Reviews(Jimi Jamison,James Dupree,Saxon...)

[DreamTide]

Jesse James Dupree & Dixie Inc.
Rev It Up And Go Go
www.jessejamesdupree.com
www.myspace.com/dixieinc
Rating 4,5/5



Most people know Jesse James Dupree from his chainsaw days with JACKYL. Jesse has put out a new solo album out titled Jesse James Dupree & Dixie Inc. The CD contains 20 songs, broken up into two swigs! What I mean is, the first swig of eight songs is referred to as “Saturday Night” and the second swig is referred to as “Sunday Morning”. Stay with me on this one. I will clarify it in a bit.

Let’s start with “Saturday Night” The title track ”Rev It Up and Go Go” is nothing less than Full Throttle, hard driving, balls to the wall! You can think of it as a one- two punch, but with a little southern twang! “Bite” takes a bite out of life’s ass with this kickin tune! The guitar work is crunchy, tight and down right mean on this enchanting “Saturday Night”. Jesse’s vocals are at his best! The band, tight, and in your face!

The CD is loaded with ammo as in “Tank”, another cruncher. It keeps getting better. Check out “Wash Me Away”, great riffs and solid thumps! I am digging the CD and was curious to find out what the second swig could taste like, but will wait. The lyrics are interesting. There are stories, substance and heavy thought! Not like today’s angry, pussy youth that writes about how the world owes me and I am gonna kill myself because I am depressed. Give me a fucking break! Sorry I lost myself.

The last two cuts, “Money Lovin and Speed” give's you the faster drive grove of AEROSMITH’s version of “Train Kept a Rollin”. The closer for “Saturday Night” didn’t do much for me, but what the hell the first seven cuts were killer. Ahh, the second swig you ask?

This sure through me for a loop. I didn’t expect to be blind sided by country music? I wasn’t sure what to make of it but the concept is cool, it’s a party country gathering of some good ol' boys! I am not one for country, but since my interest in NASCAR lately, traveling to the different races has left me no choice but to indulge. DIXIE INC.. which is Jesse and I guess some of his buddies, show their true roots. Nothing wrong with dat! I dig “The Party” song and “Reality Star.” It really isn’t that bad. Would I play it every day? Probably not; but I would turn my NASCAR buddies from the south onto it and have a cup of shine to enhance. Jesse James Dupree throws down on “Saturday Night” and keeps the party going right through “Sunday Morning”. Definitely give this one a Go Go!

Rock On!

Joe Manno

-----------------------------------------------------------------------------------


Jimi Jamison
Crossroads Moment
www.jimijamison.com/
www.myspace.com/jimijamison
Rating 5/5




When it comes to music, people throw around the word “classic” as if it were a standard reference. Even I have found myself guilty of this… sometimes just throwing it around in frivolous conversation but when I sat down to think about it, it really is a tough word to use when trying to describe just about anything because everyone bases their opinion on what they consider the most important variable. When it comes to music, some people base it on album sales, how popular a song and/or songs was, how influential the album was to other musicians, etc., etc., etc. or any combination of those categories.

I have always tried to base my description of a “classic” according to the quality of the music as a whole. That being said, I have found myself a bit more skeptical when it comes to reviewing and throwing out 5 out of 5 star reviews because if that’s what I have to measure my reviews by, then a 5 out of 5 should be an absolute “classic” and nothing less and I have given a few and I stand by my opinion.

In the realm of AOR/Melodic rock, when I have spoken with people about the subject immediately certain albums keep coming up over and over again; “The Grand Illusion” by STYX, the first s/t BAD ENGLISH release, “Slippery When Wet” by BON JOVI, BOSTON’s first release or (what seems to be the beat-all/ end-all/ grand-mother of Melodic Rock/ AOR releases) JOURNEY’s “Escape.” I would have to agree that they are all indeed worth a mention but basing this review on MY opinion of what I am basing MY definition of the word “classic” on, for the first time I want you to simply ignore my 5 out of 5 star rating because (to me) Jimi Jamison’s new release “Crossroads Moment” is off the chart and simply nothing less than an instant AOR classic!

I must admit that ever since I heard this project was in the works a little over a year ago, I have had some high expectations especially knowing that this album would once again reunite Jimi with his long-time friend, writing partner and ex-SURVIVOR band mate Jim Peterik… I just never expected anything like this. Every note… every chord… every arrangement is sheer perfection.

