AC/DC - Black Ice

AC/DC
Black Ice
Columbia Records
9/10





Face it, critics and fans can be real hard on bands that have been around for a while. Non-stop publicity engines raise expectations for everyone in the equation. So with a break of eight years between studio platters, the stakes are high for seminal Aussie rockers AC/DC.

At this point in the band's career, a dull record could be a make-or-break proposition. Older fans have moved on with their lives in the years since "Back In Black" hit the racks in 1980, ushering in the Brian Johnson-era of the band. Younger listeners are jaded from an endless supply of artists of all styles heavy. All in all, the odds are already against AC/DC finding success with "Black Ice." Add in the factor of age and this album could have easily been expected to be an outright failure.

Amazingly, it's not.

In fact, "Black Ice" every bit rivals the Johnson-era debut in almost every aspect. The Youngs have teamed up to write a blistering pack of rockers, with the hard rocking first single, "Rock N' Roll Train" leading the way.

When you hear the jamming hook of "Anything Goes" or the fist-pumping title track, you'll understand just why the group took so long to bang out this record.

Each and every track on this album is well-suited to be played at maximum volume in strip clubs and hole-in-the-wall bars and that's exactly what fans needed to hear from this legendary band.


Written By: Puss Whiskey

YNGWIE MALMSTEEN’S RISING FORCE - Unleash The Fury

YNGWIE MALMSTEEN’S RISING FORCE
Unleash The Fury
Spitfire Records
8/10





Few that have ever picked up an electric guitar can do the things with it that Yngwie Malmsteen can. To label the six string shredder as a virtuoso is an understatement and his penchant for creating a variety of metal sounds stands as mightily as ever on his latest opus “Unleash The Fury.” 

Followers who reveled in the shred master’s “Trilogy” and “Odyssey” records will find that a similar fluid continuity runs deeply through this album. As much as this ripping lead player can burn up a fret board, he is also wizened in the tactics of getting the utmost emotion from but a handful of notes. Malmsteen emphasizes dramatic overtones and accents urgent rhythms with captivatingly masterful shifts in scalar patterns, all the while retaining a mystical sound that displays a disciplined metal character like none other.

During “Crown Of Thorns,” the guitarist is at his finest, tearing off slashing licks and amazingly blistering runs effortlessly. Vocalist Dougie White croons in a quite similar fashion to past singer Jeff Scott Soto on the medieval natured “Winds Of War (Invasion)”, while pulling off an interestingly sleazy snarl on the at times funky “The Boogieman”, a track which brings a bass heavy thump along for the hook.  

Anyone who is a true metal guitar aficionado is going to be pleasantly surprised at Malmsteen’s ability to morph through varied metal phrasings. During the staccato plucking of Cherokee Warrior, Malmsteen offers classically inspired tones that are embedded inside a wild spirit, while “The Hunt” offers razor-edged precision accompanied by a staunchly theatrical undertone.

At times, a man’s works may justify a strong ego, and the music on this album can be considered as nothing except being masterful. Yngwie J. Malmsteen is the man who brought classical compositional theory to the fore with “Rising Force” and on “Unleash The Fury”, the adept player shows that he can create songs that are as respectfully tuneful yet astoundingly performed as well as ever, making this album yet another of the many highlights in the tenure of a player that will surely stand as legend to aspiring guitarists for decades to come


Written By: Puss Whiskey

BREAKING POINT - Beautiful Disorder

BREAKING POINT
Beautiful Disorder
Wind Up Records
8/10





As Breaking Point masterfully emits a combination of energy, melody and strong songwriting the success of Beautiful Disorder is virtually guaranteed. Stylistically, the group is certain to appeal to fans of mid-tempo, high energy rock like Puddle Of Mudd and AlterBridge, as Breaking Point proves to be definite contenders for the rock throne in 2005 with this moving assemblage of high quality hard rock.

