CONTENTS 04_Uriah Heep 0 5 _ Tr e a t 07_Impellitteri 0 8 _ S e v e n t h Wo n d e r 10_Dream Child 11 _ C r e y e 12_Reviews 15_City of Thieves 17_Groundbreaker 23_Nazareth Melodic Rock Fanzine The official Frontiers Music s.r.l. magazine Year #14 - Nr. 6 / Issue #89
INGLORIOUS “Ride to Nowhere” (CD / LP / Boxset / Dig.)
KANE ROBERTS “The New Normal” (CD / Dig.)
STARBREAKER “Dysphoria” (CD / Dig.)
JETBOY “Born to Fly” (CD / LP / Dig.)
QUIET RIOT “One Night in Milan” (CD+DVD / BluRay / Dig.)
TOBY HITCHCOCK “Reckoning” (CD / Dig.)
LAST IN LINE “II” (CD / LP / Boxset / Dig.)
SPIRITS OF FIRE “S/t” (CD / LP / Boxset / Dig.)
TORA TORA “Bastards of Bale” (CD / LP / Dig.)
WEST BOUND “Volume I” (CD / Dig.)
FM “The Italian Job” (CD+DVD / BluRay / Dig.)
FIND ME “Angels in Blue” (CD / Dig.)
Editor-in-chief: Elio Bordi Concept, Graphics & Design: Elio Bordi Writers: Bruce E.J. Atkinson, Duncan Jamieson, Barry McMinn, Fabiana Spinelli. Headquarters and general contacts: Frontiers Records - Via Gonzaga 18 80125, Napoli - Italy
Tel: +39.081.2399340/7753 Fax: +39.081.2399794 E-mail: elio@frontiers.it Website: www.frontiers.it
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Editor and publisher: Frontiers Records s.r.l. Copyright©2018 Frontiers Records s.r.l. - All rights reserved. Reproduction in whole or in part without permission is prohibited. Printed in Italy.
Pretty Maids “A Blast From the Past” 12CD Boxset feat. “Scream”, “Spooked”, “Anything Worth Doing Is Worth Overdoing”, “Carpe Diem”, “Planet Panic”, “Wake Up to the Real World”, “Pandemonium”, “Motherland”, “Louder Than Ever”, “Kingmaker”, “Screamin’ Live”, “Alive At Least”. + reissues of individual LPs: “Scream”, “Spooked”, “Anything Worth Doing Is Worth Overdoing”, “Carpe Diem”, “Planet Panic”, “Wake Up to the Real World”, “Pandemonium”, “Motherland”.
Duncan Jamieson: For the first RDC album you used ideas you had collected over the years. How was creating ‘Patina’ different? Jake E. Lee: The initial ideas for all the songs on Patina were new, either something I had in my head, or came up with while playing guitar by myself, or that originated while jamming with the band. I wanted everything to sound fresh. DJ: This one feels more like a cohesive band. How did you decide on who you wanted to play with you? JEL: First of all you have to be able to get along. You don’t have to be best friends but, you’re gonna be around each other a lot, especially on tour, and if someone bugs you early on it’s only going to get worse once you’re stuck in a bus with them 24 hours a day. Musically I look for someone who is not only solid in their foundation but can bring something unexpected and exciting in their delivery. I think I’ve found all that in Anthony, Phil and Darren. DJ: Why did you choose ‘Patina’ as the title? JEL: Patina is a tarnish or sheen, acquired through age and use and valued aesthetically for its worn in beauty. I’d like to think of my music and guitar playing to be in that definition. DJ: The production and mixing on the album is terrific. You really feel your guitar humming and the tone hits that sweet spot. All the instruments can be heard super clearly. Any advice for other bands who want this kind of rich organic sound? JEL: It’s old school engineering. Anthony was meticulous in finding the right microphone, the right combination of microphones, the
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prime angle and placement of the mics, and best hardware compression (if needed) so that when it’s recorded you have everything you need. No fixing it in the mix. No software enhancements. The way we learned to record back in the old days! DJ: You’ve got such a meaty, groovy tone. To your guitar playing. How often do you devote to your guitar these days? JEL: I’m not, in general, a delicate player. I squeeze the neck like I’m trying to choke it to death and pick very aggressively. That has a lot to do with my sound. I find that if I lay off playing the guitar in my spare time, I have a fresher approach to it. If I practice too much, it ingrains itself into my playing, I automatically play what I’ve practiced, which is good for martial arts but, in my humble opinion, bad for musical improvisation. DJ: Of course you played with Ozzy on ‘Bark At The Moon’ and ‘Ultimate Sin’. What did you learn from your experience recording and touring with Ozzy? JEL: I learned a lot about that old school of recording, which I discussed earlier, while working with Max Norman, who mixed Patina, on Bark at the Moon. Touring with Ozzy I learned the importance of moderation, not letting all the fun that can be had get in the way of a good night’s sleep! DJ: Badlands did pretty well but they were a band the critics thought should have done even better. Do you have any thoughts on why the band weren’t bigger than they were? They certainly had the talent. JEL: All a matter of timing, I think. I’d grown tired of the whole ‘80s LA scene. It had become bloated and almost a parody of itself,
and I wanted to do something more raw, dirtier and honest. Then grunge happened and killed off anything associated with the ‘80s, which unfortunately Badlands was. I had heard Badlands being described as a bridge between the ‘80s and grunge, which I don’t disagree with. DJ: You’re a prodigious guitar talent and after your spell with Ozzy other bands must have asked you to join them or audition for them over the years. If so, who? JEL: There were offers, probably the biggest one would’ve been Whitesnake. It was after Ozzy, before Badlands, and I knew that if I took the gig, after having been Randy’s successor, that if I took over for John Sykes I would probably forever be considered the replacement guy. I didn’t want that. DJ: You weren’t sure that you’d even make a second Red Dragon Cartel album. Thankfully you have. What are the chances of their being another one? JEL: Ha! I really don’t know. We’ll see how I feel after the touring. If it still feels good, if I feel like I have something worthy to contribute, there’s a good chance. I certainly wouldn’t do it just to put a dollar in my pocket. DJ: Have you got any touring planned and is there any chance of you coming over to Europe? JEL: We’re starting an American tour in late February followed by Japan in mid April. We’re hoping there’s enough interest in us coming to Europe that we can get there in May. Nothing’s been confirmed as of yet, and if it’s not possible at that time there’s a chance we can get in on the summer concerts. Fingers crossed!