There’s nothing on this entire disc that any melodic rock/ AOR fan cannot appreciate. Solid, up-beat rockers like the opening track “Battersea,” “Behind The Music,” “”Friends We’ve Never Met,” and “She’s Nothing To Me” are the mainstay while other tracks like “Bittersweet,” “Lost,” and “Love The World Away” are classic AOR anthems. Then on pseudo-power ballads like “Alive,” “Till the Morning Comes” and “Can’t Look Away,” Jimi shows us his softer side but it’s the powerful, up-beat and inspirational tracks like “That’s Why I Sing,” “As Is” and the title track “Crossroads Moment” that really solidify this masterpiece and lift this CD above and beyond your typical CD standards. And lest I forget the final, anthem-like track entitled “When Rock Was King” which takes the listener back on a musical journey to a better place and time… along with special guest vocalists Joe Lynn Turner, Mickey Thomas (STARSHIP), Mike Reno (LOVERBOY), Don Barnes (.38 SPECIAL), Jim Peterik and Dave Bickler (JAMESTOWN MASSACHRE/ SURVIVOR)… now that’s one Hell of an ensemble!

What else can I say? This is just about as close to perfection in an AOR/ Melodic Rock release as you are going to get nowadays. Fans of this music genre will not simply love this release but will be able to take it in, feel it and live along with every word and every note. In a word… brilliant! It’s been a long, long time since I’ve actually felt privileged to review a CD but with “Crossroads Moment” I feel just that. As I said in the beginning, simply ignore the 5 out of 5 stars I am giving this because “Crossroads Moment” goes way beyond any simple scale. Time will tell if this will ever be mentioned by others when they are speaking of the best Melodic Rock/ AOR releases of all time, but for me… it always will.

David Felix
--------------------------------------------------------------------------------

[DreamTide]

Moritz
"City Streets"
(Harmony Factory,2008)



Moritz is one of those bands back in the 80s that never got the attention they should have like other bands from UK like La Paz, Peroux and Zero Zero to name few.
They just released singles and one EP called Shadows Of A Dream. This is an 8-track album with 4 tracks from the EP and 4 unreleased tracks that has been written by Greg Hart (If Only, GTS, Limehouse Lizzy) together with the members of the band.
This is pure classic 80s AOR with tons of keyboards and wonderful melodies in the same style as FM, Strangeways, Airrace, Shy and Tobruk.
The thing that don’t lift up the grading more is the drum sound that could have been better but songs are damn catchy with great vocals. Can’t Stop Loving You is a fantastic AOR-song with classy 80s keyboard lines and catchy hooklines just like Strangeways.
Place In Your Heart reminds of Wildlife (pre-FM) and FM with a strong chorus and great background vocals. Break It Up starts with dut-dut keyboards and the chorus reminds little of Foreigners Break It Up, great song. Don’t Walk Away is a fantastic mid-tempo rocker in the veins of Shy.
Caught Up In The Action is a stunning AOR-rocker with a fantastic chorus - bring on the air-keys. Despite the drum sound this is a great AOR-album and if you’re a sucker for 80s keyboard AOR like me then you gotta check this out.

3,5/5

Reviewed by: Juha Harjula

[DreamTide]

Keith Emerson Band
"Feat. Marc Bonilla"
(Edel,2008) [/img]



Keyboard legend Keith Emerson has returned to his roots with a progrock based album similar to his time in ELP, the album Keith Emerson Band feat. guitarist/singer Marc Bonilla contains several short instrumental pieces and 6 songs with vocals.
Bonilla has toured with Toy Matinee and his voice is reminiscent of Greg Lake and John Wetton, 5 of the 6 the songs with vocals bring thoughts to the album "3" which Emerson and Palmer did with Robert Berry in 1987.
That ofcourse pleases me since they are more like pomp anthems, "Miles away part.1,2&3", "A place to hide", "Marche train", "The art of falling down" and "The parting" are the highlights here.
But the instrumental stuff should satisfy his older fans of ELP, it's good to have Emerson back!