Songs such as “Show Me A Sign” show a sensibility in their execution that resides somewhere in between the sounds of Crossfade and Collective Soul, while Breaking Point retain their own identity amidst the fray. Smooth vocal harmonies drop hints of Nu Metal at times, with the structuring of the vocal lines reminding one of a more focused Linkin Park or a grown up Good Charlotte.

Nevertheless, hard rock is fueling the heart of this group’s music and their ability to deliver a solid, commercial rock tune is evidenced by the wonderfully arranged “Don’t Let Go.” A track that has hit written all over it, “All Messed Up” finds Breaking Point tackling a traditional power ballad with bold measure of flair.

Lyrically, Beautiful Disorder is focused on relationships, with the wide majority of the songs on the album perfectly represented by the record’s cover in spirit. “Goodbye To You” finds the group at their best, shining through artistically with a track that is not only intensely ear-catching, but highly memorable as well.

Listeners will be hard pressed to find something not to like about this music. Although the style is often a familiar one, Breaking Point never fails to give it a touch of flavor, making for music that is edgy and exciting.

The “From-out-of-nowhere” surprise of the year, Breaking Point appears destined for nothing less than complete stardom with this superb effort.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

STAIND - Chapter V

STAIND
Chapter V
Atlantic Records
8/10




Certainly, if Limp Bizkit vocalist Fred Durst had never witnessed Staind’s impressive live set opening for the LB back in 1997 and subsequently landed the band a recording deal, someone, at some point, would have stumbled upon this band anyway. Being both rock-solid songwriters as well as highly emotive performers, Staind were destined to be put in front of the public eye. It is that public that embraced the band’s auspicious debut; Dysfunctional and that have stuck by this highly listenable group through stellar albums like Break The Cycle and 14 Shades Of Grey.

Digging into Chapter V is an intensely rewarding experience, with each track on the album revealing a wizened songcrafting sensibility. Spacious hooks seal the deal for lead off cut Run Away, as Aaron Lewis leads the band through a brilliantly orchestrated exercise in benchmark modern rock.

His voice remains as resounding as ever, and his poetry as subtly luminous. Those that enjoy the brooding, mid-paced aura which betrays both feelings of depression and desperate hope that has become the signature sound of Staind will revel in the lushly textured Right Here, as Staind offer a more visceral eminence than the majority of their comparably accessible peers. As Schizophrenic Conversations fades in softly, the band’s dynamic presence builds to an intensely dramatic crescendo. Here, Lewis’ vocals radiate with a familiar warmth and ultimately are the deciding factor in the song’s profoundly memorable nature.

Still not afraid to inject touches of metal riffing into their sonic palette, the axes cut sharply on Devil, while the beckoning Please incorporates both a swift beat and a colossal hook.

To be critical, Staind play by the rules on this well produced record, but when a band does it this well, it’s difficult not to enjoy it; however it would be nice to see the group taking a few more chances. That said, Chapter V is a benchmark example of vital rock that finds the group making deep strides in delivering top quality music as well as exhilaratingly adept performances during a time when their career is thriving. Bearing all of the hallmarks of a diamond selling album, the music of Staind resounds magnificently on this stellar effort.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

BLACK LABEL SOCIETY - Mafia

BLACK LABEL SOCIETY
Mafia
Artemis Records
8/10




There can be no dispute that Zakk Wylde has finally shed the aura of being Ozzy Osbourne’s sidekick. Wylde has developed into a highly talented songwriter, having cut his teeth as a young buck with Osbourne, then maturing into a skilled crafter of songs with his own outfit Black Label Society.

With “Mafia”, BLS has come into their own as one of metal’s powerhouse acts. They seem more like a band now than a side project and Wylde has near perfected an overall sound that is undoubtedly original. Many critics have balked at the tone of Wylde’s vocals, but the frontman has developed a style that is instantly recognizable and non-imitating, his range being deceptively large as he moves between low ominous bellows and suitably powerful screams. In many ways, the band’s sound is an extension of the guitarist’s personality, gritty and rough, even as the band settles into a lurching groove on the record’s opening cut “Fire It Up.”