Bruce Atkinson: So back in 2015, a certain mastermind of a record label was hoping for some magic…and he found it in the musical partnership of both of you, Ronnie and Erik!, and it certainly sounds like that magic is repeating itself! Ronnie Atkins: What happened was that I was approached by Serafino Perugino back in 2014 straight after we played the Frontiers festival back in 2014. He asked me if I wanted to do a project with some producer/songwriter who’s name I won’t mention. To begin with I was pretty reluctant to do such a thing since I had no plans at all to do anything outside of Pretty Maids to be honest. However we came to the agreement that I at least would be open-minded and take a listen to whatever came up providing that it was of a certain quality. However the songs the guy came up with for the project was of a some kind of lefthand work standard and was a complete no go for me, which I then informed Serafino who also agreed to that. Next thing that happened was that he introduced me to Erik Martenson who then send me two songs to begin with. Those were “ Hypocrisy “ and “ when death is calling. Those songs were spot on in my musical optics and from being reluctant about doing such a project I was suddenly pretty keen on doing it. And so we did it. BA: “Second Coming” is the second effort for Nordic Union…did the both of you approach this effort any differently than the first? I realise that most of the songs from the debut were written by Erik, so is that the same with this new record? RA: Yeah, the procedure was basically the same so to speak, I was a bit more involved in the songwriting this time though, but merely lyrically ! But basically I had a song from Erik and then just went and recorded my parts.
BA: Again, the first Nordic Union was heavy on social issues, have you brightened up the lyrics on “Second Coming”? RA: Well, I might actually think that this one is a bit darker lyrically ! I personally like writing a bout issues that people can kind of relate to, with out being political sidewise you know. Well in general it’s mostly the vibe of the music that stirs the direction of the lyrics ! BA: With both of you releasing excellent records from your respective groups, and the resulting touring schedules, when did you find time to record the new Nordic Union? RA: It was done over a period of 9 months on and off. But it really went pretty smooth I gotta say. It didn’t conflict at all with our individual schedules. BA: As I began, a wish of magic came true, did either one of you expect such a result when you first got together? RA: I personally didn’t know what to expect. But I had a deal with Serafino that it should be songs of a high standard and songs that I could identify myself singing. So when I had the two first songs from Erik which was “Hypocrisy” and “When Death is Calling” I knew it would be great and never looked back from there on. BA: What’s the story behind the fanstastic single “It Burns”? RA: “It Burns” was one of the first songs written for this album and the lyrics were actually written around a year ago ( when the US/North Corea thing were at it’s high !. I never really wanted to be political in songs ! I’m never choosing side. BUT !! I always wrote lyrics like this, always tried to stick a little whether we were talking politics, relevant isues like the environment or simply injustice. I past the dungeons and dragons thing some 30 years ago :-) ( without disrespect to those
who do that ). I also like to write lyrics from a personal and a emotional point of view and has done that many times through my career but it really depends on what the actually song/ music invites to. It’s the spirit of the song that decides which direction the lyrics eventually takes for me !!. I/We had some critics for these lyrics and that’s just great for me ! Means that people actually listen to the lyrics :-) That was the whole purpose !! And I stand behind every single word in this song!!, Actually one of these songs where you wish there was 12 verses, ha ha !! BA: Pretty Maids and Eclipse have strong identities, and it seems that you are forging a very similar identity with Nordic Union, and I don’t really think you realise this… RA: Well, maybe I don’t ! Never really thought about it to be honest. But however as long as you always do your very best on whatever you do, you can’t really do much more! BA: Erik, you took the helm of production, as you did on the first record, was this part of the work done again at your studios, or did you and Ronnie pick another venue for recording and producing? RA: Well, let me answer for Erik then. The answer is yes it was all done as last time around. BA: As we close this brief interview, I must ask a question that you have heard before…any hope for some type of tour? If so, whom would you like to play along with you on stage? RA: At the moment there’s no touring plans for this project, simply due to the fact that we are both totally hung up with our individual groups as well as other projects. But who knows ! Maybe one sweet day in the future we might give it a go.
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Duncan Jamieson: What inspired you to write a second album based around the legend of Dracula? Trond Holter: We needed 45 minutes more of music to complete the the liveshow and story. That was my plan all along, and after a minor setback during 2015, we were back on track in 2016. DJ: Jorn sang on the first record. This time round you have Nils K. Rue and Eva Iselin Erichsen How did you pick them and what do they bring to the project do you feel? TH: I was thinking of Nils from the beginning (after Jørn) and wanting to work with him, so i just called him and asked. He said yes right away because Pagans Mind was having a break. I was fan of him for a long time. Eva i discovered in 2016 and late last year i asked her if she wanted to try out, and she blowed us away. She is so talented and gives 100% in everything she does! It’s always much talk about the singers, but to me its equally important with Bernt Jansen, Per Morten Bergseth and Erling Henanger whom is fantastic players and gives this project an another dimention. We have our prog moments which is important to me! DJ: Tell us about the story on this album.
TH: The story is completing the story of Dracula. It starts with Vlad( Dracula ) when he was mortal, and moves on towards the end and completes the saga! You will understand everything when you see the live show. DJ: You must have done a lot of research into Vlad the impaler. What appeals to you about him? TH: In 2008 i was on a trip to Transilvania, and got to know a lot of locals who started to tell me the real story of Dracula/Vlad. I suddenly started to write and out came Save me and Swing of Death right away. I have been in Romania 10 times all together and got a lot of facts to bring home. DJ: How do you write the songs for such a project? Is it different than how you approached WigWam? TH: Many of the songs are like three in one. First part til the second chorus, then maybe a new big symphonic instrumental part, then a hugh final with whom is different than the start! It’s very different than Wig Wam and other bands I’ve been in where its mostly enough with one part through the song. DJ: Tell us about your experience of taking the first album ‘Dracula-Swing Of Death’ to the stage. TH: It was all fantastic!! We had a great run
with festivals and theaters from 2016 til early this year( 2018). Now the show is complete and we have a deadly package! DJ: What can we expect live this time round? Will there be a chance to see this outside of Norway? TH: We are working with European promotors as we speak. Its our goal to take this outside of Norway. DJ: It’s an ambitious project, both ‘Dracula-Swing Of Death’ and ‘Vlad The Impaler’.What artists have inspired you to try this kind of epic metal musical? TH: Alice Cooper of course, Eddie Van Halen, Pink Floyd, Frank Zappa, Steve Vai, and many others. But Cooper and Floyd with Welcome to my nightmare and The Wall is superior. Also many Zappa records. Its what i grew up with and they are all my heros! DJ: Is this the end of Vlad or have you got more of the heavy metal musical theatre up your sleeve? TH: I’m not gonna stop creating music like that, so you just have to wait and see... DJ: Have you any other bands or projects on the horizon? TH: Yes i have, two bands. Baby Snakes and Dream Police, so watch out on social medias.
