About Me

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Born in the late 60's, Chesy hails from a Welsh mining village with a long name and was pretty glad when he got the Hell out of there. He got into Rock/Metal in about 1980, thanks to a TISWAS related incident (Rainbow video for All Night Long) and thankfully has never looked back. Chesy often sang solo in the school choir, but thanks to a puberty related incident his voice is now completely bolloxed, although in his own head Paul thinks he sounds like a blend of Coverdale and Dio (R.I.P). He was brought up on the classics - Deep Purple, Rainbow, Thin Lizzy, Rush, Whitesnake and loved melodic rock and the Hair Bands of the 80's. (Nowadays, he has progressed a little and prefers a more technical and/or progressive metal - Dream Theater, Rush, Symphony X, Porcupine Tree, Pain Of Salvation, Spock's Beard. He hates Black and Death Metal (can't stand the grunting) but for some unknown reason loves the magnificent Opeth! He wont stop this blog until his beloved FM finally play the likes of the NEC as a headlining act!!!

Sunday, 20 November 2022

Live Review - Sweet Crisis with support from Electric Black at The Eagle Inn, Salford, Nov 19th 2022

 Sweet Crisis with ~support from Electric Black, The Eagle Inn, Manchester, November 19th 2022


It was a bit of fun finding a parking space close to The Eagle. The reason? It shits in the shade of the mighty AO arena. It just so happened that there was a gig on tonight with N-Dubz providing the entertainment. I would like to think though that those in the know were descending upon The Eagle Inn to see what would be (as it turned out to be) one of my favourite gigs (and venue) of this year.


Where the AO has a capacity of 21,000, The Eagle Inn has just 80. The 30-40 that did show, got one hell of a gig to tell their friends about. I was already in the know as I got to hear both do a quick sound check and couldn’t wait for the gig to get underway




Firstly we have Electric Black. Coming all the way from Hitchin for a 45 min set takes some doing, but these guys wouldn’t like it any other way. Opening with a working title of ‘Led Hendrix’, it really was a song born from the annals and foundations of rock history, and in singer Ali they have a guy who can sing ANYTHING. This was highlighted on the excellent ‘Love Is A Light For The Lost’. Also Electric Black have their ‘go to killer moment’ with ‘Homecoming', a song that is their own ‘Heaven and Hell’ and ‘Holy Diver’ all rolled into one. Finishing up with ‘Not Afraid To Die’ it is the heaviest song on the album and absolutely is the cream on an already excellent set. Electric Black have been doing this for some time and was evident as they were as tight as a nut. From the mayhem of Animal influenced drummer Matt, and the playing in the pocket of bassist Ryan, to the superb Jonny on lead guitar, Electric Black are going places. If I’d have known they played my nearest venue last week I’d have been there. I am a week late, but the end result is now the same. Catch these guys if you can, as you will not be disappointed. I guarantee it.



Onto headliners Sweet Crisis. I absolutely love it when you see or hear a band the first time and your breath is taken away. Just like EB, my moment was getting ho hear Sweet Crisis debut a few months back. It was a case of being better late than never, but I was blown away by their collection of songs on ‘Tricks Of My Mind’. The band is built on the friendship of singer Leo Robarts and guitarist Piers Mortimer, but more of that later. Opening with ‘Loosen Up’ the quality is immediately there for people to see. Leo is part Paul Rodgers, Glenn Hughes and Steve Marriott, and that is some amalgamation of talent right there, with his best mate at his side these guys are unstoppable. ‘Black Magic’ has some nice 3 part harmonies and is the first highlight of many. 


For ‘Love Me Like Sugar’ if B.B.King and Paul Rodgers (OK, bear with me) had a love child then ‘LMLS’ is the end result. ‘Aint Got Soul’ is one of my favourite songs from their album and hearing it live took it to another dimension, never mind new level. Theres a back story behind ‘I'll Be Creepin’. Leo was into Eminem and Jamiroquai when is dad gave him a copy of Free’s 'Fire and Water' when he was 14. (Yay for dads!) Right there a spark was ignited, which changed young Leo’s life and has never looked back. Leo isn’t keen on covers, but let’s face it, when you have a voice like he has, then it makes for one of the best covers you will hear of a Free classic. Hot of the press was a new song, ‘The Warning’ and it was smooth as fuck (insert better simile here____).

