Boogie Hammer-First Blood (Demo Tape)

Fuck The Mainstream - We Are The Mainstream Records
2017

Boogie Hammer is a wildly reckless & fun as fuck rock and roll band from from Vienna, Austria. This six-song EP serves as the group's proper introduction to the world at large, but damn it man, is this piece of shit planet of ours deserving of such an honor? The answer of course is no. Seeing as that is the case, Boogie Hammer* is gracious as fuck for gifting us this freaky little jam fest! Starting off with the aptly-titled "Chainsaw", "First Blood" cracks the sky wide-open with it supersonic rock and roll sound and yes, it is orgasmic! Self-dubbed "Speed Boogie", the four members of Boogie Hammer perform a great public service as they give us five original compositions and a cover of the Scorpions song, "Speedy's Coming". That might seem like a weird cover choice for a crazy band like this, but it actually works rather well given the circumstances. Not quite punk rock or garage heavy metal, Boogie Hammer exists in their own world where both the Stray Cats and Motörhead are considered prime examples of grade A classic rock! With a full-length album reportedly in the works for later on in 2018, Boogie Hammer is fuzzed-over & feedback-drenched fun for the whole family to enjoy!! You can download this cool demo for free by heading here.
As for psychical copies of this instant classic? Try heading to this page to buy your own copy. That's the good news. What is the bad news? Well, the cassette release of this demo is limited to a mere 50 copies. For a smashing gem like this that is absolutely criminal! This is a classic case of getting the goods while they are hot and fresh. You snooze on this one and you are going to lose out BIG TIME! As one rock fan to another, Boogie Hammer is the real deal. In all the best ways possible(!), "First Blood" is real, down n' dirty, sleeves rolled up & work shirt unbuttoned riff-rock and roll for the under-payed and under-appreciated working class. Grab yourself a beer and kick off your work boots. This EP is for you.



*According to Facebook the group's line-up is as follows: D. "Süpürgesi" Vacuum (guitar, vocals), Luke Remington (guitar), Ricky Switchblade (bass), and Dave Dagger (drums).

Märvel-The Hills Have Eyes

The Sign Records

2017

Märvel is a Swedish rock trio that was formed in 2002 while it's members were still in high-school. Those three individuals would  be vocalist/guitarist John Steen (The King), bassist Ulrik Bostedt (Speedo), and drummer Tony Samuelsson (The Vicar). Released at the tail end of March, "The Hills Have Eyes" appears to be the group's latest offering to date as well as their forth studio recording. The EP includes five original compositions and a cover of W.A.S.P.'s "L.O.V.E. Machine". On paper Märvel's influences are over the group, but musically-speaking these guys primarily sound like either a garage rock version of Kiss or Thin Lizzy. Even the cover of "L.O.V.E. Machine" sounds like something that Kiss would put out. For what it is and where it stands in the great scheme of garage rock, "The Hills Have Eyes" is alright. While I would like to hear something more original from this Swedish trio fans of Thin Lizzy and Kiss might just get a kick out of this EP. 

Red Morris-Lady Rose

Self-Release/Independent
2015

The recently-released "Lady Rose" is the full-length debut album from Italy's Red Morris. The brainchild of Brescia-based guitarist Maurizio Parisi (who dedicated this album to his wife Rosa), Red Morris is as much a rock guitarist with a solid reputation in his home country as he is the driving force of this genre-jumping instrumental four-piece. On "Lady Rose" Red Morris/Maurizio Parisi is joined by bassist Renato Mombelli, keyboardist Beppe Premi, and drummer Claudio Amadori as well as two guest contributors in the form of Lou Longoni and Alberto Parisi*. The resulting album is a testament to guitarist Maurizio Parisi's youthful studies of classic guitar as well his devotion to classic rock bands such as Pink Floyd, Led Zeppelin, and Cream and the work of Carlos Sanatana! On "Lady Rose" you'll find solid rock numbers like "Golden Angel", "Lady Rose", "Independence", and "Black's Eyes" nestled alongside the progressive "Mystery" (which is a jazz rocker of the highest caliber!), the Celtic "Celitica" and the bluesy "My Life Blues (Go Go)". It all leads up to the excellent "My Sea's Echoes" which closes out this heartfelt album in style! With a run-time that is over the 30 minute mark the soulful "Lady Morris" simply covers a lot of ground genre-wise. Even in-between the individual tracks on this instrumental album you'll find different genres dancing together in harmony. And yet "Lady Rose" is still very much a rock album. Every cut on this album has a simple rock groove which keeps you intoned with the action at hand. With "Lady Rose" only the first of hopefully many it will be fun to see where this Italian band goes from here. Red Morris is one band that I plan to keep an eye on! 


*Lou Longoni provides minimalist vocals on the jazz-infused "Mystery" while the apply-titled "My Life Blues (Go Go)" features rhythm guitar courtesy of Alberto Parisi.  