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Barry McMinn: Well what can I say, ‘Illuminati’ is a stunning piece of work! Gary Hughes: It's very kind of you to say so. I write pretty perpetually. I never really stop. What this creates is the enviable situation of always having more material around than you need. This in turn allows us choices. I think it is always easier to create albums with a richer blend of material when you are able to choose from a greater selection of songs. In recent times I think the least number of songs we've actually started with is 19. Given that most of our albums are 10 tracks and a bonus mix that’s at least 2 options in almost every department. I can truly say that it's a labour of love. It's not unlike seeing your babies into the world and watching them evolve into something unique. Each as different as a fingerprint or a snowflake. Each with it's own DNA. BM: I thought last years album ‘Gothica’ was the bands best album in years, but once again you have surpassed yourself. GH: Most of the songs on Gothica were based on classic gothic horror and SiFi literature. Bram Stoker's Dracula, Robert Louis Stevenson's Jekyll and Hyde and H.G Wells book The Time Machine to name a few. I was always fascinated by these as a boy. I love the film genre too. The old Hammer Horror films. Classic tales of the supernatural. I decided early on that Gothica would have this darker feel to it. After all it was our 13th studio album for those of you who are superstitious. This genre intrigues as do these novels examine based in the darker side of romance and the occult. The inner battle between good and evil, love and hate. It echoes everyone’s battle with the light and the darkness within ourselves. I do love a good book, and especially the classics. Timeless stories that are as infectious today as they were a hundred years ago. ‘Dracula’, ‘Dr Jekyll and Mr Hyde’, ‘The Time Machine’ alongside modern classics such as ‘A Song of Fire and Ice’. It isn’t hard to be inspired by such works and the research is a pleasure. My songs have to tell a story and I can’t get my teeth into anything bland or insipid. On Illuminati too there is a very definite theme and vibe running
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through the album which led me to believe very early on that those songs belonged on the same album together. The llluminati topic has been debated many times in rock and metal music. I am very much a historian in many ways. When choosing subject matters for songs I try where possible to avoid the obvious. I tend to choose the subjects that leave a lot to interpretation. This allows greater creative input. The Illuminati as far as the modern world is concerned, is believed to stem from Bavaria in 1748, but it is not difficult to trace the same beliefs and theorizations back to the Garden of Eden, depending on your personal beliefs about the bible. Cue the history lesson…. In a nutshell, since the creation of earth and Adam and Eve, Lucifer has worked behind the scenes directly and indirectly conspiring and working to destroy God's plans. Satan would make his move and seduce Eve and through the child of their union, Cain, and the Serpent Seed line of the devil would begin. God's wrath was in full flow at the defilement of all he had created. He cast out his angels and refused to allow them back into heaven. The angels or 'the fallen ones' mated with human women and create the Nephilim. Giants amongst men. Their race was called The Anakim and some were 30 feet tall. Hybrid children. They are the titans, pans, gods, goddesses, and fawns of Greek and Roman mythology. The Illuminati are the Nephilim and their New World Order is a vast network of organizations and secret societies encompassing government and religion to bring about a New World Religion of pantheism. One of the first secret societies to merge out of the nations of mankind was the "Brotherhood of the Snake", a secret society that refers to Satan (the Great Serpent) back in the Garden of Eden. The Illuminati consider 'Satan' as the good God since Satan gave man knowledge to mankind and they consider 'God' to be evil for trying to suppress the same. It is from this viewpoint that Satanism was developed and is practiced within the secret societies of all ages. The original Brotherhood of the Snake split up into different groups over time as a result of inner fighting and disagreements. As a
result groups such as Freemasonry, Knights Templars, the Knights of Malta and others were formed but always led by the Illuminati itself. Secret Societies and the Illuminati believe that power is attached to symbols and thus the symbols of the Illuminati revealing their massive infiltration into every aspect of our society from corporation logos and religious symbols. Simply put, they are everywhere. The insignia of the Illuminati and the New World Order is the "Pyramid with the AllSeeing- Eye", which you can study on the back of the U.S. One Dollar Bill. The All-seeing-Eye of Horus which goes back to the Egyptian era. BM: You’ve again turned to Dennis Ward to mix the album, you must have a strong trust in what you wanted as he’s been at the mixing desk for since 2011? GH: It is difficult to change a winning team and in a way we believe "If it isn't broken don’t fix it" Dennis has become almost like an extra member of the band. A very professional character and on top of his game. I think by now he knows instinctively how a TEN album should sound. It has been a pleasure to work with him all these years and I hope this continues further still. BM: Turning history into sound is no mean feat, is there one subject that you have failed to put down as a musical idea yet but would like to? GH: Now there's a question. To be honest, I have a great many subject matters still to tap into. This has become expected now with TEN's music but the actual subjects themselves I prefer to keep secret. BM: How much actual background study do you put into each subject matter before putting a song together? GH: This is hard to quantify as I am an avid reader of historical books anyway. However I do immerse myself again into a subject if I decide to write specifically on it. Sometimes though it can stretch into tens of books as with Illuminati. The reading matter and reference material out there is staggering in volume.