This next song was my favourite of the whole set. Written when Leo and Piers were just 17, it proves that age is no barrier when writing songs. Leo becomes a baptist preacher, and its a quality of song that many a Southern Rock/Nashville band would crawl over their dead granny to get hold of. It was stunning live. ‘Dont Start Now’ was pure blues heaven, and was the shit. At the and of the song one bloke shouted “Fuck yes!” It shows that you can write a review in just two words. I couldn’t have put it better myself. ‘Living “Life On The Edge” had then jamming on a powerful groove and takes me back to the era of bands like Cream and Jefferson Airplane. SC finished strong with the title track ‘Tricks On My Mind’, and a powerful single from 2020 in ‘Rolling In It’. 


It’s hard to vacate the stage for an encore when it is the size of a postage stamp, so they stayed put. Sweet Crisis will probably drop the covers as their song list gets bigger, but when you cover Fleetwood Mac’s ‘Oh Well’ as well as they do, then its good to throw in a crowd pleaser for us old farts. The guys finished off with a song that got them started and recognised back in 2019, ‘Misty Haze’. I know it’s me repeating myself but this has blues and soul in abundance, and echoes Pink Floyd and Jeff Buckley. The guitar tone was beautiful. What a song to end a gig with. 


Theres a tendency for bands to play their whole album in the early days of their gigs. That may be the case here, but Sweet Crisis have a foundation of stunning songs already that will be a staple of their live gigs for years to come. 


I have witnessed some great fledgling bands this last 12 months since gigs have opened up again - Cardinal Black, The Karma Effect, and now Electric Black and Sweet Crisis. Add the likes of Scarlet Rebels and Florence Black into this mix and British rock music is in very safe hands indeed.


Based on tonights performances I hope that they both continue to record and gig as they both deserve to be heard by much bigger audiences than current. The numbers did not detract, in fact it enhanced it as it felt like a gig in your own living room. We can all say that when they do make it, we were there almost from the beginning. I can’t wait to see what Sweet Crisis (and Electric Black) do next.


Sweet Crisis Set List -

Loosen Up 

One Way Traffic

Black Magic

Haunted

Love Me Like Sugar

Ain’t Got Soul

Great Big Steps

This Guitar

I’ll Be Creepin’ 

The Warning

Treading In Deep Water

Don’t Start Now

Living Life On The Edge

Tricks On My Mind

Rolling In It


In The Dark

Oh Well

Misty Haze


Sunday, 13 November 2022

Kira Mac - 'Chaos Is Calling' Album review

 

Kira Mac - Chaos Is Calling


Review by Paul Chesworth


Every now and again YouTube throws me a bone to a band `I’ve not encountered before. OK, to give them credit, it does it quite often, but I have a short attention span. Im not a kid where it has to grab me by the bollox in the first 10 seconds, I’ll give it a listen at least until I get to a chorus.


I can’t tell you what I was listening to in the first place, but Kira Mac appeared and it was an occasion whereby I my bollox were well and truly grabbed (so to speak). I will tell you why shortly.

Any who, Kira Mac are making little gains that seem to be gathering momentum - 

  • Steelhouse created a spot for them
  • BBC Radio 2 play
  • Rock n Blues appearance
  • 17k organic vires on YouTube in 6 months
  • 25k streams on Spotify in 6 month
  • Playlist on Planet Rock for all 4 singles


I am 100% certain that all of this achievement will be well and truly eclipsed 6, or 12 months from today. I am that convinced, Ive put a reminder in my calendar to check out the stats!!


Kira Mac are mainly based in and around the North of the UK. Vocalist and reason for the band name Kira Mack along with guitarist Alex Novakovic and bassist Bret Barnes all hailing from Manchester. Joe Worrall (guitar) is from Hull, and new drummer (and doesn’t appear on the album Max Rhead is from Newport. 


