to go from strength to strength. If you don’t believe me, listen for yourself.

Words by Adam Kennedy

URIAH HEEP CHAOS & COLOUR

Recorded when the needle of time seemed stuck in a deep and dangerous groove as the pandemic raged around the globe, Uriah Heep found themselves locked down in Chapel Studios firmly under the spell of a creative splurge. Bending their inimitable blend of hard and progressive rock music to their own vision, they crafted familiar musical ideas into the alluring songs that make up this entrancing album. All eleven compositions fit the continuum of their recent studio recordings whilst absorbing the classic 70s Heep sonic tropes for which they are rightly regaled. Having finally caught up with their interrupted 50th-anniversary tour, this 25th studio album finally sees the light of day. Produced by Jay Ruston, who helmed the controls on Chaos & Colour’s preceding album Living The Dream, a chink of recorded light was revealed with the release of the melodic powerhouse single Save Me Tonight. This whetted the voracious appetite of Heep fans for new music from their favourite band.

The influence of this melodic made-for-rock radio single thrums as Silver Sunlight also reveals Mick Box on searing guitar riff and soloing top form. An invigorated Bernie Shaw is also tremendous in the vocal department on possibly his best album performance to date. This quality throwback tune is reminiscent of the Sweet Freedom album era. Also harking back in time, Hail The Sunrise’s archaeologically inspired lyric documents the physical and spiritual toil and reward of erecting a stone circle for solstice worship. It’s dramatically elevated by Phil Lanzon’s swirling keyboards complimenting Mick Box’s guitar work on this mini-epic. Again, this song smartly mixes ancient Heep sounds with the newly discovered melodic hard rock ventures of their recent era. The old and the new continue to coalesce as Heep’s signature vocal harmonies come to the fore in Age Of Changes. Tight percussive and bass work, by Russell Gilbrook and Dave Rimmer, knit the rhythmic force together for Box and Lanzon to stretch out in the solo stakes to high and mighty effect. As if to prove that they can still deliver an epic rock ballad, One Nation, One Sun does the trick as if it’s pulled out of the air by a magical force firmly under Heep’s command. The core of Uriah Heep’s sound is this epic mix of guitar and keyboard motifs, rhythmic groove and, with Shaw’s exquisite vocals, it’s what this band excel at. This album is a recording on which rockers like Hurricane, Golden Light and Fly Like An Eagle sweetly rub up with the elegant, fairy-tale sweep of You’ll Never Be Alone. Such is the majesty of the songwriting herein. It’s akin to crystal rays of melodious music being injected into the ears further expanding the horizons of this line-up as they take the listener with them on a widescreen sonic journey.

As far away from being in goblin mode as possible, the overwhelming verve of Chaos and Colour significantly raises the profile and reputation of this British rock institution. The penultimate and this album’s longest track, Freedom To Be Free, re-enforces this viewpoint with masterful musicianship detailing this engrossing song. Yet, all wonderful experiences must eventually come to an end – until played again – and the final song, Closer To Your Dreams, mixes in all the ingredients, with a touch of Easy Livin’ vibe, that makes this band universally loved. It rounds off an exceptional album where all the songs compete with but doesn’t overshadow each other throughout the entirety of this album’s finely balanced eleven songs.

Words by Paul Davies

COASTAL FIRE DEPT. OUTSIDERS

Unstoppable UK post-grunge outfit the Coastal Fire Dept charge into 2023 with the release of their sophomore album Outsiders.

Opening number What Do I Do sets the scene at the top of the release, with huge sounding fuzzy riffs and wonderful guitar tones. Whilst the heavy bass line featured at the top of Cry Your Heart Out has a subtle nod to bands like the Pixies, to whom the band are huge fans.

The frantic drum pace featured on Gentleman harkens sounds reminiscent of vintage Nirvana. The ferocious nature of the song will inevitably make it a favourite when performed live.

The infectious and emotive guitar riffs featured on Stranger Town immediately draw the listener in. It’s a real earworm from the off. The primordial screaming in the chorus of the song showcases the passion and intensity of vocalist and guitarist Ollie Goddard.

Stranger Town is a wonderful slice of alternative rock. Whilst Loner slows things down momentarily and also encapsulates the feeling conjured up by the album title Outsiders.

The album features an astounding rendition of Gouge Away by The Pixies. Whilst the band could have made a carbon copy of the track, they’ve really made it their own. The song is slightly faster than the original, in this format, it works incredibly well.

Outsiders concludes with the acoustic-tinged number Human Safari. A track that stands out as being slightly different from the rest of the songs on the album.

Hailing from Guernsey, the quartet has quite literally channelled everything into their latest offering. With one foot in the 90s and the other firmly into the present day, Coastal Fire Dept has delivered a release which will please not only grunge fans but lovers of contemporary rock music alike.

Words by Adam Kennedy