Fabiana Spinelli: Hi Marcus and welcome to MRF!‘Superhero’ is finally here after 4 years from your debut album ‘All The Way’, what happened in a relatively short time-frame, but significant in music business today? Marcus Nygren: Thank you. Yes, things didn’t turn out as planned. This album was supposed to be released way sooner but some family matters forced us to take several breaks during the recording process. Instead of having a second album out two years after ‘All The Way’ it took us four years making this one. But anyway… I’m really glad it’s finally going to be released and I can’t wait for all to hear the new songs. FS: The idea behind State Of Salazar came up from you in 2009, how did it really start? Is it all working out just the way you wanted? MN: From the beginning the idea with this band only was to have some fun and play some songs I had written. We all met at Malmö Music Academy and became good friends. We did some shows at parties held by the university and then we recorded our EP ‘Lost My Way’ our last year at the academy. And that could have been the end of this band. But right after the release of the EP Frontiers contacted us and offered a record deal and here we are now with our second album released by Frontiers. If it weren’t for fans and Frontiers, there probably wouldn’t
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be a State of Salazar today. There was never a plan, more than to have some fun with friends and to create this kind of music. So to be honest with you, I’m really happy with how it all turned out. FS: I think ‘Superhero’ is a little gem of the AOR scene, I’m impressed especially with songwriting and arranging: can you please tell us how the band start working at this album and how did the creative process go? MN: Thank you! The State of Salazar way of creating music is kind of the same today as it were when we first started this band. I (and now Kevin as well) write the songs and record simple demos with only vocals and piano/keyboards. After that we all work on the songs together as a band and we record detailed pre-production demos were everyone in the band gets to add their own ideas and way of playing to the songs. A State of Salazar album is always a team effort and the songs arrangements is the result of us five getting together and pushing each other to do what’s best for each song. FS: How much the arrival of Kevin Hosford has been important for the band? MN: It’s great having Kevin on board! He’s a fun guy hanging out with and he’s a really good singer and songwriter in addition to being an awesome keyboard player. We needed a new keyboard player and what we got was a multi-musician, a superhero haha! We are undoubtedly a better band with
Kevin. FS: I’m curious to know something more about your mini-doc ‘The making of Superhero’, a behind the scenes serie presented to your fans via Facebook. Who came up with that idea? Do you think this could be the right way for a band to use social networks? MN: This is something we’ve done in some way with every release since the beginning. Showing the fans some parts of the recording sessions and other “behind the scenes” stuff. And this goes hand in hand with Frontiers wanting us to deliver some kind of EPK. I think it’s a great way of promoting a new album and a way for us to give the fans something more. FS: Can you tell us something more about the band immediate future? About promoting the album, touring, etc.? MN: Right now we’re preparing an album launch show in our hometown Malmö for December 6. And after that we’re looking forward to see what kind of doors this album will open for us. When it comes to touring…Well, at the moment I can’t tell you much. We’re working on it and hopefully this album will make it possible for us to come out and play more. We are not in a position were we can book a massive tour on our own, so we hope to get the chance of doing some supporting act shows or something like that. I guess we just have to wait and see what the future holds.
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New releases available on www.frontiers.shop - The official Frontiers Music s.r.l. shop!
RED DRAGON CARTEL “Patina” (Frontiers Music s.r.l.)
JOHNNY GIOELI “One Voice” (Frontiers Music s.r.l.)
NORDIC UNION “Second Coming” (Frontiers Music s.r.l.)
Guitarslinger Jake E Lee is back with a more cohesive album than the band’s début. The first record he employed a variety of guest singers but this time settle on Darren James Smith, best known as the drummer for Harem Scarem. He has a solid voice, rather than a spectacular. one What makes this album is Lee’s terrific guitar playing that mixes inventive riffs with a dirty, grungy, bluesy groove and clever soloing. The production is fantastic, you feel every note he plays and the mix serves the rest of the band equally well. Anthony Esposito’s bass bobs and weaves and Phil Varone’s drumming is a delight; tight, keeping everything on the tracks. There are great moments on the tough ‘Speedbag’, the nasty riff of ‘Bitter’, the eerie guitar lines on ‘Chasing Ghosts’ and the grungy surf rock (a new genre surely?) of ‘Ink And Water’. The melodies don’t look for anthemic, radio friendly hooks. The vocal melodies are more left field and are strongly psychedelic which might dissuade some. Those looking for him to emulate ‘Barking At The Moon’ or Badlands might be disappointed but there is some marvellous, original guitar playing that makes this work investing in. Duncan Jamieson (90/100)
Love does exist. It seems to be a mantra for this new Gioeli solo album, a deep, intimate experience into this amazing musician’s heart. Between all his commitments with Hardline, Axel Rudi Pell and the brand new project Gioeli/Castronovo, Johnny find the energy to bring this album in support to a young victim of an accident, Joe Barber. “One Voice” is an act of love, for Joe and for all the fans around the world, an album of great melodic rock and amazing ballads, a kind of music that comes from a place of caring. This is a present for people who love Johnny’s attitude: he appears lighthearted and inspirated, in really good shape. With a little help from his friend Eric Gadrix and Hardline members Nic Mazzucconi, Marco Di Salvia and Alessandro Del Vecchio, Johnny realized a little jem, a platter with pop rock melodies, remembering Brian Adams, but also with grit and coolness. Another original episode in this impressive career! Fabiana Spinelli (96/100)
The second effort of the creative team of Pretty Maids’ Ronnie Atkins and Eclipse’s Erik Martensson has finally touched down! ‘Second Coming’ fulfils what their 2016 debut promised and more! The songs again written mostly by Erik and delivered by the incomparable Ronnie hit hard, and at times heavy. Mr. Atkins’ voice is so well suited and brings forth the heaviness of Pretty Maids with the finesse of Erik’s song writing and production. Touching upon current social themes and issues, this effort could also be a warning to us all… if we allow certain events and influences to continue. Listen to “Because Of Us”… a unique perspective on the so called elite. The album is full of high energy and sweeping soundscapes. A record that we must listen to, deeply and with minds wide open! Forceful and melodic, ‘Second Coming’ will surprise everyone by its wide openness. With such titles as; “My Fear, My Faith”, “Walk Me Through Fire”, “Rock’s Still Rolling”, and “The Best Thing I Never Had” are tell- tell signs to the depth and breadth of this record. Nordic Union-“Second Coming”, a true celebration of serious Rock from two of the North’s masterminds of music! Bruce Atkinson (98/100)
TEN “Illuminati” (Frontiers Music s.r.l.)
ALCATRAZZ “Parole Denied (Tokyo 2017)” (Frontiers Music s.r.l.)
STEPHEN PEARCY “View to a Thrill” (Frontiers Music s.r.l.)