Faith No More-Sol Invictus

Reclamation Records/Ipecac Recordings
2015


Ladies and gentlemen please give a warm welcome to "Sol Invictus"! It may have taken Mike Patton and crew some18 LONG years to accomplish, but it's finally here. Recorded and produced by Faith No More bassist Billy Gould, "Sol Invictus" (Latin for Unconquered Sun) is Faith No More's long-overdue seventh studio album and as a fellow fan of these creative San Francisco rockers yes, I do agree with you. It is about damn time! This is the long-awaited follow-up to "Album of the Year" and for life-long fans the (continuously) extended vacation between new Faith No More studio albums has been almost too much to bare! Nonetheless "Sol Invictus" is here and the saints be praised! With a total of ten tracks (incl. the two previously-released singles, "Motherfucker" and "Super Hero"), "Sol Invictus" is not only a strong release, but potentially one of 2015's best ROCK recordings! Notice I said "potentially" as there is (obviously) still a lot of 2015 left to live before the big ball drops on New Year's Eve. It's always possible that some artist or band will come from out of nowhere and release a absolute stone cold killer rock album the likes of which have never been heard before. It's possibly if not highly unlikely. Especially seeing as "Sol Invictus" is pound for pound one of the more rock-steady recordings out there. Other than maybe "From the Dead" there isn't a dub to be found here with the (easy does it) title track, "Sol Invictus", giving way to one good song ("Superhero") after another ("Sunny Side Up"). One would think that the steady line-up of Faith No More has a lot to do with that. Especially seeing as "Sol Invictus" is Faith No More's first album since 1992's "Angel Dust" to feature the same studio line-up from one album to the next! Besides Mike Patten (vocals) and Billy Gould (bass) that line-up includes Roddy Bottum (keyboards, vocals), Mike Bordin (drums), and Jon Hudson (guitar). On the band's new album these five musicians team-up in order to give the listener new Faith No More material to hold close to their heart and cherish. Other reviewers may not agree with my personal assessment, but the album's two singles, "Motherfucker" and "Superhero", are about as good as it gets! Especially the hard and heavy one-two punch rock that is "Motherfucker". While it's nowhere near a Faith No More standard, "Motherfucker" is Mike Patton at his wildest and I can't help but smile as he belts out the lines to this aggressive piece! Still, as much as I LOVE the album's first two singles they are not the only stand-out cuts to be found on "Sol Invictus". After the solid "Sunny Side Up" Faith No More fans are treated to the moody rocker "Separation Anxiety". Arguably one of the album's heavier moments, "Separation Anxiety" builds in intensity it becomes a harsh time bomb ready to blow! From there you get "Cone of Shame" and this "under cover" number is nothing if not "sick". Vibe-wise it's as dark as it's subject matter is. Whatever the case, "Cone of Shame" whips itself up into a frenzy until one can't help but feel completely spent! As one of the better songs on "Sol Invictus" it's (assuredly) not for the faint-hearted, but it helps make way for "Rise of the Fall" and "Black Friday". That first one recalls classic (as in early) Faith No More while the second one (which was interestingly enough the B-Said of "Motherfucker") is old and new Faith No More rocking out over a case of cold beer! With "Separation Anxiety" through "Black Friday" you essentially get a solid block of cool Faith No More numbers! As good as everyone is there is one musician that I was surprising impressed by. And that would be keyboardist Roddy Bottum! His work comes center stage on the opening title track as well as on "Sunny Side Up" and "Matador". But even when it's more subdued his piano playing is second to none. Whether he's dangling the ivory keys or adding interesting snyth notes to the mix one thing is for certain. The hands of Roddy Bottum are magical! Just like he did way back on "The Real Thing", Roddy adds a sense of style to this band and it would be almost impossible to ignore it! Naturally that takes nothing away from lead vocalist Mike Patton, Faith No More's long-time rhythm duo Mike Bordin & Billy Gould or guitarist Jon Hudson. All four are at the top of their game as usual. It's simply that Roddy Bottum is that little something extra that helps tilt this one towards the exceptional! In conclusion,
"Sol Invictus" is a great comeback for this San Fransisco rock band. It has "softer" moments like "Matador" (a killer cut BTW!) and "heavier" ones like "Separation Anxiety". It's always on and even when it isn't ("From The Dead") it's still better than just about anything you'll find in the rock section under the heading "new"! Please understand that no one is going to say "Sol Invictus" is Faith No More's finest hour. That would be a real stretch. Still, "Sol Invictus" is Faith No More making a album for Faith No More fans and doing a damn fine job of it!  For a band that hasn't released any new music in ages it's a great way to reintroduce yourself to fans of old while simultaneously coming out of the gates strong in order to add young fans into the family! "Sol Invictus" is a recommend addition to your Faith No More collection and a sure fire sign that there is still plenty of life left in these aging rockers!  

Kezia-The Dirty Affair

Logic(Il)Logic Records/Andromeda Dischi
2015

Kezia is an Italian five-piece that was formed in September of 2013 by long-time friends/seasoned musicians Pierlorenzo Molinari (vocals), Antonio Manenti (guitars) and Alberto Armanini (keyboards). The band's current line-up is rounded out by the pair of Fabio Bellini and Michele Longhena (bass and drums respectively) with the 8-track "The Dirty Affair" serving as the group's official debut. This extended EP was recorded, mixed & mastered by Riccardi Frigoni at Studio 57 in Brescia, Italy and it should be noted that the bass parts on the "The Dirty Affair" were performed by Andrea Piovani while the drums were played by Matteo Viganiand. It's also worth noting how quirky Kezia is, but what else would you expect from a band that self-describes it's style as prop-metal? "What exactly is prop-metal?" I hear you asking. Apparently it's whatever this Italian band wants it to be! And that would be (up to and including) a odd combination of "rock, progressive, swing, electro and pop". Or as Kezia puts it "The structure is prog, expanding its melodic variations with pop freshness". Got that? I hope so. Especially seeing as there is going to be a quiz later! In all seriousness, "The Dirty Affair" is more in line with avant-garde rock and the EP likely reflects the distinct tastes and styles of it's band-founders. With Pierlorenzo, Antonio, and Alberto all coming from different (musical) backgrounds the sound of Kezia is every bit as all-encompassing as the various projects and bands that these three were previously involved with! Most of the time this collaboration works out just fine. The fluid chemistry of Pierlorenzo, Antonio, and Alberto is as undeniable as the metallic undercurrent of this 8-track album is. When this trio is in-sync there's a damn nice spark of fire. But when they're not? On those rare occasion it all becomes too much. It's kind of like having the perfect stew and then going out of your way to add in all these exotic ingredients. You may think that these additions will spice up your meal, but in reality you've just ruined a perfectly fine dish. Thankfully the trio behind Kezia know when to pull in the reins and when it let go. In the case of Kezia's debut release there are more good times than bad times which goes a long ways towards making "The Dirty Affair" a recommend pick-up. For more information on this interesting band be sure to check out Kezia's Facebook page or their official website. 

Saturday Single: Faith No More-Super Hero

Reclamation Recordings/Ipecac
2015

"Super Hero" is the second single that Faith No More has released from their highly-anticipated new album, "Sol Invictus". It follows the well-received "Motherfucker" and it offers more clues to the fact that Faith No More's seventh full-length album (and first studio album release since 1997's "Album of the Year") is going to be wicked sweet! This awesome rocker is all at once classic Faith No More and the fresh sound of one band that has updated it's keyboard-heavy delivery for today's wishy washy generation with the short attention span! The uber-slick "Super Hero" is Faith No More with a new and improved (and dare I say cleaner?) outlook and yet it offers some legitimate kicks to all but prove that Mike Patton and crew are the real San Fransisco treat! "Sol Invictus" (Latin for Unconquered Sun) isn't scheduled to be released until May 19th, but I'll be counting down the days nonetheless as this upcoming album sure feels as if it is going to be a fabulous comeback from funk rap-rockers Faith No More!