3/5

Reviewed by: Kaj Roth

[DreamTide]

SAXON: "Into The Labyrinth" 9SPV/Steamhammer 2009
Review by Alan Holloway,
8th Januaty 2009



It’s now thirty years since Saxon broke on to the NWOBHM scene with their debut, self titled album. “Into The Labyrinth” is studio album number 18, incredibly, and it should come as no surprise that Saxon show no signs of either getting old or slowing down.

For the last ten years or so, Saxon have been reinventing themselves from a classic heavy rock band into a mighty metal machine, and this has gone down well, especially in metal mad Europe. They moved away from the likes of “Wheels Of Steel”, coming back with “Metalhead” and “Lionheart”, full blooded metal screamers that still contained the core element of the band we all loved. With the new album, the band have taken the interesting step of melding the two styles, creating an album that will delight fans both new and old.

For an insight into what’s making Saxon tick these days, look no further than the single “Live To Rock”, a full blooded, simple ode to all things ROCK with a hook to die for. This and tracks like the melodic yet heavy “Come Rock Of Ages” certainly hearken back to the Saxon of old, and not in a bad way. There’s also the cracking full tilt stormer “Demon Sweeney Todd”, which takes 21st century Saxon and injects a slice of “Motorcycle Man” for good measure. There’s even a shot at the blues in “Slow Lane Blues”, about being nicked for speeding, which ends up as a decent song that to be honest isn’t all that bluesy.

“Into The Labyrinth” is possibly the most well rounded Saxon album for twenty years, delivering a solid shot of liquid metal and rock straight into the veins. Biff Byford and co are a well oiled machine that does just what you want it to, yet each album seems fresh and innovative. Iron Maiden may have the stadium gigs, but Saxon have the grit and talent that defined a genre and continues to do so.
www.saxon747.com

[DreamTide]

PLACES OF POWER: "Now Is The Hour" 9
Frontiers 2009
Review by Kimmo Toivonen,
08 January 2009



Places Of Power is a union of two talented melodic rock artists. Bruce Turgon is a superb songwriter/multi-instrumentalist who is most known for his work with Lou Gramm, while Phil Bardowell has sung with Magdalen and Unruly Child. They both released fine solo albums on Frontiers label back in 2005, but Places Of Power tops them both. While Turgon is a good singer as his solo album proves, his songs benefit of the truly great vocals of Phil Bardowell, who should establish himself as one of the top AOR vocalists of today with this album. It really was a stroke of genius from Frontiers' Serafino Perugino to dream up this combination!

The songs on "Now Is The Hour" carry the trademarks of Turgon's writing - he tends to favour athmospheric, dark and intense melodies. This album is chock full of those, and with Bardowell's very Gramm-like vocals, there's no escaping the comparisons to Turgon's previous work. I can't help but think that some of these songs would have been perfect for Foreigner or Shadow King. That should be a recommendation in itself.

The highlights for me include the lead-off track "In Your Wildest Dream" with its' brilliant, pulsating keyboards and a killer hook, the catchy and keyboard-driven "Secrets" and the balladic "Light Of My World" which reminds me a lot of Foreigner's ballads on the "Mr. Moonlight" album. Actually, apart from a two or three slightly less impressive tracks, the whole album is excellent. I especially enjoy the keyboard work, which is quite imaginative. Turgon, who is responsible for all the instruments except for the solo guitar (played by Scott McKinstry), has obviously taken a lot of time to perfect the arrangements and the production, and Bardowell's vocal performance gives the album that extra spark. Yes, I believe we have a Top 10 of 2009 contender here, although we've only just said farewell to 2008...
/www.myspace.com/placesofpower

[DreamTide]

BLAZE BAYLEY - The Man Who Would Not Die



It's really been a tough couple of years for Blaze Bayley. The former Wolfsbane/Iron Maiden front man released a string of very strong albums under the moniker of Blaze before management issues, financial problems as well as depression and alcohol abuse started to take its toll. Things began turning around when he re-connected and eventually married his wife Debbie in Feb. 2007 after knowing each other for almost 20 years. She quickly got involved; not only managing his life but managing Blaze (the band) as well. Earlier this summer, tragedy struck when Blaze's wife suffered a serious brain hemmorhage and later a stroke in September which eventually claimed her life. After a brief period of mourning, Blaze has decided to carry on in her memory with his current project which had released this album, The Man Who Would Not Die earlier in the year. The album itself is somewhat biographical and sheds the sci-fi and futuristic subject matter of previous albums in favour of themes of determination, perseverance, survival and defiance. The whole package seems quite ironic as he now faces the very same obstacles that he deals with in the context of this album. Sounding heavier and better than ever, Blaze Bayley has delivered not only one of the best albums of his career but one of the best traditional heavy metal albums of 2008 and will certainly make my years best list.