When Gary Hughes and TEN announced their hiatus back in 2008, fans were left in a limbo, would the band be back and would they be the same Then low and behold they came back in 2010 with the stunning ‘Stormwarning’, but it’s been the last few albums from the band that have really impressed me, with last year’s ‘Gothica’ being the pick of the bunch. I quoted this as being the band best album to date. Little did I know that a year later Hughes and the band would surpass this album with their new release ‘Illuminati’, another monster release. The album is just superb, this their fourteenth release once again highlights Hughes prowess for bringing history to life, as he not only touches on the secret Illuminati, but also on the Vikings, the ancient city of Jericho, and the mystical Rosetta stone, even bringing in some of that Gothica vibe with Mephistopheles is a demon featured in German folklore. He originally appeared in literature as the demon in the Faust legend. The album is just a joy to listen too, as each track unfolds each one surpasses the last. Check the Oxford English Dictionary for epic and it’s described as … “surpassing the usual or ordinary” … and ‘Illuminati’ certainly does just that. Barry McMinn (96/100)
Almost two years ago, March 2017, a special engagement took place in Tokyo, with the ‘Graham Bonnet Band’. The reunion of ‘Alcatrazz’ with founding members: Graham Bonnet, Jimmy Waldo, and Gary Shea performed for the first time in thirtythree years! “Will You Be Home Tonight” and “Jet To Jet” just a couple of surprises that mesmerized the crowd! The performances from the other two members of ‘Alcatrazz’ flowed so nicely with the other members of Graham’s band that the whole of the stage set was seamless and most harmonious. It was like they all have been playing together for the past thirty years, and not the other way around!! Now on that stage and of course on the first CD in this package we can hear Rock History! Plus it gets better! On CD 2, is a collection of studio demos from ‘Alcatrazz’! That’s right…eight demo tracks, featuring a certain Yngwie Malmsteen! And even one with Steve Vai! Both guitarists were members of ‘Alcatrazz’, which was formed back in 1983. A three disc package, ‘Parole Denied” is a grand display of a Progressive Rock group at their peak. The studio demo disc alone is full of hidden gems, and to see three of the original members together and gathered to just play…it certainly a sight to see, and a sound to behold! Bruce Atkinson (92/100)
Who but Stephen Pearcy could ever sing “I’m A Ratt”? And we all are heart-burned looking at this tracklist, where we can see a rock and roll spirit so alive and well for a man who sold 20 million copies all around the world. In ‘View To A Thrill’ you can smell how it could be staying on stage, every day, for a lifetime: a pure, honest and raw album, written by a musician who got rock in his veins. An addictive hard rock anthem as “U Only Live Twice” shows how great is the feeling between Pearcy and his guitarist Erik Ferentinos, a run-in team full of brimming energy. And Ferentinos knows the fine art of riffing, doing his best in songs like “Double Shot” and “Dangerous Thing”, where Pearcy seems to be back in the Eighties. There’s also something heavier here: “From The Inside” is a solid piece with great job of bassist Matt Thorne, who’s also the producer. We’re in 2018 but Pearcy is still a benchmark in rock and roll world, with his tarry voice and the smile of people who saw everything but it’s still enjoying the party. “View To thrill” is a great album, powerful and convincing: Stephen Pearcy never loses. Fabiana Spinelli (97/100)
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STATE OF SALAZAR “Superhero” (Frontiers Music s.r.l.)
The world definely needs superheroes! And State Of Salazar are here to bring fun and happiness with a worthy successor of debut-album “All The Way”. The swedish combo come back with a fresh and convincing AOR, strengthened by a mature songwriting and a pompous but crystal clear production. The main actor of this rock world is singer Marcus Nygren, who got an incredible voice but he also knows how to use it at its best, shaping and fitting it to every need. From the twinkly “She’s A Loaded Gun” to the sweetness of “Lie To Me”, an amazing duet with singer Kristina Talajic, Nygren is a surprise, dragging the band to the top. “Superhero” is an album planned in every detail, with a glimpse of Toto and Journey, but also with great personality, because State Of Salazar learned that lesson and they’re going to do it at their own. Great identity, high quality, potency: it’s all you need from a superhero and it’s what you’ll get from this album. Welcome back, State Of Salazar! Fabiana Spinelli (98/100)
MAGIC DANCE “New Eyes” (Frontiers Music s.r.l.)
Starting as a one man band in his bedroom, after a couple of EPs of synthwave music, Jon Siejka’s music moved more toward aor on his début album ‘Vanishings’. This direction continues on ‘New Eyes’. ‘You're Holding Back ’ and ‘Never Go Back’ show the New Yorker has a way with a chorus; their nagging persistent hooks ensure any resistance is futile. There’s more of a band feel this time withJack Simchak and Tim Mackey on guitars, Mike Peniston and Kevin Krug on bass and Kevin McAdams on drums (although a lot of the drums sound synthesised in places). This helps to beef up the sound. For example, ‘Please Wake Me’ allows the guitars room to roam and solo melodically. If you have a weakness for 80s hi-tech aor like say the The Outfield or Quarterflash then you’ll enjoy this. The songs in the latter third are generally lighter and don’t have the staying power of the first half of the album. Nevertheless, this album shows a new wave of aor artists is emerging who listen to the 80s classics but also add a fresh spin. This can only be good for the future of our beloved aor genre. Duncan Jamieson (90/100)
HOLTER “Vlad the Impaler” (Frontiers Music s.r.l.)
Ready for some metal pantomime? Its mix of heavy bombast, schlock horror and melodic hooks reminds me a lot of the excellent Serious Black. This is the second instalment of Trond Holter’s vision of Vlad the impaler, who inspired the legends of Dracula. The previous album featured super-gob Jorn but this time out the role of Dracula (Vlad) falls to singer Nil K Rue of Pagan’s Mind. Rue. His singing style brings the required amount of theatre to the project, bringing menace to ‘Drums Of Doom’ and anguish on ‘Without You’. He’s helped out by Eva Iseli. Her contribution arguably outshines Rue particularly on the rocker ‘Under My Skin’ and on ‘Shadows Of Love’ which starts starts slow like a Nick Cave murder-ballad before becoming a grandiose orchestral piece with Erichsen sounding majestic. The duet ‘Save Me (Part 2)’ that closes the record heavy breathes and yearns like a more metal version of Meat Loaf. This is a collection of songs that stand up in their own right but they are all linked to the concept of Vlad. Even if you don’t commit to the story it’s still a great album full of over the top melodic metal. Duncan Jamieson (90/100)
PALACE “Binary Music” (Frontiers Music s.r.l.)