AC/DC-"Play Ball" Single

Albert/Columbia
2014

"Play Ball" is the first single from AC/DC's upcoming album, "Rock or Bust". Due for release on November 28th in their home country of Australia and on December 2nd everywhere else, "Rock or Bust" will be the first "full-length" studio album from these Aussie rockers since 2008's "Black Ice". You'll no doubt notice that I put full-length in parentheses as AC/DC's new album is rumored to be under 40 minutes in length! Whether that ultimately proves to be the case or not it's worth mentioning that "Rock or Bust" will be the band's first album not to feature founding member and rhythm guitarist Malcolm Young. For health reasons Malcolm Young had to leave the band with his replacement, Stevie Young (Angus Young's nephew), having some big shoes to fill. As distinctive as Malcom's guitar playing was a single like "Play Ball" does suffer, but to be honest AC/DC really hasn't been the same band that I feel in love with for years. Of course that is just my opinion and I'm sure many will disagree with me, but "Play Ball" is another sad reminder of just how good AC/DC used to be. It's not just that the memorable hits are simply not there anymore (and by that I mean numbers that instantly ring true as rock and roll classics) it's almost as if the same drive that brought AC/DC to the top of the game has gone missing. While "Play Ball" is OK in and of itself it is hardly a song that makes for a must-download and by this point in time one does has to wonder if it is finally time for these greats to exist on a good note?

Steve Foglia-Steve In Wonderland

Self-Release/Independent
2014

Self-produced by the main man himself (with the always reliable Atomic Stuff Promotions stepping in to lend a helping hand on the PR front), "Steve In Wonderland" is the second solo release from seasoned drummer/professional instructed Steve Foglia. Serving as the follow-up to 2011's highly-regarded "Revenge" (a concept album based on the legend of "Angst"*, "Revenge" found Steve working with the likes of Adam Bomb and one-time Yngwie Malmsteen/Loudness member Mike Vescera), "Steve In Wonderland" features eleven (70's/early 80's-inspired) classic rock/hard rock songs including a righteous cover of the well-known & well-loved Grand Funk Railroad hit, "We're An American Band"! Opening number "Fight for Justice" features guest vocals courtesy of Blaze Bayley (Wolfsbane/Iron Maiden) while Simone "Seth" Borsellini (singer for Sfregio and Fumonero bands) and Francesca Foglia guest star on "Enemy's Collection" and "Walking in Wonderland" (a sweeping eight minute plus number that recalls the heyday of AOR!). Meanwhile Rakel Traxx guitarist Zantolo offers up his skills on "Wrong Hole", a sleazy, seventies glam rock-infused, Hanoi Rocks meets (early) Great White (while Carlos Santana stops by a visit and a sweet and tasty solo!) number that is just too good for words! Otherwise the line-up for "Steve In Wonderland" includes vocalist Johnny Idol, guitarists Federico Mineva & Daniele Arieta, bassist Maurizio Dedoni (Alessio Menconi's bass player) and keyboardist Edoardo Tavanti. Naturally Steve Foglia (also of Jennifer Scream's) handles all the drums and percussion on his second solo outing and thanks to the mastering job of Dario Mollo (The Cage, Tony Martin, Voodoo Hill, Glenn Hughes) every minute that passes of "Steve In Wonderland" finds the listener pulled further and further into this time-stamped picture of hard rock perfection! Just going by it's vintage finish (one which gives "Steve In Wonderland" a remarkably classic vibe!) this a surefire winner for fans of classic rock of old or the seventies' hard rock scene. Whether it's original gems like "Few Days to the End", "Love's Gate" and "Numbers" or even Steve's respectful cover of "We're An American Band" there's not a single moment on "Steve In Wonderland" where something feels out of place. Songs like the rugged rocker "Numbers", "Enemy's Gate" (arguably the heaviest cut here this one almost sounds like Alice Cooper cooperating with Black Sabbath in order to make seventies hard rock sound as wicked as possible!), "Loves Gate" and "Club 27" (a track which references the numerous musicians who died at 27**) all gel together as Steve's second solo release glides about carefree and natural! Everything that was right about yesterdays' hard rock, glam rock and AM rock and roll is given an uplifting makeover in order to reflect Steve Foglia's personal love for the music and artists that inspired him. For this Italian drummer (and the all of the additional musicians who lent their time to the worthwhile cause that was the construction of Steve's solo album number two) every number here just springs to life! From heavy rocker "Fight for Justice" to "Eternal Last Day" every song has the heart and soul of yesteryear's music. You can hear as much on "Eternal Last Day" thanks to it's official video provided below for your viewing enjoyment!), but to think that is just one moment for Steve and company! Thanks to it's wide range of influences (Alice Cooper, Led Zeppelin, Deep Purple, Whitesnake, Foghat, Rolling Stones, Faces, Kiss, Quireboys, etc.) and the commitment of all involved, "Steve In Wonderland" is just too good not to be shared with fellow music fanatics and collectors alike!

"Angst"* is a famous abandoned hotel in Liguria, Italy, next to the French border.