A memorable hook lays deep within the chorus of “What’s In You”, a dark track that summons a purely insidious vibe. The band shows their ability to crossover between audiences with the pounding single, “Suicide Messiah”, straddling the line between traditional metal and beefed-up hard rock. Wylde’s vocals have been further honed, bearing the edge of a deadly weapon and his solid performance on this track stands as evidence of this fact.

Although Wylde is an amazing lead player, he is tasteful in placing shredding barrages, wisely allowing the muscular riffing to define the band’s songs. The seasoned axe slinger does manage to throw in his share of deadly, blistering leads however, most notably the duo of scorchers that grace “Suicide Messiah” and the surreal shredding which is incorporated into “You Must Be Blind.” The grizzly star gives attention to the album’s dynamics with the inclusion of the somber “In This River”, a track that could garner the band their largest commercial success.

Meanwhile, “Dr. Octavia” breaks up the album with a fluently ripping guitar interlude before launching back into the alcohol-fueled brewtality of “Say What You Will” a song that is reminiscent of a cross between Alice In Chains and Sabbath that hits hard and takes no prisoners. Embraced by legions of SDMF’s worldwide, Black Label Society stands as a group that is capable of appealing to many different types of music fans, from 40 year old bikers to 14 year old metal upstarts.

“Mafia” is further proof that BLS has no intention of resting on their laurels, a thick-as-concrete effort that is the band’s finest effort on the whole to date.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

BLACK LABEL SOCIETY - Kings Of Damnation

BLACK LABEL SOCIETY
Kings Of Damnation
Spitfire Records
8/10




Ozzy Osbourne sideman Zakk Wylde enjoys the distinction of being the only guitarist that has parlayed his association with the metal madman into a bona fide career of his own.

On this comprehensive retrospective, the guitar wizard’s legacy becomes even more evident, assembling the highlight’s of Wylde’s livelihood into a single package and shedding light on the fact that Wylde has created some of the most compelling moments in rock to be witnessed in the past ten years.

Wylde’s rise to solo glory has been slow, yet steady and the past year has seen the guitarist’s career rise to a fever pitch with the release of his well-received “Mafia” album, making it the perfect occasion for fans both old and new to reflect on the achievements of the highly proficient songwriter.

Including no less than nineteen tracks of some of the most highly poignant guitar handling that Wylde has to offer, fans of the grizzly rocker will find the more southern-rock oriented material from his solo debut, Pride And Glory, in the memorable, swampy “Losing Your Mind” and restless “Horse Called War, as well as tracks from Wylde’s “Book Of Shadows” release which reveal even more of a southern flavor than his more metal-sounding BLS work.

Continuing on through solid cuts such as “Stronger Than Death”, “Speedball” and “Demise Of Sanity”, it’s almost difficult to imagine the massive body of fantastic work that Wylde has amassed in such a short period of time.

With his breakout album “The Blessed Hellride” being very well-represented here with three powerful tracks, including fan favorite “Stillborn” and that album’s ripping title song, the primary appeal resides in the sheer honesty and fortitude of this man’s potent songwriting.

There can be no denying that the richly textured “House Of Doom” is among Wylde’s most tuneful tracks and is a standout amongst an album of decidedly well written music. BLS certainly goes down well with a tall cold one or two and those loyal fans that have grown to the proportion of legion will revel in the two all new cuts here, especially Wylde’s anthem to the faithful “SDMF”, which just sums up his lifestyle credo with poignant flair.

It’s hard to go wrong with such a solid collection and looking back through the years; the music of Wylde appears more vital and relevant than ever. With a hearty metal war cry and a flask raised toward the sky, this is the most intoxicating shot of alcohol-fueled brewtality to date, so throw back your metal mane and knock this fucker down.