‘Binary Music’ is the second album from Sweden’s Palace, a band that is part of Frontiers New Breed bands, where the label recognised young talent and brings them forward. This second release takes up where the debut ‘Master Of The Universe’ left off, but with the new album, Michael Palace plays all of the instruments apart from the drums, which are played by the mighty Daniel Flores, who also aided Michael on the production of the album, with only Oscar Bromvall providing the guitar solo on ‘Julia’. Although Michael is still regarded as a youngster for this genre of music, he has taken his experience working with a number of different artists since the debut Palace album, and put all the communitive knowledge together to produce what is a really modern melodic hard rock album, that nods the past but also embraces today’s music scene. From the opener and title track ‘Binary Music’, you can almost taste the quality behind this album. Take tracks like ‘Nothing Personal’ that scream out to the soundtracks of the 80’s and the hard edged ‘Dangerous Ground’ that has all the makings of a modern classic. This album has it all and will surely make Palace one of the bands to watch out for in 2019. Barry McMinn (95/100)
DEVIL’S HAND “Devil’s Hand” (Frontiers Music s.r.l.)
What we have here is a legendary song writer and a superb young singer! Mike Slamer is just incredible, from the magnificent ‘City Boy’ of the ‘70s through to the likes of ‘Slamer’. ‘Seventh Key’, and ‘Steelhouse Lane’, his song writing and guitar styling are emotive, fresh and full of surprises. Andrew Freeman has been turning heads ever since he started to sing, and creating wonderment in those that have seen him perform live. His wide range and powerful delivery makes us take notice each and every time he sets his voice to music! On this debut, we have a varied and energetic slate of Melodic Rock that just does not disappoint! The first four cuts on this disc show us the depth of Mike’s song writing skills and the power of Andrew’s voice. As we continue, this powered duo push boundaries and in the process create an array of excited music. Just give ‘Drive Away’ or ‘One More Time’ a spin! When Mr. Freeman decides to get sensitive, well!… He is the master. From slow burning to straight shooting Rock, it is all here on ‘Devil’s Hand’! A masterful Melodic Rock statement and heavy on the Rock! ‘Devil’s Hand’, a debut that is set to Rock the Melodic world! Bruce Atkinson (92/100)
STEELHEART “Rock’n Milan” (Frontiers Music s.r.l.)
Recorded during Frontiers Rock Festival IV in Milan, Italy on 29 April 2017, Steelheart’s performance was well worth recording, as Miljenko Matijevic and the rest of the band gave a hell of high octane rock n’ roll show. Opening up with two songs that featured on the movie Rock Star, ‘Blood Pollution’ and ‘Livin’ The Life’, really got the set off to a great start. Carrying with some classic Steelheart as well as Dirty Girl from the newest album ‘Through World of Stardust’, as well as ‘We All Die Young’, which Matijevic penned, this DVD not only shows what a great frontman Matijevic’s is, but also the quality of the songs in their repertoire. It’s hard to believe they weren’t one of the biggest rock bands of their era. There is a sad note to end this review, as this was the last performance of guitarist Kenny Kanowski, who passed away just a couple of months after this performance, but this is a fitting tribute to a phenomenal guitarist who help Matijevic get the band back on the road. Barry McMinn (90/100)
Barry McMinn: Hi Michael I just like to say what a stunning release ‘Binary Music’ is. The album is just pure Melodic joy from start to finish, you must be pleased with the final album? Michael Palace: Hello and thank you very much! I am indeed very pleased, it feels like a pretty good follow up to the first album. BM: Unlike ‘The Masters of the Universe’ album you’re playing most of the instruments apart from the drums, was this a personal choice? MP: Well actually it was the same arrangement on Master of The Universe. A lot of people got the wrong impression due to the Palace live band appearing in pictures and in the music video, but the credits in the booklet reveal precisely which musicians are part of the band and which are playing on the album. To my best knowledge this is quite common with a lot of bands and projects. However the band is real, and we have done two shows together promoting the last album. BM: Did this give you more control on the album, to produce the album you wanted? MP: I think that it worked well when making the first album so I didn't see any reason not to go for the same approach on Binary Music. It's not really about the control for me, it's just that I really like playing all of the instruments equally so it's really a no brainer when it comes to recording my own music. There is certainly a lot of magic that happens when you jam out songs with other people, but I don't find it lacking in Palace despite it being a few less persons. BM: You’ve been involved with quite few of Frontiers artists, both live and in the studio, has this helped you to put together such a tight album, working with different artists and different styles? MP: The amount of experience I've gained, espe-
cially when working together with Daniel Flores has been absolutely priceless. Every single gig and recording session is like 1 year of practice compressed into a couple of days. All of the fantastic albums that I've got to be a part of these last couple of years have helped me so much in honing my own craft and getting the confidence to produce my own album. I can honestly say that I'm really living the dream getting to do exactly what I've always wanted to do. BM: In today’s market place it’s hard for musicians to stand out from the crowd, so what in you opinion makes this a must buy album? MP: I guess that the only way to stand out is really to be true to yourself and not worry about trends or what other musicians are doing. That way you will inevitably end up with something that stands out from the rest. I would say that Binary Music is that kind of album. There's simply nothing out there that sounds like it and it will fill the "Binary Music" hole in everyone's CD collection. BM: It’s been two years since ‘Masters of the Universe’, so have you been working on this album much over the last two years? MP: The album has been finished for more than a year now and the recording itself didn't take more than two monts. I have however been keeping myself busy recording tons of new material with various artists that will see the light of day in 2019 that I'm super excited for! Other than that I've been catching up with a lot of great titles on my Playstation and just spending some time with friends and family. BM: Like the previous album ‘Binary Music’ this album has it heart in the 80’s Hard Rock scene. So what is it about this genre that drives you to produce two really great albums? MP: Why thank you! It's hard to explain my fasci-
nation with the 80's but the whole aesthetic and the sound just clicks with me. I've recently discovered the world of synthwave and I'm happy to say that I'm not the only one that has love for in my opinion the best decade of music. BM: The bio states this is a project, do you see this as just a studio album or would you like to take Palace on the road to promote the album? MP: Well there is certainly a possibility that I will take Palace on the road in the future, but for the time being I'm focusing on my career as a music producer and songwriter and there's just an infinite amount of music that I want to make so it is quite time consuming in that way. However I'm always up for the occasional gig just to mix things up a bit now and then. BM: What was it like working with Daniel Flores on the album? MP: After working on so many albums together, I wouldn't call it working any more. It's just pure joy and Daniel's expertise in the field of album making really helped make "Binary Music" the complete package. BM: What’s next not just for Palace but for you as an artist and songwriter, anything in the pipeline we should be looking out for in 2019? MP: 2019 is already a very exciting year for me. I'm playing guitar on Toby Hitchcocks second solo album, got to be involved in a lot of the songwriting and solo guitar work for Find Me's third album, and also a few yet unanounced albums that I'm very excited about, all to be released next year! Besides that, as I mentioned earlier - I discovered synthwave. Which is basically AOR but with the 80's dial turned all the way up to 11. I'm currently working on a debut EP and the project is called HOLOFLASH for those that would like to hear a different side of my musicianship.