**Jimi Hendrix, Janis Joplin, Jim Morrison, Brian Jones, Kurt Cobain, etc.

For more information on Steve Foglia and this album be sure to head here:
http://www.stevefoglia.com/ 

Vagabond Flag-"Not Afraid" Single Version

Self-Release/Independent
2014

The single version of "Not Afraid", due to drop on June 16th with a debut album scheduled for July 4th (seemingly fitting as his music shadows his inner independence) was my first introduction to Vagabond Flag. And I'll tell you what, I'm glad we meet. We all know that first impressions are everything and the impression I got from "Not Afraid" was that yes, I would like to spend more time in the presence of this man. Indeed, Vagabond Flag is a man, not some band or a collection of differing personalities working their way through those differences in the hopes of settling on a spark. His interests include making music (and at this point he's only a year or so removed from picking up a guitar in order to make that music!) and to protest, to rebel. And above all else to find the next love of my life (music being his first love!). That last part many of us can relate to. I know that I can. And it's that personal touch that kind of tugs at you on "Not Afraid". Having grown up in London, where he now works as hard as he plays, Vagabond Flag (https://www.facebook.com/VagabondFlagArtist?fref=ts) is in the thick of it all from politics and art to the hustle and bustle of everyday people (their movements and mannerisms re-shaping London daily). Maybe it's no wonder then that his music, like the man himself, is so personal, completely invested in the human condition. That seems like a fair connection, drawing a line from the music to the message and from the message back to the music. On the single "Not Afraid" we find Vagabond Flag relaying that message over-top of (somewhat gruff) Lo Fi indie rock. Influences run from the likes of Oasis, The Verve and The Pixies to Nirvana, Soundgarden and Dinosaur Jr. Oh, and David Bowie. We must not forget that part! Especially seeing as Vagabond Flag, like David Bowie before him, provides clear evidence on the (exceptionally cool!) guitar-driven/classic rock-infused (and yet unmistakably Lo Fi indie rocker!) single "Not Afraid" that rock can be passionate and intelligent (to go along with it's shapely body). Hopefully the upcoming debut album from Vagabond Flag, which is likely to be rich in content (political and personal lyrics) will be able to cast a similar reflection, music-wise. To hear "Not Afraid" for yourself simply click here: https://soundcloud.com/vagabond-flag.

Plymouth Brethren-"Satin on Silk" Single

Angel Recordings
2014

In anticipation of  a forthcoming EP, Plymouth Brethren's upcoming new release which will see release on is Angel Recordings in mid-June, we have the the lead track "Satin on Silk". Working with producer Greg Fitzgerald (Madonna, Kylie, Jessica Simpson) and blessed with a splashy lead singer by the name of James, Plymouth Brethren, a modern day rock band which (as it is) hails from the other side of the pound and has seen support from the likes of BBC 6 Music, brought to mind visions of classic Midnight Oil and current Cowboy Mouth. The only thing is neither of those two acts (or their influential spirits) does justice when it boils down to it. Considering the smooth delivery this band has with a track like "Satin on Silk" it will be more then a little bit interesting to see what they can do with an expanded release. That mystery will be solved on June 16th (the reported due date of the group's debut EP), but for now you can check out "Satin on Silk" for yourself right here: https://soundcloud.com/plymouthbrethrenband/satin-on-silk.

Helms Alee-Sleepwalking Sailors

Sargent House
2014

It's all been one big lie friends. Ignorance is most assuredly not bliss. You'd have a hard time convincing me otherwise as I tragically unaware of Seattle, Washington's Helms Alee (bassist/vocalist Dana James, guitarist/vocalist Ben Verellen and drummer/vocalist Hozoji Matheson-Margullis) until only just recently. And with "Sleepwalking Sailors", the third full-length album from a band that has had a long history of releasing EPs and splits since only 2007, this is true bliss. As such, how can one claim to experience a feeling of bliss outside of the sounds of Helms Alee? That is a troubling question and one which may never be answered in a satisfactory fashion. Thankfully we can all move on and treat this as a learning experience. For those no sense in drowning in our tears about what could have been, time we might have spent in the comfort of this unheralded trio with shared vocals, female and male, when we can now embrace the expansive collection of textures and sounds that make up this featured full-length attraction! Blessed with an uncanny ability to maneuver emotional material over a vast and ever-expansive sonic landscape, which (somehow) is atmospheric without actually transcending into some sort of  "atmospheric" rock and/or metal sound, the members of Helms Alee carefully mask their own roots/personal desires so that the music at hand beautifully meshes, note for note, into one perfect creation! And that's exactly what amazes me most about "Sleepwalking Sailors". It's truly something how Helms Alee (playfully) goes about stretching rock's boundaries, covering everything from stoner rock, post-grunge, alternative rock and math metal to indie rock, post-punk and even doom metal(!), in a (seemingly) carefree fashion and yet, upon further investigation (over repeated listens which is an essential component of the whole "Sleepwalking Sailors" experience!), the material present on this Seattle rock band's latest is not just technically-sound, but in reality expertly-constructed in order to get the most out of every moment! To say that I was blown away by this recording would be a understatement as "Sleepwalking Sailors" is superb in just about every way that you can imagine! From production to content it's easily to see that everything about this band's third album has been touched up and tweaked. Even so, "Sleepwalking Sailors", is colorful and personal. Helms Alee has graciously extended an offer for each and every listener, one that encourages you to walk alongside this trio as they explore a world of creativity and imagination where anything and everything is possible! I would encourage each and everyone of you who reads this piece to join Helms Alee on this journey of discovery. It's well worth the time. You can find out more about Helms Alee on their Facebook page (https://www.facebook.com/HelmsAlee) while you can hear this remarkable recording for yourself right here:

http://helmsalee.bandcamp.com/album/sleepwalking-sailors 

Forgotten Gems: Lucy Brown-Lucy Brown

Released in 1991 on Megaforce/Atlantic Records, with producer Joe Blaney (Soul Asylum, Jack Bruce, Children, Bernie Worrell, Donna the Buffalo, The Beautiful, etc.) twisting the old knobs (or whatever you choose to call it kiddos!), "Lucy Brown" was the first major label release from the D.C. interracial "funk/metal" band of the same name. Originally formed in 1987, with lead vocalist/bassist Scott Llewellyn, guitarist Luis Peraza Jr. and drummer Chris Neuberg (reportedly) all serving as the founding members, Lucy Brown first hit the scene in 1988 with an entirely different self-titled affair. From what I've been able to gather (or per Wikipedia if you will!) that release was issued thanks to the Washington, DC-area label T.O.G. Records. Whether the bands first LP was/is as straight-up dope as this one happens to be is anyone's guess (or at least my guess as this is the only Lucy Brown album that I've had the pleasure of adding to my personal collection!), but for my money this little beauty (released during the heyday of the whole funk rock/funk metal explosion when bands like 24/7 Spyz, Living Colour, Red Hot Chili Peppers and (of course) Faith No More where busy ruling the top of the charts!) is TOTALLY where it's at! Unlike those mentioned acts Lucy Brown was more rock then metal. As the site AllMusic puts it (and they really hit the nail on the top of the head with this one!) Lucy Brown drew from "everyone from Led Zeppelin and Jimi Hendrix to Sly Stone and Funkadelic" with equal access given to punk, classic rock, pop, soul and (naturally) funk! With this 1991 album the band added on a baritone lead singer in Gene Hawkins (R.I.P.) and with Llewellyn being able to full concentrate on (slap-heavy, drop-dead groovy!) bass riffs the band cut their path through and album that is more slick and damn stylistic then anything from the camps of 24/7 Spyz, Living Colour or Faith No More! While bassist Scott Llewellyn would leave the band in 1992 (he was replaced by Jon Papazoglou) Lucy Brown would muster one more (supposedly excellent!) recording in the form of a 1993 EP ("Five Dogs Dead") the group's long-term plans were derailed by the passing of Gene Hawkins in 1994 (his life was sadly cut w-a-y too short as a result of a heroin overdose). This 11-track LP stands as a monumental piece of funk-heavy rock and roll and as a lasting legacy to a band that (unfortunate as it may just be) few have ever heard of. Easily picked up on Amazon or Ebay from less then $10 (a total steal if you ask me!) "Lucy Brown" is a rock-steady, soulful, funk-filled and downright emotional ride which, for those looking to add something more dynamic to their life (only without necessarily indulging in thrashing guitars), seems like a surefire winner!

Yerbadiablo-It doesn't Work

Atomic Stuff Records
2013

 The 13-track "It doesn't Work", which was recorded, mixed, engineered & mastered by Luca Gomedi at High Distortion Level Studio between April 2013 and October 2013 and is the follow-up release to (previously-reviewed as noted by following link) "Jester In Brick Lane" (http://metalmark.blogspot.com/search?q=Yerbadiablo), is the latest work of art from Italy's experimental rock/indie rock/garage rock (and one-time one-man project) outfit Yerbadiablo. First appearing on the scene sometime back in 2010, with multi-instrumentalist/founder (and as stated then lone member!) Nik (the Öyster) calling all the shots, the project has evolved into more of a full-fledged band resulting in a much more fluid and natural sounding affair. Although let's be clear up front one point. Even when stacked next to other (world-wide) experimental rock acts a band like Yerbadiablo is unlike any other act out there expanding the boundaries of rock and roll. And yet, as evidential by the growth and (what comes off as) natural progression between 2012's "Jester In Brick Lane" and last year's "It Doesn't Work", the group's latest still seems as if it's roots are firmly planted in this reality*! Now backed by a rather impressive group of players**, Nic (vocals, guitars, bass, percussion, synth, diablo toys) takes Yerbadiablo on many adventures over the course of these 13-tracks. The album's first single "Hemp Generation" is the opener on "It Doesn't Work" (which should really be called "It All Works"!) and it's pure/blissful garage rock and roll! It's a great way to start off an album like this and, while it's a bit rough (language-wise so heads up being you go blaring this one around Mom & Dad and/or the kiddos folks!), "Hemp Generation" (http://youtu.be/wnzqmPdyiJc) sets the course for what proves to be a amazing journey! Drawing upon their influences (really, it's a list of who's who that includes act both acknowledge and unacknowledged including Blue Öyster Cult, Tom Waits, The Black Keys, Green River/Motherlovebone/Pearl Jam, McLusky, The Rolling Stones, Infectious Grooves, El Tri, Ramones, Todos Tus Muertos, Pj Harvey, Deep Purple, Strawberry Alarm Clock, Sam the Sham, The Trashmen, MC5, The Stooges, (Detroit's) Death,  The Sonics,  Mudhoney, Grand Funk Railroad, King Crimson, Miles Davis, The Kinks, The Troggs, Lou Reed, The Clash, etc!!!!) Yerbadiablo makes easy work of early cuts like "El Viparo" (featuring tasty harmonica from Rick Martello this cut comes across as Iggy Pop collaborating with The Black Keys!!), the psychedelic "Eurozone" and post-grunge/alt. rocker "U.S.A. (United State of Alienation)" as they scamper along with (mellow) closure "Pink Clouds Purple Eyes" being the proverbial "X marks the spot" on the map! The sound patterns of the 60s & 70s end up being explored on "Black Beard" and (jazzy lounge/Spanish rocker) "Calavera y Veneno". Meanwhile "Ojos de Bruja" starts off like some sort of elevator (to hell!) music before switching gears towards something more (dangerous and dark) rock-oriented before "Rattlesnake Tail in the Belly of the Whale" opens the floodgates all the way with nothing but sick& sinister (and rustic and raw!) heavy metal pouring out! So, as you can see there are a shit-load and a half(!) styles coursing through this (garage rock) album and, unless you are unable to step forward and grab hold of something new and different, there remains "something for everyone" on "It Doesn't Work"! Highlights would be too many to list as Yerbadiablo makes everything work! Whether we're talking about the album's first single "Hemp Generation" (a saucy, sassy and sax-filled rock and roller!), (metal-like) "Rattlesnake Tail in the Belly of the Whale", (acid trip in the making?) "Eurozone" or the "Now, that's what I call punk rock!" track "Habemus Punk" (a gritty rocker that falls somewhere between 1970's New York punk of old and charming variety or early 80's Cali-punk) everything comes across as if it is perfectly suited for that particular genre! It's really hard to pull that off unless your fans first and you do everything with integrity and the mindset that you're paying homage to music you love for yourself first and then fellow-fans second! Yerbadiablo have really come a far way in a short amount of time so it will be really interesting to see where this act goes from here now that there is a (hopefully) steady/stable line-up in place! You can find out more on the group's Facebook page below and be sure to check out the video for the excellent "Hemp Generation"***!!  

https://www.facebook.com/pages/Yerbadiablo/187711264596993

 *The group's last release (as can be read in my review!) left me "stranded somewhere in a state of confusion"! While their latest (which happens to be sung in both English and Spanish!) is still quite "wild and crazy", what with a track like "Imbunche" (heavily) relying on percussion (and being one of a few gems here sporting a cool ass sax solo!), the (almost there, but not quite) countrified/folk diddy "Diving Chamber" and the trashy punk rocker, "!Crash" serving as just a couple examples of the album's variety, it actually comes off as being (all-around) more grounded!