Right out of the gate, the title track, The Man Who Would Not Die sets the tone for this blistering slab of heavy metal that has it's roots firmly entrenched in the long standing tradition of British Heavy Metal. Speedy tempos and thundering drums along with solid leads and thematic riff breaks are not only found on this track, but many others as well. The steamroller continues with Blackmailer; a track that features solid pull-off type riffs and more double bass fuelled thundering heaviness. This one (and a few others) take a page from the Iron Maiden handbook with a mix of tempos, smokin' lead harmony breaks as well as extended instrumental breaks. Samurai also borrows a bit of the Maiden sound with it's driving heaviness and more extended instrumental/lead breaks. A few of the songs, Smile Back At Death, Crack In The System and tha album closer Serpent Hearted Man have a bit of a modern edge with the guitar riffs yet fear not - chugging heaviness, galloping riffs and lots of thematic riff breaks/leads still dominate the arrangements of these songs. While You Were Gone, a track that he now dedicates to his wife, begins as a slow atmospheric and gut-wrenching heavy ballad before launching into a sudden speedy tempo for more lead/riff breaks and extended instrumental sections. At The End Of The Day also uses the same sort of arrangement yet substitutes the speedy tempo change with extended atmospheric lead guitar work instead. Waiting For My Life To Begin, Voice From The Past and The Truth Is Gone all feature driving metal riffs and yet more extended lead/instrumental breaks with Voices From The Past having Helloween like speedy harmonized lead guitar work. Blaze even ventures into thrash metal territory with Robot. With Dave Lombardo (Slayer) like speed drumming and thrashy speed riffs, this one sees Blaze singing in half-time over the speed, much like Slayer's Tom Araya does as well.

Blaze's voice sounds a strong as ever and even though his voice may be an acquired taste for some, he has such a unique voice that its easily identifiable. You can really hear the desperation, anger and defiance in his voice throughout the album and the emotion he puts into his performance here is unlike anything I've heard from him before. This album simply grabs you by the throat right at the onset and really never lets go. No filler tracks whatsoever and you'd be hard pressed to find a better traditional sounding metal album than this one from 2008. In comparison with other big releases from '08 including Iced Earth's Crucible Of Man, Blaze Bayley's The Man Who Would Not Die rolls The Crucible Of Man into a nice tight spliff and smokes it!!!

90/100

[DreamTide]

GIRLSCHOOL - Legacy



Has it really been thirty years since Girlschool first came into being? They first started as Painted Lady in 1975 before changing to Girlschool in 1978 when Kelly Johnson and Denise Dufort joined the band. The band fitted snugly into the new wave of British heavy metal becoming label mates with Motorhead. They hit a commercial peak between 1980-1982 with classic albums such as Demolition and Hit And Run. Since then the band has been sporadically releasing albums, revolving band members and keeping their name alive. In 2000 they had a reunion when original bassist/vocalist Enid and lead guitarist Jackie Chambers rejoined the band. This reunion has seen the release of 21st Anniversary: Not That Innocent', 'Believe' and now Legacy.

The album mantle Legacy is quite an apt name as Girlschool not only have a cult following in the metal world but their influence can been seen in bands such as The Donnas. They perhaps don't get the credit they deserve but their achievements and longevity can never be understated. In fact their influence on contemporary all female acts is obvious as they chock through opening tracks Everything Is The Same and From The Other Side. Both songs pack a rock and roll punch suggesting that there’s no substitute for experience, and one could argue that it’d be difficult to find a better example of this all girl rock band in music’s contemporary acts. This is perhaps a big statement to make but when Girlschool is on the money on Legacy they’re quite simply brilliant. I Spy and Spend Spend Spend continue in the same vein proving the band still have a real chemistry. Another advantage this album has over younger acts is the variety. Whereas ‘The Donnas’ tend to write one song twelve times, Girlschool mix up the track listing sounding like a band who’ve thought about what they’re writing.