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Duncan Jamieson: It must be exciting to find yourself on the Frontiers label. How did that come about? Jonathan Siejka: I think I caught their ear with my last album “Vanishings”. Shortly after I released that they contacted me about doing a new album, that was early 2017. I’m really happy to have found a label that welcomes my sound. DJ: You’ll be new to many people in the world of melodic rock. Jon, tell us a little about yourself. JS: I’m from Long Island, NY. I started playing guitar at 21 in college and have been passionate about music since. I was in a few bands that went nowhere, then started writing music on the computer using a program called Ableton Live. I was adding synth and electronic elements, and everything I did seemed to turn out 80s for some reason! I always loved 80s pop music more than any other decade or genre. It was in late 2012 that I started Magic Dance and it began with hearing bands like Electric Youth and Tesla Boy. DJ: Your music has evolved from synthpop/synthwave to aor since starting out. What’s pulled you in this direction? JS: Just following my own interests, always trying to listen to new music and find new sources of inspiration. I found AOR mainly on YouTube in 2015. I was listening to a lot of Danger Danger, Michael Bolton (early stuff), and Icon at the time. I was a guitar player before I started Magic Dance so I knew I could add it into the music without sounding forced or amateur. I think guitars were the missing element to my music, they added a sense of energy that wasn’t in the early stuff. You started out as a one man band but you’ve acquired
a band round you now. Tell us about the guys who contribute on ‘New Eyes’. We have Jack Simchak on lead guitar, Kevin Krug on rhythm, Michael Peniston on bass and Kevin McAdams on drums. I knew Kevin and Mike from previous projects and they recorded the bass parts for this record. Kevin McAdams was in a band called Elefant who was signed to Hollywood records in the early 2000s and Jack is originally from Washington D.C. and is now living in Brooklyn. We found Jack and Kevin M on the classified ads site Craigslist. We were really lucky, usually you get a lot of flakes with ads but we managed to find both of them within a few short months. DJ: How do you go about constructing a song? JS: It starts in a variety of different ways, usually the songs that turn out the best happen in such a blinding flash that I don’t remember the details. I keep a voice recorder by my bed and get ideas there. But mainly, constructing songs starts and ends at the computer. I always have production in mind when I’m writing, so the production and the writing happen simultaneously. I use Ableton Live to track and everything happens “in the box” for demos. I then like to take my time with editing and lyrics. After I’m happy with it, I take it to the rest of the guys for their input. Everything gets rerecorded for the final version. DJ: Modern technology has made it possible for you to record by yourself. Did the recording and production approach differ on this record? How? JS: On the previous records I would program drums myself. This record was the first time I went to a real studio, where we tracked drums with Kevin McAdams at Virtue and Vice with
engineer Anthony Gallo. It added a more human element and Kevin came up with drum parts I would never think of. I realize now it’s important for drums, especially hi-hats and cymbals to have “feel”. I still tracked guitars, vocals and synths in my bedroom as always. DJ: Which songs would you encourage people to listen to most on ‘New Eyes’ if they want to get a real sense of what your music is all about? JS: I think the first song I wrote on this record was one called “Looking for Love”. I wanted it to be the first song mixed by our guy Jarek Musil so it would set the tone for the rest of the production. It’s a mid-tempo, moody AOR kind of song that seems to fit in between the more Pop-oriented songs like Never Go Back and the more Rock-oriented ones like These Four Walls. DJ: You are too young to have heard 80s aor first time round. How and when did you get into it? did and which artists particularly resonate with you? JS: My Dad had a subscription to something called Columbia House and we would get a bunch of cassettes in the mail. We had Bruce Springsteen’s – Born in the USA and the Miami Vice soundtrack on cassette tape. According to my family, I would dance in my diapers to those! I remember rewinding the theme song to Miami Vice over and over, so I was in love with the 80s synthesizer sounds even at 2 or 3 years old. As far as AOR specifically, that did not come until much later! DJ: With a band behind you now, can we expect you to go on the road? JS: We would love to! Right now we are getting our experience playing local gigs, here around NYC.
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Bruce Atkinson: I know the musical history of Mike Slamer, from those early days with City Boy all the way through, and now teaming up with Andrew Freeman… I must ask, what were the first thoughts about this partnership? Andrew Freeman: At first, I wasn’t specifically familiar with Mike and his work when I was approached about doing this project. After doing some research and making the connection with his work with City Boy, I was pretty excited about the collaboration. The first concert I went to when I was very young was City Boy opening for Styx in New York. City Boy was the first band I’d ever seen live and it made a big impression on me. It was a bit of a full circle moment doing this project. BA: Andrew, your vocal performances not only turned heads in Last In Line, but here as well…and I would say more so... Were the sessions more comfortable? AF: The sessions were definitely more comfortable as I recorded and wrote all of my parts at my studio in my home. Most of the communication with the producer was over the phone so that helped as there wasn't anyone over my shoulder while I was working. It was a very relaxed atmosphere. BA: In the song writing department, I hear styles and influences blend together so seamlessly… Please talk a bit about the actual recording process, and the production… AF: The recording process mostly consisted
of Mike sending no vocal music demos through email, which I would write and record and send back the isolated vocal tracks. We would communicate regarding ideas and changes. We were never in the same room, it was all done remotely. I’m an audio engineer and producer so I think that helped as we resolved issues quickly. As far as writing goes, the music was already written so I did my best to fit into the vibe of the particular song. BA: What about the band name? AF: Devil’s hand is the name of one of the songs and it was the labels suggestion to call the record that. I think the term goes with any type of music, heavy or light, as the devil has been the subject of many songs from every genre of music. BA: How is working with Mike? AF: Finding harmony was easy. Mike and I are both professionals that are skilled at our craft. We both worked independently and then came together to hone our ideas. The process was pretty painless. BA: Of course, Devil’s Hand features the both of you, but it certainly sounds like a band, who else is performing on this album? AF: The majority of the record is Mike and myself. He had some backup vocalists come in, who I don’t know. I was pretty much out of the process when I finished my end of the writing and the vocal tracks. On the track “Faith” which is on the Japanese release, I’m on bass, Mike Hansen is on drums and
Andy Zuckerman is on guitar. This was a song we wrote a few year back that Andy and I produced. It’s a hidden gem! BA: It also seems that you have your band mates involved more on the whole project… is that correct? AF: Not at all other than Mike Hansen and Andy Zuckerman on the Japanese release. BA: Would you reveal what some of your hopes are for this, the first for Devil’s Hand? AF: I don’t really have any for this album other than I hope people enjoy it. It’s a different type of project for me. More commercial and more AOR than I am used to. I definitly enjoyed the challenge of doing something new and I happy that is is so well received. It is exposing me to a new audience and I really dig that. BA: The lyrics are accurate and interesting... AF: Most of the topics for the record were based on religion, personal relationships, the balance between negativity and positivity and just good time rock ‘n’ roll. I always try to have a positive message in my lyrics even if the subject matter comes off as negative. BA: Coming out at the first of December… gives you time to plan for 2019, so any plans to tour, maybe select dates—if not a full tour? AF: I am certainly open to it but there are no plans to do a tour at this time.