Firstly Kira Mac is an unsigned band. This can be for a couple of reasons. Is it because labels won’t entertain anyone unless they have one million straws on Spotify, or is it because it is feasibly possible that an unsigned band can be profitable without the support of a label of any size. If one of my favourite bands (Dirty Honey) can do it, so can Kira Mac.




Right from the off you can tell that Kira Mac have been plying their trade for some time. I really have a soft spot for female vocalists - Leigh Matty, Pat Benatar, Ann Wilson, and the one I want to make particular reference to is one Dorothy Martin. 'One Way Ticket’ is Dorothy. I just wish everyone knew about Dorothy as they are bloody brilliant. So to compare Kira to Dorothy is very high praise indeed. Searing guitars? Check. Sumptuous chorus. Check. Instantly singable. Check. What a start! ‘Hit Me Again’ is in similar vein, and ‘Chaos Is Calling’ has a bone crunching riff that heavier bands whose band logos I can never read would crawl across broken glass for. It still has melody in spades. 



‘Back For More’ (not that one) is a song that’s bluesier and still pushes the right buttons. You would swear that these guys are American. ‘Mississippi Swinging’ is without doubt joint best song on the album. With an opening line like ‘Mississippi swinging got a whiskey sipping honey on my left hand’ you know it's going to be a belter. It's a song whereby if you heard this in a pub, you’d stop drinking and start had banging. The other two highlights being ‘Hell Fire Holy Water’ and massive closer, ‘Dead Man Walking’. It's almost as if Kira Mac have a random song title generator. ‘HFHW’ will go gown a storm live as a singalong moment (I guarantee it), and ‘DMW’ is the song that started it for me. Its based on a massive chunky riff, Kira Macs vibrato vocal styling and tasty guitar solo. “Downfall’ ups the ‘heavy’ to 11 and ‘Never Going to Stay’ is the king to Downfalls yang. ‘Never…’ definitely has a Nashville country influence and is probably the most mainstream sounding song on the album




What Kira Mac have delivered is extraordinary. It is ten songs of pure quality, that after one listen will make you ride that rollercoaster and pay to take the ride again and again. Its not perfect, but it is 35 minutes of absolute enjoyment. I really think that Kira Mac deserve to be going places. The debut album is out at the ned of this week (18th November), and a UK tour follows hot on the heels, starting in Edinburgh two days later (20th November)


9/10


Tracklisting - 

One Way Ticket

Hit Me Again

Chaos Is Calling

Back For More

Imagine What Could’ve Been

Mississippi Swinging

Hell Fire Holy Water

Downfall

Never Going To Stay

Dead Man Walking


Album Line Up

Joe Worrall - Guitar

Alex Novakovic - Guitar

Bret Barnes - Bass

Cal Casey - Drums

Kira Mac - Vocals



https://www.facebook.com/kiramacmusic/

http://www.kiramac.com/

https://twitter.com/kiramacband






Saturday, 18 June 2022

Sweet Crisis - 'Tricks On My Mind' review

 



Sweet Crisis - Tricks On My Mind


I like a good natter with people, both online and in person, especially if said natter is about music. I was friended on instagram by a nice bloke who works with touring bands doing Merch and set up. He suggested I give Sweet Crisis a listen. They was weeks ago so I apologise for the delay. 


The bumf that come with the link states that Sweet Crisis seek to balance all their inclinations and influences - like Free and Lenny Kravitz, nothing is off the table if music sounds right. Their key influences run through their debut album like a stick of Blackpool rock. There is everything from Fleetwood Mac to Pink Floyd, and The Rolling Stones to The Verve. Thats your appetites well and truly whetted then. 


For the lover of upbeat rock, there is the opener ‘Loosen Up', 'One Way Traffic', and 'Living Life On The Edge' (which has some cracking guitar playing courtesy of Piers Mortimer, and it is wonderfully trippy and exhilarating all in one song. The title track, 'Tricks On My Mind' is snappy and punchy and delivers in spades and reminds me a bit of Rival Sons


For blues rock aficionados there is a magnificent 'Love Me Like Sugar' (my fave track along with ‘Living…’; 'Misty Haze' (great name for a porn star), and is an equally great song; 'This Guitar', and 'Black Magic'. 