The excitement of the first third of the album is, sadly, not maintained. Many albums are guilty of this. Putting your best songs first is the way of things, but Legacy takes a frustrating dip in the middle before building up to a rousing finale. It’s not that the songs are bad, it’s just the start of this disk sets the standard that would’ve been difficult to maintain. This may sound harsh but I’m trying to give a rounded view of the whole disc. Whole New World misses the spot, Legend sounds like a filler and Still Waters is perhaps a song too many. When you reach Metropolis the disc kicks back into gear and the last handful of songs are the best on the album. Don't Mess Around', 'Zeitgeist' and 'Don't Talk To Me' proves how good this band can be. Add some guest performances from Lemmy, Dio, Tommy Iommi and Fast Eddie Clarke to add extra gravitas and the album, including the bonus tracks, has a well-rounded feel about it.

Legacy is a great listen and sits nicely in contemporary metal despite the band’s 30 year history. It also fits snugly into their discography. They sound edgy and full of youthful attitude. With the old NWOBHM bands enjoying renewed success Girlschool have produced an album that could help them tap in that interest. It’s not brilliant and it does dip in the middle but give me Girlschool over The Donnas any day.

82/100

[DreamTide]

HANOI ROCKS: "This One's For Rock'N'Roll"
Johanna/BackStage 2008
Review by Urban "Wally" Wallstrom,
12 December 2008



Ehhh, I had no idea that Johanna (the record label) was still up and running. I do have an idea about Hanoi Rocks and their music though. Frankly, I never understood the greatness about this band in the past and especially not the early years. It could have something to do with me being into the mainstream hardrock sound of the early 90's and not the awful rock of "Up Around The Bend". I still hate the song and any cool band would obviously cover "Run Through The Jungle" anyhow.

But I'm glad to say I was wrong about Hanoi Rocks and to be honest, my taste in music have changed throughout the years. They had the Glam image reminiscent of New York Dolls, but musically they were more epileptic and a mix of Punk, Glam, R&B, UK Indie Rock, and merely with a hint of traditional hardrock. In fact, a song and dance number like ,"11th Street Kids", have more in common with UK indie rock of its era than actual hardrock.

"Oriental Beat" is basically the sound of The Clash, "No Law And Order" blend punkish vibes with U.K. ska and it's once again the sound of the Clash all over the place. "Taxi Driver" is The Stones with a rockabilly twist and "Cafe Avenue" is just good old fashioned rock... and "Love's An Injection" is frankly put a fantastic song from the year of 1982, ancient, but darn catchy.

CD two are all songs from the comeback years, 2003 to 2007. "People Like Me" is obviously a 'Cheap Trick' rip-off and "Better High" is Alice Cooper, but they're still rocking tunes. "You Make The Earth Move" from the 2005 album, 'Another Hostile Takeover' is another classic tune and the songs from the comeback years are all heavier and more 'sleaze' than their 80's stuff. You also get two previously unreleased tracks and "This One's For Rock'N'Roll" is the perfect introduction and farewell to the band. The story of Hanoi Rocks are about to end as the lads decided to give it a rest (for good?) in late 2008. I guess I need to check out their 80's albums after all....
www.myspace.com/hanoirocks

[DreamTide]

PRESTO BALLET: "The Lost Art Of Time Travel" 8
PRR/SPV 2008
Review by Urban "Wally" Wallstrom,
9 December 2008



Whatever happened to the fine art of time traveling? Lost no more as Presto Ballet appearantly found it somewhere along the way. They've somehow also managed to retrace the long gone sound of 70's Pomp and overture. Indeed, this is the side project of Metal Church guitarist Kurdt Vanderhoof and it simply reeks of late 70's and early 80's Pomp/Symphonic/Prog rock.

Merely seven tracks on this CD, like all those really old albums, and four of them are all nine minutes or even longer. Quirky arrangements mix contrast of hammond, mellotron, synths, lushy melodies, and push the once restricted late 70's Pomp sound over the edge and into the modern era of today. Well, it's mostly a retrospective take at music as they stay pretty true to the sound of Styx, Zon, Kansas, Hobbit, with just a hint of Rush.