**Per the band's Facebook page the line-up also includes:
Pol-bass, vocals, guitars, percussion, sound fx, diablo toys 

Elvis-guitars, background vocals, percussion, diablo toys 

Gomez-drums, percussion, diablo toys  

Additional (guest) musicians include:  
Gabriele Bolognesi (sax on "Hemp Generation", sax & percussion on "Imbunche", clarinet on "Cazzillo Cramps", flute on "Black Bird". 

Il Demonio (guitar intrusion on "Ojos de Bruja") 

Ili (delay guitar improvisation on "Ojos de Bruja")

Rick Martello (harmonica on "El Viparo") 

***For the record I do not endorse the use of marijuana and/or any other narcotics so kids use your brains and think about the (potentially damaging) long-term effects before you do anything stupid!

Matt Boroff-Sweet Hand Of Fate

Self-Release/Independent
2014

Matt Boroff, an American-born, Austria-based artist whose musically career started out in the Nineties, has had a long career during which time he's played with the likes of Nirvana, Bad Brains, Queens of the Stone Age, Black Rebel Motorcycle Club and Calexico. On "Sweet Hand Of Fate", the follow-up to his 2012, four-track EP, "Filling in the Cracks", he set out to create a record that had "the flavor, the tone, the mood of some of the films that I've found inspiring, like the work of David Lynch, Stanley Kubrick, Quentin Tarantino, Federico Fellini and many more". Further more he goes on to state "I basically wanted to craft an album  I didn't necessarily want to create a film soundtrack, but rather songs that could become films in your mind's eye". All of that goes a far way towards describing the mood of an album like "Sweet Hand Of Fate". For the most part Matt ends up performing the bulk of the instrumentation on this sublime album and from opener "Lost" (a slow, lumbering classic rock-infused number that merges Zeppelin with Neil Young all while keenly piling on the distortion) onward his talent continues to astound you! For a songwriter/musician who began his career playing experimental noise-rock you'd never know it by cuts like "My Black Heart" and "Here In Limbo". The former teeters on psychedelic rock while the latter makes good use of classic rock and roll and hard rock riffs. And those are merely the first few tracks of "Sweet Hands Of Fate". That said, the reference to hard rock riffs and a post-metallic backdrop, this one is far from being a heavy metal platter and those expecting as much would most likely be let down. Instead this is darkly-tinted rock with an almost autobiographically-spin to it. There are plenty of twists and turns to be had across the grooves of this record as Matt Boroff, in a way in which the deck is both stacked and stripped to it's bare minimum requirement, plays from his heart while conspiring with his misery! A release like "Sweet Hand Of Fate" is a testament to what can be accomplished when one man cuts open his (philosophical) heart and spills the contents out into the open for all too see. While his last release was viewed as a "mini-album that connected the dots between the musical imagery of Elevator Ride and the atmospherics of Reaching for Sparks" this full-length album is a touch harder to define given that kind of open honestly and everything that went into the recording process. With moments of Zeppelin and Young and the incredible variety of misc. influences that seem to have found there way into the mix of "Sweet Hand Of Fate" (I picked up on everything from Iron Butterfly to Nick Cave to Screaming Trees to Morrissey as well as artists/acts like The The, John Fogerty, The Cult, David Bowie,  and The Cramps!) this album, while dark and drenched is both physical and philosophical distortion, was an absolute joy of a listening experience. Even with the expansive (and frankly odd) influences that come into play on "Sweet Hand Of Fate" this is a special, one of a kind, album that sounds unlike anything I've heard it a very long time!

Boston-Life, Love & Hope

Frontiers Records
2013

It's funny, but literally one day after I first sat down to listen to the mp3's for "Life, Love & Hope" for my review a CD copy of the album showed up in my mail. How very strange that is I must say. Very strange indeed. Possibly not as strange as the musical direction of Boston's latest release, but strange nonetheless. 
So anyway, this is Boston's sixth studio album overall and their first new release in some 11 years. It's the first one since 2002's "Corporate America" from which several cuts have been taken. Those tracks include "Didn't Mean To Fall In Love", "Someone" and "You Gave Up On Love". So technically-speaking this isn't an entirely "new" release, but eight out of eleven isn't all that bad right? Then again seeing as there is/was a Best Buy version that offered the bonus track "Te Quiero Mia" (which is a re-arrangement of "I Had a Good Time" with a Spanish chorus) it does seem as if there should have been more new material from the band's sole-driving force these days, Tom Scholz. That's right, these days it's just Tom Scholz calling all the shots for Boston and in addition to arranging the music at hand and playing the majority of the instruments on "Life, Love & Hope" he also engineered and produced the band's latest release. As he's always been his own biggest critic (or is it worst enemy?) everything about "Life, Love & Hope" falls on him whether it's good things like the Brad Delp-lead "Didn't Mean To Fall In Love" (Which reminded me in parts of Dire Straits while it also retains a little bit of the trademark Boston sound of old!) or bad things like the tiring "Love Got Away" which finds Tom looking to go at it almost completely alone. Not the strongest vocalist, Tom is better served when he steps away from the mic and let's other people sing lead like David Victor (opener "Heaven on Earth", which also features Louis St. August of Mass fame, shines with the combination of David's mic work and Schotz's guitar playing) and the late great Brad Delp ("Someone 2.0" and the oddly arranged "Sail Away").  Meanwhile the album also features lead vocals from Tommy DeCarlo (yes) who sounds good on the title cut and one Kimberley Dahme (eh, no!) whose voice seems to drag down every track she's involved with! Sorry if that sounds like a harsh criticism, but she takes what might otherwise be decent AOR numbers ("Sail Away" and "If You Were In Love") and turns them into atrocious elevator music! Those are the type of songs which drive normal people to the brink of madness where jumping in front of a moving train seems like a better option then having to endure mindless drivel! And speaking of mindless, one does have to wonder if Tom took a leave from his senses in regards to the album's use of drum machines! I'm sorry, but for a band like Boston, which the promo material rightly points out has been staple of U.S. Classic Rock Radio thanks to such gems as "More Than a Feeling", "Peace of Mind", "Foreplay/Long Time", "Rock and Roll Band", "Smokin'", "Don't Look Back" and "Amanda", to ditch the use of a live drummer for a piece of digital technology is wrong on so many levels! You would think that there has to be at least one session drummer out there who could have meet Tom's expectations right? So why use a cheap-sounding drum machine then? Why I ask??? Tom, if for some reason you actually read this, listen my friend. The music of Boston (especially your first two albums) was classic rock in it's finest. Even on "Third Stage" (which saw the arrival of drum samples) it was still high-quality rock and roll. So why change all of that? Even if Boston did evolve, which I am trying not to fault them for as many bands change the course of their music over the years to keep themselves fresh and feeling invigorated, taking away the use of live drums cheapened what could have still been pretty solid-sounding AOR. Unfortunately though the drum machines utilized on Boston's latest release stick out like sore thumb and, along with the off-kilter female vocals of Miss Kimberley, make a lot of this release sound remarkably weak and limp! So, while Tom Scholz is trying to steady the boat on one hand with his classic rock skills (again, check out this album's opener which find Tom's guitar playing rekindling some of the magic of Boston of old!) the rest of the vessel is taking on water at an alarming rate due to all the holes (bad drum machines and backing vocals) that have been drilled there with Tom's other hand! It's counterproductive to say the least! Even if you were able to make your way past the fact that this sappy album has five, yes count them folks, five tracks total (!) with the word "love" in them you would still have a heck of a time getting past some of the major flaws of "Life, Love & Hope"! And I'm not even going to start on the production side of things either! It's sad to listen to a release like this and then realize that despite being over 10 years in the making it still sounds as if it was hastily put together with little thought other then the option of re-using previous album tracks as well as (seemingly from the sounds of things) leftover/filler tracks from abandoned projects! Given the fact there are more rejects here then real rockers there's no way I could rightly justify this one to Boston fans or for that matter regular AOR fans!