ERIN FOX © 2006 - ALL RIGHTS RESERVED

BEN JACKSON GROUP - All Over You

BEN JACKSON GROUP
All Over You
Screaming Ferret Wreckords - 2005
7/10




One time Crimson Glory member Ben Jackson unleashes the second offering his latest project, Ben Jackson Group, a band that updates the sound of classic eighties style metal on tracks like the futuristic sounding “Mean Machine” and smooth metal ballad “All Over You”.

Jackson stands as both the group’s vocalist and guitarist, possessing a slick, powerful voice that is very well suited to this type of material. A lot of thought went into the arrangements on this record which are tight and focused, but with no shortage of creative energy.

Although the overall sound of the band is quite different in comparison, you get the same feeling from this album that you would from listening to an album like Def Leppard’s “Hysteria”. Jackson is a very capable vocalist and lyrically, the topics revolve around topics ranging from romantic suggestion to straight up rock n roll attitude.

Jackson has continued his longtime relationship with Tampa’s Morrisound Studios and for good reason; the album is produced wonderfully, with each instrument being easily audible and nestled in just the right place in the mix. This is a record that really would appeal to those seeking melody and a bit more of a traditional rock feel, but the guitar work of Jackson and Mark Borgmeyer still harbors a metal edge, making “All Over You” a record that would appeal to a very wide variety of fans.

Either “All Over You” or “Ghost In The Mirror” could easily find their way to conventional rock radio, the latter featuring a swanky vibe that is wonderfully embellished by accompanying vocalist Rose Sexton.

Most assuredly a solid record, “All Over You” is one of the better accomplishments in Jackson’s career and it’s certain that most fans would agree.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

ARTIMUS PYLEDRIVER - Artimus Pyledriver

ARTIMUS PYLEDRIVER
Artimus Pyledriver
DRT Entertainment
7.5/10




Perhaps if the members of AC/DC had been born in Louisiana or if Jackyl paid a bit more attention to their Allman Brothers records, you'd have a band that sounds like Artimus Pyledriver. Thick, syrupy blues riffing and the clenched-throat growl of Dave Slocum make tracks like "Swamp Devil" and "Ride On” exactly the sort of fare that the bikers in Hell, Michigan love to hear at the Dam Site Inn. While you won’t find an overabundance of guitar acrobatics, Artimus Pyledriver could certainly open the evening at a BLS gig and get a warm reception. In the same respect, you would be just as likely to see the band sharing the stage with Gov't Mule.

Slocum's voice is going to be an acquired taste for many and you're either going to enjoy his whiskey-drenched belting or you're not, no doubt about it. Mostly, this type of swampy stuff is well-suited for those who can appreciate NOLA-type material but look for a bit more rock in their music.

Admittedly, upon first hearing this band some time ago, their concept was a bit difficult to grasp, but after hearing the Kinghorse-meets-Sleep "Shaggin' Ass" and the sludgy rock anthem "Dixie Fight Song,” Artimus Pyledriver has scored some major points in the real-deal department. Look to "Dirt Road White Girl" for an example of Southern-fried Sabbath boogie that's sure to get you up off your ass. A slowly burning lead sets this track off nicely.

While Artimus Pyledriver may take some warming up to, it’s well worth the effort. With a minor bit of tweaking, this band could make an enormous impact.


ERIN FOX © 2006 - ALL RIGHTS RESERVED

AMBITION - Ambition

AMBITION
Ambition
Locomotive Music
4/10




Man, when I was fifteen and I went to the dances after the High School football games, this was exactly the type of music they played. Uplifting, anthemic stuff with those masculine, Lou Gramm vocals that meant you might get to touch some chick's butt while you were dancing with her. Those were the days. We had a big disco ball and some really goofy, '70s-era lights that would blink along with the music.

I went home for summer vacation and when I returned the next year, I was wearing a Motley Crue shirt, ripped up jeans and leather boots. I had grown long hair and possessed a screw-you attitude in general unless an activity was centered upon girls, metal or beer. So when the High School dances started in the fall, I brought in some metal CDs and a $20.00 bill for the DJ and that took care of that Lou Gramm s*!t real quick.