Whilst it's not bluesy or rock, there is also the enticing and somewhat mesmerising ‘Ain’t Got Soul’, which I feel should be a darling of the airwaves on Radio 2 if it isn’t already. 


As debuts go, 'Tricks On My Mind' is a little belter. In a saturated market where blues rock seems to be the go to music of choice, I think that Sweet Crisis have enough diversity, quality and wide ranging influence in their armoury to rise above the majority.




The best compliment I can give about Sweet Crisis and 'Tricks On My Mind' is that if these guys had a time machine, you could drop this album into most decades from the 1960s up until the present day and it would fit in neatly like peas in a pod.


8/10


Tracks -


Loosen Up

One Way Traffic

Ain’t Got Soul

This Guitar

Karma Will Come

Tricks On My Mind

Misty Haze

Black Magic

Love Me Like Sugar

Living On The Edge


Wednesday, 20 October 2021

Plush - 'Plush' Album review

 

I first came across Moriah Formica (not that way you perv), a couple of few years back when she duetted on a Michael Sweet solo album, ‘One Sided War’. Back in 2016 I predicted great things for her even back then. I’ve kept a distant eye on her career and have been hotly anticipating this debut Plush album after seeing some of the covers they have been releasing. My appetite was completely whetted when they posted their ‘shit-hot’ version of Alter Bridge’s ‘Isolation’.

‘Plush’ is composed of four talented women, under 21, whose accomplishments and talent eclipse their age. This female rock force is fronted by singer, songwriter and guitarist Moriah Formica. Drummer Brooke Colucci, guitarist Bella Perron and bassist Ashley Suppa round out the lineup.

When I said hotly anticipating, I thought it would be a good debut, but I wasn’t expecting it to be THIS. FUCKING. GOOD. If anyone was thinking fluffy girly metal, then you couldn’t be more wrong. After stating recently that Nestor’s debut was one of the best I’ve heard in a long time, along comes Plush with an equally superb debut album.  

‘Opening with “Athena” Plus ready do set their stall out early. It has a really heavy, dirty riff from Bella Perron that Mark Tremonti would be proud of punches you like Bruce Lee only wearing an iron glove. Harmonies are a-plenty, and the rhythm of Brook Colucci and the pulsating bass of Ashley Suppa drive this on to stand head and shoulders in the pack. Throw in Moriah Formica’s stunning vocal range and it make for one sumptuous recipe. Think Ann Wilson or Kelly Clarkson singing for Alter bridge and you will get where I’m coming from. “Champion” “Found A Way” and “Hate” are more melodic, but still pack a hefty punch.  Perron has a great guitar tone and Formica’s vocals are crystal clear. 



“Sober” is a powerful anthem, moving from acoustic to electric and is an emotional ride digging into the lyrical content. “Better Off Alone” is a song where Formica is wearing her emotions on her sleeve, and if auto-biographic, has drawn on some life affirming decisions. Bella Perron earns her weight in salt with her guitar playing. “Sorry” is nicely paced, branding from stripped down to a strong phrasing of ‘Sorry’ for each line of its chorus. “Why Do I Even Try” uses Formica’s instrument (her voice) and interplays with Bella Perron guitar licks. The Princess of Pound (Colucci) and Suppa are up front and centre on the dynamic “Bring Me Down”.  “Don’t Say That” is the true ballad on the album, and shows that Plush have a lot of strings to their bow. If this was the late 80s, Plush would be sitting on a Top 10 Billboard song, and playing arenas within weeks of its release. 

“Will To Win” matches ‘Athena’ for its heavy riff and these songs sit really well in Plush’s wheelhouse. All 4 are on top form here, and Formica’s vocals shine. This is a nice composition and Perron lays down some understated riffs. I just with she was given more slack to let rip with her talent.  It’s only on Closing track “Walk Away” where she has anywhere near an extended solo. Moriah wails ’I’m gonna walk away, walk away from all the pain’ and you know she means it. At 13 songs and 50 minutes it flew by. There’s not a duff song on here and that is something else. 