Dirty Shirt-Freak Show

Est Ouest - Est Vest
2013

Released back in February of this year, "Freak Show", which was produced by Mihai Tivadar & Charles "Kallaghan" Massabo, is the third studio album from "rock/metal" band Dirty Shirt. This Romanian act features two vocalists in Dan "Rini" Crăciun and Robi "Metalistu" Rusz  and is rounded out by Mihai Tivadar (guitars, synths, programming), Cristi Bălănean (guitars), Pali Novelli (bass) and Vlad "X" Ţoca (drums). Now, it was actually Mihai Tivadar who sent me a email asking if I'd be willing to give "Freak Show" a listen and review it. I'm always happy to accommodate such requests (especially when bands say please!) although the difference between the email request's title of "Balkan Crossover Metal from Romania" and the actually reality of what Dirty Shirts is all about is a bit striking! On their latest release this band is technically "crossover" if you consider throwing everything and the kitchen sink into your music crossover. Describing the group's actually sound on "Freak Show" would be almost impossible as there is ANYTHING and EVERYTHING going on here and yes friends, it is rather freakin' awesome (and then some!) so sit back and enjoy this wild ride! Check this out. We have the "typical" sounds of rock and roll and heavy metal from what is said to be one of the most original bands in Romania. But then you're also treated to funk, punk, hardcore, thrash, death metal (mostly it comes crashing out in some of the album's sick & twisted vocal deliveries!) elctro, world music, Romanian traditional music, folk rock, rap-like rock and even some nu metal! Oh yeah, you better believe that it is crazy folks, but at it's heart it's still very much a "loud and proud" kind of release from a group that obviously has way more talent in their little individual pinkies then most groups have collectively! Is "Freak Show" the right fit for everyone? Maybe not, but it sure as hell is fun, interesting and very creative! It's one of those rare albums where it keeps you glued to your seat just waiting to see what pops up next. You can hear it yourself at the link below (and trust me you'll want to hear "Freak Show" for yourself as it's just too original to be missed) and maybe even find out what it is exactly that makes this band tick!

http://dirtyshirt.bandcamp.com/album/freak-show-2013

N.W.O.B.H.M. WEDNESDAY: STRATUS

It was in the early part of 1983 when Clive Burr, in what many people mistook as a sign that he would be taking a much-needed break from the music industry, laid down his drum sticks and put Iron Maiden behind him. That wasn't the case though as Clive, who was actually fired by Iron Maiden and replaced by the group's current drummer, Nicko McBrain, went right from Iron Maiden into the French band Trust. As Nicko McBrain himself had previously played with Trust it proved to be an "interesting" event for Clive Burr as the two drummers essentially swapped places! After helping them (Trust) out in the studio for awhile, and even taking some time to record with the "super group" Gogmagog (also featuring former Iron Maiden vocalist Paul Di'Annohe!), Burr decided that he wanted to form his own group. To that end fortune smiled on him as three top-notch musicians in Tino Troy (lead guitar and vocals), Chris Troy (bass and vocals) and Bernie Shaw (lead vocals), having recently become unemployed following the break-up of Praying Mantis, would fall right into Burr's lap. Originally going by the dreadful (and thankfully soon abandoned) name of "Clive Burr's Escape" the group, though sadly short-lived, would eventually be rounded out by keyboardist Alan Nelson with "Throwing Shapes" serving as their own and only release. Admittedly I knew little of Stratus before re-watching (for the first time in 25 years!) the Troma Entertainment "classic" film "Class of Nuke 'Em High". While looking to see who played a particular band during a scene that takes place at a college frat party (it ended up being The Smithereens oddly enough!) I happened to stumble across a reference to Stratus. Although I didn't catch it on my first (or rather latest) viewing of the film, sure enough Stratus actually played on movie's soundtrack! The band's number "Run For Your Life", which is also on the group's lone album, is featured on the soundtrack and, after heading over to Youtube to check out some other music by this N.W.O.B.H.M. act I went ahead and ordered a copy of 1985's "Throwing Shapes" off of Amazon. Now, even though drummer Clive Burr had just left Iron Maiden, and even Trust for that matter, the music found within "Throwing Shapes" proved to be more in line with what the Troy brothers were well known for. In other words, smooth and melodic British hard rock/heavy metal that takes it's cues, including splashy keyboards and an overly commercialized production, from AOR! The thing is even by Praying Mantis standards the band was way more mellow then anyone (press and fans of both Iron Maiden and Praying Mantis) could have imagined. In a way the album also comes off as more like Bernie Shaw's previous band  Grand Prix or even groups like Statetrooper, Tobruk and Briar. The thing is, in spite of all of that and in spite of the fact that the group's one and only album was more then likely initially dismissed by both fans and critics alike, I actually quite like the band. Sure, they are rather commercialized and even a bit "fluff" in places, but as an alternative to the heavier side of the N.W.O.B.H.M. movement it works. Or at least it works for me. You've got a top-tier vocalist here and musicians who know all to well how to craft melodic rock. The track from the movie soundtrack might have been my first exposure, but the album as a whole I found to be rather enjoyable. For melodic rock fans this band is worth a listen and you can find their "Throwing Shapes" album on sites like Amazon and iTunes. While they didn't last long past this album's release, they are still another sign of just how far-reaching the whole N.W.O.B.H.M. scene was (variety-why) and are an example of how, just when you think you've heard everything that the scene has to throw at you, there are always new acts to discover from the N.W.O.B.H.M. movement! 