ERIN FOX © 2006 - ALL RIGHTS RESERVED

AXEL RUDI PELL - The Ballads III

AXEL RUDI PELL
The Ballads III
SPV Records - 2005
8/10




For much too long, Axel Rudi Pell has not gotten very much recognition in the United States for his group’s guitar based progressive metal. This is a travesty, because European audiences have taken to the proficient German axeman’s work with open arms for some time, obviously harboring superior tastes in metal compared to their American counterparts. Here on “The Ballads III”, the group offers up a stellar platter of tunes that are steeped in emotion and substance.

Here you will find a collection of some of the guitarist’s most impacting ballads; along with three newly recorded pieces including a show stopping version of Rainbow’s “The Temple Of The King” that is an excellent tribute to that legendary act. Pell is a master of his instrument, imparting the type of performance that you would expect from a world class player.

His technique implies subtle wizardry, giving each tune exactly what it needs to succeed on an artistic level. It is a pity that American radio has moved away from these types of tuneful, melodic songs, because this music would have a tremendous amount of commercial appeal if only stations were willing to give it a chance. “Forever Angel” is a beautiful piece that is topped with a strong vocal offering from vocalist Johnny Gioeli that would appeal to fans of everything from Bon Jovi to Nickelback.

Pell’s dead on solo during “The Temple Of The King” places an exclamation point on what is one of the best cover versions in recent memory. It is hard to imagine a band doing a better job with this track than this. Pell’s abilities bring out the rich emotions which make a song like this so fantastic and the band does a fine job of creating a solid canvass for him to illustrate his skillful six string artistry.

“Heartbreaker” kicks off with the powerful vocals of Gioeli, accompanied by the sustaining keys of Ferdy Doernberg. This song is a classic power ballad that sounds like more polished Scorpions featuring less abrasive vocals. A chunky bridge ensues, lending dynamics, before Pell fades into an awesome solo. He plays with a flair that many guitarists these days miss and has an ear for melody that is virtually unmatched.

On the epic sounding “The Line” the group plays with a distinct majesty that still manages to be unpretentious. “Sea Of Evil” captures everything that was great about classic metal and wraps it up into an eight minute package that once again displays the group’s knack for creating solid melodies that take the listener on a musical journey that is genuinely unforgettable.

The moody, heartfelt “All The Rest Of My Life” is characterized by Pell’s astute chord voicing and Gioeli’s strong voice which manages to cut through the mix without becoming overbearing, remaining tuneful and soulful throughout the song. When the track kicks into its slow tempo, danceable break, Pell lets loose with a fiery, bluesy solo that could be considered as among the guitarist’s best.

In today’s metal world of blast beats and gruff screaming, Axel Rudi Pell remains a breath of fresh air musically. Those who enjoy melodic metal delivered with plenty of emotional impact will no doubt find much to enjoy on this captivating collection of well thought out, brilliantly executed tracks.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

AXEL RUDI PELL - Mystica

AXEL RUDI PELL
Mystica
Steamhammer/SPV
6/10




Having been one of Germany’s leading guitarists for a good many years, any opportunity to hear Axel Rudi Pell should be of certain value to metalheads. But as impressive his fleet-fingered guitar solos can be, the tried-and-true formulas of this highly proficient axe-slinger’s group are wearing a bit thin. There’s every bit of Yngwie/Dio/Rainbow-type worship one could expect on MYSTICA. It’s so predictable it’s somewhat frustrating. So when combining formulaic approaches to songwriting with cliché lyrics and the type of delivery that is best described as rather lukewarm, this effort simply falls flat. Without a doubt, there are some great song structures on this record, but they’re not delivered with the proper amount of passion required for songs like “Valley Of Sin” and “Fly To The Moon “to be overtly exciting.