REFUGE “Solitary Men” Exclusive Orange LP €21.99
SPIRITS OF FIRE “S/t” Exclusive Red 2LP €25.99
INGLORIOUS “RIde to Nowhere” Exclusive Crystal LP €22.99
RED DRAGON CARTEL “Patina” Exclusive Orange LP €22.99
URIAH HEEP “Living the Dream” Exclusive Christal LP €21.99
NORDIC UNION “Second Coming” Exclusive Gold LP €22.99
TEN “Illuminati” Exclusive Blu 2LP €25.99
SEVENTH WONDER “Tiara” Exclusive Chrystal 2LP €24.99
NAZARETH “Tattoed On My Brain” Exclusive Splatter 2LP €26.99
G. BONNET BAND “Meanwhile Back in the Garage” Exclusive Silver Vinyl (2LP) €24.99
LAST IN LINE “II” Exclusive Gold 2LP €25.99
HOLTER “Vlad the Impaler” Exclusive Red LP €22.99
INGLORIOUS “Ride to Nowhere” CD: €13.99 Boxset (CD+T-Shirt): €44,99 LP: €19.99 Exclusive Crystal LP: €22,99
STARBREAKER “Dysphoria” CD: €13.99
KANE ROBERTS “The New Normal” CD: €13.99
JETBOY “Born to Fly” CD: €13.99 Red LP: €19,99
LAST IN LINE “II” CD: €13.99 Boxset (CD+T-Shirt): €44,99 2LP: €22.99 Exclusive Gold 2LP: €25,99
SPIRITS OF FIRE “Spirtis of Fire” CD: €13.99 Boxset (CD+T-Shirt): €44,99 2LP: €22.99 Exclusive Red 2LP: €25,99
WEST BOUND “Volume I” CD: €13.99
FM “The Italian Job” CD+DVD: €14.99 Blu Ray: €17,99
TORA TORA “Bastards of Bale” CD: €13.99 LP: €19,99
Fabiana Spinelli: Dear Johnny, hope you’re doing well! Let’s talk about ‘One Voice’, your new solo album. We can start from a young man named Joe Barber, the keystone of this work… Johnny Gioeli: YES! The inspiration and dedication to ‘One Voice’ was inspired by Joe who in a diving accident was rendered paralyzed from the chest down. I had to do something! The community came together in musical love and unity. To think that tens of thousands of fans around the world came together to donate to a kid they don’t even know says a lot about the world we live in despite waht we see and read. Love does exist. ‘One Voice’ proves it. FS: You said that ‘One Voice’ is a tribute to your fans, what does this exactly mean to you? JG: It means that first, I love them all. All. I let them into my world from the start of this album. The writing, the recording, and developing the art work and mOre… The peaks and the valleys we shared it all together. I made this album for Joe and for the fans not for me. Of course I’m so proud of it and its already getting some amazing aclaim. So, for me it’s like I sold 10 million copies already. FS: We can find in this work your faithful
friend Alessandro Del Vecchio and also Nik and Marco from Hardline. How much are they involved in your project? Does it was in parallel with Harline writing sessions? JG: These guys are my bros and they are the BEST. The solo album is 100% different from anything I currently do. It’s a reflection of who I am and who I was at that moment. These guys are so talented to fit into my world and see exactly what I wanted the result to be. Hardline is a totally separate writing session. No way I could do both at the same time. Although I can handle multitasking, that’s not one I’d take on at the same time haha. FS: ‘One Voice’ is your own style hundred per cent, but with some new influences. It reminds me of Tom Petty and The Heartbreakers, also a glimpse of latest Nick Cave, is that correct? JG: That’s an interesting twist! I think more Brian Adams meets Foo Fighters… but hey, that’s the beauty of music, it should reflect the image you see not what I see. FS: You’re know as one of the nicest guys in music business, what’s behind your positivity and kindness? Do you see this business with different eyes? JG: Well thanks! I thought I was a complete
asshole haha! I don’t see it as a business, so maybe thats why? I see it as being gratful that I can create music, make people happy, and continue to fuel my desire for creativity. Also, when you know someone that was once a star athlete bound to a wheelchair, you become gratful for simple things like getting out of bed on your own or simply moving your fingers and toes. I think about this EVERY DAY OF MY LIFE. I truly love people and love the fans. I am a greatful man. I’ve had the oportunity to make over 50 albums in my career. And I did it because the fans wanted them. When they don’t, I’ll stop. FS: What kind of experience is ‘One Voice’ to you? An experiment, something that will stay unique in your career or it could be a new way to express yourself in music? JG: It is a musical journey. Really. The entire process was a journey of emotion from start to finish. I wrote every word and every melody on this album. It’s me 10000%. Eric Gadrix for those who dont know him is the most talented guitar player and writer that I have come across in years. His musical inspirations really put me in the direction I wanted to go. World, look out for this guy, he’s freakin awesome.
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