Plush have clearly done their homework. In Formica they have a singer songwriter that is a shining light in modern metal now, and hopefully for years to come. It easy to over sing when you have an instrument like Formica’s voice. She knows when to be subtle, when to let loose and when to emote.  Add the undoubted quality to Colucci, Suppa and Perron, and its   delicious. The four women complement each other perfectly to become Plush. They have avoided the pitfalls to be a ‘saccharine-coated-look-great-but-no-substance’ band and come out all guns blazing. If they are doing this now, then I cannot wait for what’s to come in the future. 

To write and perform an album that is so contemporary, mature, and with a wink to the past, with all band members at a (relatively) young age is remarkable. Ok maybe not remarkable as I’ve seen their videos leading up to this release so it shouldn’t be a total surprise. They have lived up to my expectations, and gone way beyond it. ‘Plush’ is a simply marvellous album. Look out boys, the girls are here to kick your asses!

I haven’t been this excited about a band since I found Rival Sons, Alter Bridge and Coheed And Cambria. Plush sit in great company

For fans of Alter Bridge, Shinedown, Red Sun Rising


Score - 9/10 


Review by Paul Chesworth

Plush are - 

Moriah Formica - Vocals & Guitar

Bella Perron - Guitar

Brooke Colucci - Drums

Ashley Suppa - Bass


Tracklisting - 

Athena

Champion

Hate

Found A Way

I Don’t Care

Sober

Better Off Alone

Sorry

Why Do I Even Try

Bring Me Down 

Don’t Say That

Will Not Win

Walk Away


Sunday, 3 October 2021

Nestor - 'Kids In A Ghost Town' Album review

 

NESTOR - KIDS IN A GHOST TOWN

I’ve been reviewing albums for almost 15 years now, and occasionally an album is sent to me that completely blows me away. Usually its from an unknown band or artist. In this instance the band is called Nestor. Its not just me who knows this fact,  with three previously released singles this year and close to a million plays combined for the songs and music videos, the hype is enormous for the upcoming album ‘Kids In A Ghost Town’ which is due to be released on the 22nd October.

I asked Nestor’s vocalist Tobias on the band name as I thought it might be taken from Greek mythology, “Exactly, the name comes from Greek mythology and refers to an elder, a wise old man and all that, but us in the band are all big Tintin fans so the name is taken from Captain Haddock’s butler in the comic books, his name is Nestor and he’s a really cool character, haha!” I thought I’d heard that name before as I used to own about a dozen Tin-Tin books myself. Nestor was formed back in 1989 by five childhood friends in their hometown of Falköping, Sweden. But like most dreams of becoming rock stars, theirs faded away with time - but their friendship remained, as did their love of music. Now over three decades later the members have taken the opportunity to reunite the band! I for one  am bloody glad they did as ‘Kids In A Ghost Town’ will sit at the top of the best album list for many a melodic rock fan come the end of this year.




‘One The Run’ is one of the best opening stacks I’ve heard in quite some time. A dainty piano opening before a battering salvo of guitar riff and drums beats you into submission. The accompanying video is a true homage to 80-s vidz and would happily sit in the soundtrack to Turbo Kid. You have to check out the stripped back piano version on YouTube which is  absolutely brilliant. I immediately fell in love with the tone and warmth of Tobias Gustavsson’s vocals. Even a song with a corny lyric like ‘she’s got eyes like Demi Moore and a body like Sharon Stone….she’s a perfect 10!’  can’t detract from the quality. It still hits the mark. Samantha Fox proves to be an inspired choice for the duet ‘Tomorrow’. As I’ve got older I steered away from ballads but this one is an absolute knockout. 


Apart from the aforementioned songs the other suggests are the glorious anthem ‘1989’; It Ain’t Me’ has the orchestration that could put in on a Bond movie; the galloping title track ‘Kids In A Ghost Town’; the chorus of ’Stone Cold Eyes elevates a good song into a great one; and These days would have been a big hit in any year beginning with ‘Nineteen-Eighty-Something’.