Vanderhoof is obviously a Pomp freak as this CD is exactly what above geezers did back in the days. To be honest, it only disappoints on the occasional over indulgence and overkill of 'happy' keyboards and mellotron. The more than 14 minute long, "One Tragedy At A Time", is alone worth the trouble of listening to several sections and layers of pompous keys and harmonies. Final Verdict: probably must have material for the old pomp fan.
www.prestoballet.com

[DreamTide]

TAKARA
Invitation To Forever
© 2008 Progrock Records (PRR630)
melodic hard rock
studio album
12 tracks - TT 49:10
release date: November 12, 2008
www.takararocks.com
www.myspace.com/takararocks




After a long break (of almost seven years), Neal Grusky makes a welcome return to the melodic hard rock scene with a brand-new Takara album. “Invitation To Forever” is the follow-up to “Perception Of Reality” (Lion Music, 2001), which wasn’t bad, but paled a bit in comparison with the three first studio albums, featuring a brilliant Jeff Scott Soto on lead vocals.
The first thing that caught my eye when I finally had a review copy of “Invitation …” in my hands, was the brilliant cover artwork of Guilherme Sevens, who also created the brand-new Takara website. A second thing was the line-up who recorded this fifth studio album. Keyboard player Brook Hansen seems to be the only survivor from the last line-up, which means that Grusky introduces a new rhythm section as well as a new lead vocalist. With Bjorn Englen on bass and Patrick Johansson on drums, he surely invited some seasoned musicians, as we know both gentlemen from their work with Yngwie Malmsteen. On lead vocals we have Gus Monsanto, known from Adagio and Revolution Renaissance among others. Between him and band leader Grusky there was a good writing chemistry, which has led to a better album than the last one. Not all of the twelve tracks on offer blow me away though, but cuts like “Angels Of Lies”, “Spotlight” (my favourite) and “Still A Mystery” show what this pair has in store for future albums. Monsanto is certainly a better singer than his predecessor Michael James Flatters, but he’s not consistent enough throughout the album . With more songs like the ones jut mentioned, the next Takara album could be on par with their first three platters from the 90s. A good album, but certainly not their best!

4,5/6

[DreamTide]

UFO 'The Wild, The Willing & The Innocent' EMI (2009)

Originally released in 1981 and the second album to feature Paul Chapman (ex-Lone Star) era of UFO plus the the debut of Neil Carter on keyboards (although Jon Sloman played uncredited keys on this album). This remastered version adds three bonus songs - live versions of 'Lonely Heart', 'Long Gone' and 'Makin' Movies'.

There are some classic UFO hard rockers on here in the shape of 'Chains, Chains' and 'Long Gone' highlights some very tasty sax and piano parts. Paul Chapman lets fly with a short but sweet solo as well midway through. The ballad 'Profession Of Violence' closes the album and Chapman really comes into his own on the wonderful soloing - tight and melodic yet never OTT.

Great album all round and proves the band could still cut it after Michael Schenker had left the band.

****
Jason Ritchie

UFO 'No Place To Run' EMI (2009)

Paul Raymond's last album with the band before he left (only to rejoin back in the 90's) and the debut recording by new guitarist Paul Chapman. For me not one of the band's best although the cover of the Elvis tune 'Mystery Train' still graces the live set today and is a damn fine rocker. 'Anyday' and 'Gone In The Night' are classic UFO hard rock tunes, great vocals from Phil Mogg coupled with tight rhythm and hard rockin' guitar. But the title track and the very dated instrumental 'Alpha Centauri' are very lacklustre.

One for fnas only and the band's next two albums featuring Paul Chapman are much better investments for your collection.

***
Jason Ritchie

[DreamTide]

Blast From The Past Bonus

NWOBHM - Demon


Night Of The Demon
www.youtube.com/watch?v=FJZDP7k-DhI&feature=re...

Into The Nightmare
www.youtube.com/watch?v=J31_mMxpJpA&NR=1

Blue Skies In Red Square
www.youtube.com/watch?v=3gJTYcg8QDU&feature=re...

The Plague
www.youtube.com/watch?v=qEYm1anvavQ&feature=re...

The Life Brigade
www.youtube.com/watch?v=YYQIwzVoJRQ&feature=re...

A Step Too Far
www.youtube.com/watch?v=kKKA5-O0f6Q&feature=ch...

Demon - Remembrance Day (a song for peace)
www.youtube.com/watch?v=LzHU3PmUHUI

[blackers45]

Thanks Dreamtide the Saxon review was very helpful Kudos to you