If it were 1984, there’s no doubt that you’d have a substantial amount of fans eager to crank up the mid-paced “Living A Lie” or the stadium-tailored anthem “Rock The Nation.” Alas, these sorts of sounds have largely fallen out of favor with younger metalheads and MYSTICA lacks the fire to bring this type of majestic, traditional heavy metal before a new audience. Having said that, if Axel Rudi Pell does manage to get this music in front of the 40 year old fans that got this when it was still a popular sound, the band is likely to sell a certain amount of records.

Axel Rudi Pell is certainly a very talented act to this very day, but if the band is going to survive in the modern era, they must take more chances. MYSTICA is lacking danger, boldness and the edge that makes Heavy Metal such an exhilarating style of music. Many will think that this goose is too large to lay an egg that’s not golden. There can be a lot of character in being conservative, but they’re missing the essence of rebellion that Metal so sorely requires.


ERIN FOX © 2006 - ALL RIGHTS RESERVED

AMERICAN DOG - Scars N Bars

AMERICAN DOG
Scars N Bars
Independent Release
7/10




Brandishing a rough and bluesy feel, American Dog gets down and dirty here on “Scars-N-Bars”, an album that is certain to appeal to fans of ballsy, fired up, working class anthems. The album cover, which features the trio sitting atop a mountain of beer cans, says it all.

These guys have certainly blown through a bar or a thousand, grinding it out on the touring circuit and have seen plenty of partying along the way. American Dog certainly aren’t lightweights by any means, this is music that is about as real as it gets.

You can imagine that there has to be a line of Harleys parked outside of every venue they rock to the floor as Michael Hannon busts out dirty sounding vocals and pounding bass lines while Steve Theado masterfully mixes soulful blues and cranked up, edgy guitars in order to create some of the finest hell raisin’ anthems this side of the Mason-Dixon Line.

From the raunchy rock of “Faded” to the up-tempo brawl igniter “Got You By A Chain”, which is reminiscent of Nashville Pussy, American Dog have what it takes to get a room rocking until way past closing time. The band’s lyrics are oft times filled with sly innuendo that lend a bad boy attitude to this group’s rough around the edges style of playing.

Drummer Keith Pickens keeps things moving and opts to accent the stringed instruments and ride out big beats as opposed to busying things up with too many fills and time switches, which works well for the band’s style. Mind you, things aren’t always cranked up to 10.

On tracks like “Sunday Buzz” and “Another Lost Weekend” the band slide into a low key blues approach that mixes up the album as well as showcases their proficiency at pulling some advanced techniques from the genre.

American Dog certainly are no greenhorns stylistically, these guys can throw down when they have to and ease up a bit when appropriate. If you find yourself attracted to the bluesier side of metal, this is a without a doubt, a great album to get you in the mood to toss back a few cold ones and get a little crazy!


ERIN FOX © 2004 - ALL RIGHTS RESERVED

ALLELE - Point Of Origin

ALLELE
Point Of Origin
Corporate Punishment Records
8/10




Familiarity breeds contempt and in the case of the music of Allele, many extra-jaded listeners may be inclined to dismiss the project out of hand after a small taste this talented new group’s highly accessible brand of music.

Those that would apply a tag of Nu metal to the band’s sounds would be much too far off base in their assessment, as even with the band’s Nu metal pedigree, with members Kelly Hayes coming into the project after having abruptly left Cold and guitarist Lane Maverick having spent time in initial lineup OTEP.

However, this album is straight up, pure and simple modern rock. There’s very little metal influence happening here, with just a touch of the types of sounds that you would hear on a Nu Metal record and a substantial quality of the type of hook-oriented rock that has been dominating the AOR airwaves for the past several years.

So while you can’t say that Allele is anything that could be considered to be unique, one fact remains. They are damn good at what they do. Soaring melodies and hooks large enough to reel in a whale infect the songs of “Point Of Origin” like a virus, worming their way into every possible nuance on the record and ultimately, it’s these hooks that make the album extremely listenable.

Songs like “A Different Someone” have much more in common with the sound of Bush than they do with Deftones, with soaring vocals of Wally Wood riding high over the top of a big rock assemblage of ringing chords with a confident grace and a substantial amount of passionate emotion.