Breached-Left Behind

Self-Release/Independent Release
2013

The Toronto rock collective known as Breached was formed back in 2010. "Left Behind", which was recorded in between Canadian and US dates of this past the spring and summer, is the third EP from Breached and follows hot on the tracks of their second EP, the acoustic release, "Revolution Sessions". As this was my first exposure to this four-piece I really wasn't sure what to expect as their description, "loud rock", doesn't give you much to go on hint-wise. Then again, the band also came packing the requisite "recommended if you like..." part that (oddly) included the likes of Alice In Chains, Incubus, Staind, Deftones and Alexisonfire. I'm not sure what was going on with that Alice In Chains one other then the fact that Breached did include a stripped-down cover version of their "No Excuses" on their last EP. Well, it's either that or whoever suggested that this band would suite fans of that Seattle band was smoking something mighty green and mighty fierce! Up front, and thrown squarely in your face so that there is no way you can miss it, there is some fairly blatant apparent Staind love going on with this bunch. Although, to be fair and all, that kind of love has been done in much worse fashion then this band is capable of pumping out and the EP's second track, "Piece By Piece", actually had me envisioning the bastard offspring of Staind and Fall Out Boy! Oh, and then there's the fact that vocalist Bobby Noakes isn't really all that bad of a band leader. His vocals suite the style of rock here and give Breached, which is actually quite melodic when they choose to be, a fair shot at evolving into something more original. Perhaps I'm being a little too rough on this band. Unlike groups like Incubus and Staind these Toronto rockers don't make me want to shove crochet needles all the way into my eardrums! So hey, that's a positive right? Right?
http://breachedmusic.com/

 

Forgotten Gems: Profondo Rosso -Next Stop Neurosis

Neat Records
1997

On more occasions then I'd like to admit or even care to remember, which is to say quite a few times, I've been suckered into buying heavy metal lots or, like in this case, a "NWOBHM" lot. Back before I really knew my way around the Internet (and there was still dinosaurs and dial-up connections) it happened a lot as I would just take sellers at their word. These days I know better and am better prepared to do research before I hit either the "bid now" or "buy it now" button. With this 3-piece act I knew that I was not getting a N.W.O.B.H.M. band. Just because they were signed by Neat Records does not mean that they were some sort of British metal act. About the only thing they have in common with other Neat artists is the fact that they hailed from England! As I got it along with Sweet Savage's "Rune", Wraith's "Schizophrenia" and Slander's "Careless Talk Costs Live" (which I already had in it's re-released version) I didn't much care about technicalities. It's merely that I found it kind of funny how much (and how often) people will try to stretch the movement to cover bands like this. I mean at least Slander gets points for their love and devotion of all things N.W.O.B.H.M.! Anyway, the CD's description did mention how, upon signing with Neat Records, they were (supposedly) assigned ex-Tygers of Pan Tang front-man Jess Cox as a manager. That's interesting stuff if it's true and all.  Formed in 1992, and having a sound that owed way more favors to punk rock then it did heavy metal, the band named themselves after Dario Argento's classic 1975 Italian giallo (which is more commonly know these days as "Deep Red" I suspect). What's funny though is how the name choice doesn't really match up with the music on hand. It's possible that the band, which was lead by vocalist/guitarist John Savage, started out a bit more "edgy", but they are nowhere near as dark as their name might imply! After all we are talking about naming your band after a Italian slash-fest! The name choice aside, we're looking at a band/album that reminded me of everyone from (early) Goo Goo Dolls to the Sex Pistols. With bassist Duncan James Garvey (cool name) and drummer Karl Rouleau (also a cool name) on board we find a really steady power trio that rolls out track after track of punk rock and roll cheesiness! As they shuffle about their business on "Next Stop Neurosis" it's easy to pin-point the many bands that these three emulated.
This Sunderland, N.E. England-based band most assuredly loved the likes of The Clash as much as they did The Who. It's said that the group also owed part of their original sound to other influences like  Swervedriver, Jane’s Addiction, Manic Street Preachers and even Ned’s Atomic Dustbin, but that's less obvious (especially on this disc) then bands like The Clash, Goo Goo Dolls and The Sex Pistols. If I walked away with anything (in regards to the album) it was a desire to hear more from the group. So in a way they did get their claws hooked in me. With their only other full-length album, "To Live, And Die, In The UK", on it's way to me as I type this I guess we shall see if musical consistency was a trait that this band flourished in or not.

Owl Stretching-"Keep Calm And Carry One" Single

I owe a debt to Sleaze Roxx ( http://www.sleazeroxx.com/news/02093.shtml?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+sleazeroxx+%28Sleaze+Roxx+News+Headlines%29 ) for turning me onto this single and this project I knew nothing about! Owl Stretching is a project from Saigon Kick guitarist (and one time front-man) Jason Bieler. Here he is joined by bassist Chris McLernon and drummer Ricky Sanders. Overall the single is some smooth rock/hard rock and it made for some good times here at the offices of Heavy Metal Time Machine (aka my basement!) as it became quite addictive to all who heard it! With Saigon Kick reportedly set to play a few select shows sometime this year or next (mostly festival appearances from the sounds of it) this single will help to remind everyone just how talented Jason Bieler is! Oh, just in case you are wondering, I was a Saigon Kick fan back in the day and I always thought that "The Lizard" was an underrated album.

http://bielerbros.com/store/product44.html