Allele is focused on going for the big rock score and much of the time they hit their mark. There’s no denying that “Stitches” has everything that those who favor this style would find enticing. Expansive, poignantly melodic and striving toward a sonic locality which listeners will immediately pick up on, Allele's debut is one that every rock fan will have an easy time enjoying.


ERIN FOX © 2005 - ALL RIGHTS RESERVED

ADEMA - Planets

ADEMA
Planets
Earache Records
7.5/10




Adema is back with a new singer and a much more polished rock sound on their latest, ‘Planets’. The band is clearly shooting straight for the radio with this release, with Luke Caraccioli displaying a rich, tuneful vocal sound that flows with the group’s subtle modern rock approach quite nicely.

You won’t find anything very dangerous sounding here, many of Caraccioli’s vocal lines are played on the safe side as the band deviates between wide-open thick grooves and laid-back, mellow passages on songs like ‘Barricades In Time’ and the album’s opener ‘Shoot The Arrows’. This music is aimed more at fans of Nickelback, Crossfade or Switchfoot, coming off with a bit less heavy feel and a much more commercial focus.

This is easily the most commercial record Earache records has ever released and obviously they see the potential in this music to break through to a large, mainstream audience. Tracks like the leadoff single ‘Tornado’ scream “Put me on the radio – NOW”, utilizing a catchy, power chord backed chorus with a decent hook that would stand up well next to the current radio fare.

One aspect that is somewhat negative is the fact that with Caraccioli at the helm, the vibe of the band seems a bit different, not to mention its overall direction in general. It’s always discouraging when groups change frontmen without changing the band name. Audioslave did this quite successfully, and if that band were still named Rage Against The Machine, it’s doubtful that most fans would have bought into it. The change in Adema is not however as drastic as that which Audioslave experienced, so it is quite possible fans will ignore this factor and embrace the new vocalist with open arms.

The smooth voice of Caraccioli often takes on the phrasing of other currently popular vocalists which shows that the band is certainly paying attention to which other artists are making a success for themselves in 2005. ‘Sevenfold’ sounds like a track lifted directly from the Crossfade album, while the title track sounds like a slightly slower, dreamier Linkin Park without the straight up rapping. Adema pull off these styles fairly well, and any of the first five songs on this sixteen track effort could find their way onto Clear Channel play lists.

Much of the metal has left the band in favor of catchier material, and Caraccioli is certainly not a metal voice by any stretch of the imagination. ‘Enter The Cage’ retains a bit of darkness, ‘Remember’ is more akin to Def Leppard than Deftones and ‘Rise Above’ sounds almost like a country song during the piece’s acoustic introduction’, before treading to waters that are eerily reminiscent of Enuff Z ‘Nuff during the song’s chorus section.

It could be predicted that long time Adema fans will have mixed reaction about the direction of the group upon hearing this album. The band will certainly make up for that, however, if ‘Planets’ explodes all over rock radio.

ERIN FOX © 2006 - ALL RIGHTS RESERVED

Manitou - Deadlock

MANITOU
Deadlock
Firebox
7.5/10




“Deadlock” finds Manitou taking up the mantle of bands like Judas Priest, Primal Fear and Dio as the band churns out eleven tracks of powerful metal. This Finnish five-piece has a distinctive air about them that sets the group apart from many of their more progressive contemporaries. You can tell that Manitou places might above stealth, as “Fools In Control” and “Black Burning Flame” focus on bombastic, arena-style thunder.

“Waste, Damnation” is among the more Priest-sounding cuts, with the guitars sounding much influenced by the Downing/Tipton team. A solid guitar tone and a balanced mix really bring out the might in the songwriting of Manitou. The group’s guitarists, Markus Vanhala and Antii Lauren really attack their instruments with zest, cranking out massive power chords and razor-sharp melodies effortlessly. There are lead breaks during most of the song’s bridges, and coupled with the stadium-type “Woahohoh” singing of Markku Pihlaja, you’ll note a bit of the majesty that Maiden is well-known for as well.

“Swallowing The Dark” rides in with a glistening lick, and Pihlaja’s voice is showcased on this highly melodic ballad. His restrained, tuneful singing on this particular cut is some of his best. Vanhala pulls off some smooth leads on this one, his fleet fingers drawing every ounce of melody from the strings of his guitar.
“By The Waves Of Stars” incorporates a strong tunefulness that will appeal to fans of Thunderstone, while the record’s closer, “The Black Meadow” incorporates a Queensryche-type appeal.

Overall, this effort is rock-solid and it would be a shame for this band to go overlooked. “Deadlock” provides exactly what fans of this style are looking for, so if you’ve an affinity for the sounds described above, this effort is well worth your consideration.


ERIN FOX © 2007 – ALL RIGHTS RESERVED

From Behind - Game Over

From Behind
Game Over
Lion Music
8/10




Here’s a highly impressive rock effort from former Samson vocalist Nicky Moore, Nazareth guitarist Manny Charlton and friends that quite frankly was surprising upon first spin. These guys tear through a set of ten cuts, plus a reprise of the track “Gone” that covers the gamut of styles, from down and dirty sleaze rock (“Queen Bitch”) to a heartfelt ballad (“Picture”) to a wide-ranging adult rock cut (“Size Doesn’t Matter”). Moore is truly a great vocalist. Those who touted Moore as “The fat guy who replaced Bruce Dickinson in Samson” need to seriously not be so superficial and listen to this cat sing. He can take on a Robert Plant wail, a gruff Paul Rodgers growl and a Steven Tyler scat fit and sometimes, that’s just in one song. To this day, the vocalist responsible for Samson’s biggest chart-toppers can belt out soulful singing like nobody’s business. His awesome vocals alone make this one worth having for followers of bluesy rock anthems.

Charlton is responsible for a lion’s share of great songwriting here. He knows how to throw a bluesy riff around, that’s never been up for debate. The axeman plays with a lot of style and feeling on Game Over, his talent and experience shine through. Fiery leads, grooving rhythms, this guy has it all in his considerable bag of tricks.

You couldn’t ask for a more solid record from such a bunch of well-respected guys. Game Over is the type of record that can rock a bar until close or just as easily, be the supporting soundtrack for a bike run to Sturgis. From Behind proves here that many musicians age quite well and with the balls these guys bring to this rocking record, it’s safe to say that they have the determination, skill and resolve to keep up the pace for a good long while.


ERIN FOX © 2007 – ALL RIGHTS RESERVED

Doro - Warrior Soul Review

Doro
Warrior Soul
Locomotive Records
8/10




Doro Pesch has long been a cornerstone in the field of female-fronted heavy metal. Here, the original warrior princess returns with yet another album filled with beautifully powerful singing.

She’s come a long way since her days as frontwoman of Warlock and time and time again, you can count on Doro to come through with an album replete with hard rocking anthems and instantly memorable tracks.

Concepts such as the strong opener “You’re My Family” and “Strangers Yesterday” shows the singer can take on more mature topics that are separate from the bread-and-butter metal themes, but songs such as “Thunderspell” and the record’s highly dynamic, tuneful title track show that she hasn’t forgotten where she came from, incorporating the types of traditional inspirations that fans have come to know and love over her tenured career.

The latter shines with maturity and reveals that the gorgeous singer can still bare her soul without reservation and deliver a vocal performance that is both soothingly seductive and masterfully melodic (this fact is especially evident on the hidden acoustic version of the cut).

Filled with majestic metal moments and smooth-sounding harmonies, “Warrior Soul” is a compelling return for the sultry songstress. As the final notes of “Shine On” build to a commanding crescendo and fade into the distance, one thing is certain; Doro Pesch remains the reigning queen of heavy metal.


© 2005 ERIN FOX – ALL RIGHTS RESERVED