Melodic Rock/AOR is the poor relation of probably every musical genre on the scene today. It wasn’t that popular when it was popular! That said, those like me that love it have been hit with many a pretender these last 30 years who promised much and faded away or just didn’t deliver. These guys are the real deal. I hardly give away top marks for an album (13 times in 14 years), and this gets top marks. Everyone gets credit - the keyboards are high in the mix, guitar solos are shredding, harmonies are to die for, a wonderful combination, and the vocals are crisp, warm and clean. 

In 2021 Nestor’s ‘Kids In A Ghost Town’ will be as coveted as Red Rackhams Treasure.

10/10

Tracklisting - 
Fanfare For The Reliable Rebel (Intro)
On The Run
Kids In A Ghost Town
Stone Cold Eyes
Perfect 10 (Eyes Like Demi Moore)
These Days
Tomorrow (Feat. Samantha Fox)
We Are Not OK
Firesign
1989
It Ain’t Me

Nestor Are -
Jonny Wemmenstedt (guitar)
Mattias Carlsson (drums)
Tobias Gustavsson (vocals)
Marcus Åblad (bass)
Martin Frejinger (keyboards)

Wednesday, 23 September 2020

Stardust - 'Highway to Heartbreak' Album Review

 

Stardust – Highway to Heartbreak



Lockdown has been a bitch eh? For me cancelled gigs and no Solid Rock in Glasgow has been the hardest part of the “new normal”. Let’s be serious it is not the new normal, it’s a temporary state. Anyway music for me has been a lifeline but despite that I’ve wallowed in nostalgia and not reviewed anything new for months. I couldn’t be ar*ed and when I gave myself a massive kick up the butt I was too late for the new Perfect Plan album, I was a bit in despair and then Frontiers via Gary Levermore sent another chance.
Well let’s just say the wait for me personally was worth it and I was intrigued by the first album by a Hungarian band called Stardust.

As an enthusiastic amateur I review bands by just listening to the tracks, will read the Frontiers blurb but do nothing else than just listen rather than a forensic search which will undoubtedly influence my listening.

Well thank you Gary (and Paul Chesworth for nagging me to actually write something). Stardust is the AOR/Melodic album of the year, name a year it will be still be up there. A stunningly wonderful piece of music.

The Frontiers promo said “hooky choruses, beautiful keyboards and vocal harmonies”. Hooky to me reminds me of Only Fools and Horses as meaning “dodgy, not quite legal”. Well I would describe the choruses as being sublime, pristine and more catchy than a disease off a hooker. I played the album the first time working from home to drown out my wife doing her contact centre job. Headphones in, sound turned up and BANG. What the actual fu*k was I hearing? I was blown away and after 3 or 4 songs thought that this has to bottom out but no, it just kept coming and I repeated it numerous times. My wife took the huff, “Would you rather spend your lunchbreak listening to that stuff rather than talk to me?” – Er yes.

So don’t feel the need to read my clumsy attempts to describe each track, just buy the bloody thing, you will not be disappointed.

I’m left with a few questions and thoughts:

- Since when did Hungary name kids: Adam Stewart, Ben Martin, Dave Legrand, Facey and Tim Keeley?
- After finally tracking the band on Google how are they not better known?
- Also I now understand how good the sound is, they’re basically classically trained musicians. Every one of the band contributes to make this album a classic.
- I also now get the Toto vibe.
- Ben Martin the bass player’s first album was ACDC – Black Ice, I have underpants older than that album.
- Oh and my wife saw the promo pics and now thinks she might want to visit Hungary.

Anyway my thoughts on the tracks are as follows:

Runaway – A dramatic intro of atmospheric haunting sci-fi effects launches into classic melodic rock vocals over a heavier than expected bass and guitar although the keyboards are used to great effect to layer the song nicely. And we’re off, a touch of multiple melodic sounds and it’s better than decent.
Heartbreaker – Yes, that ‘Heartbreaker’ by Pat Benatar. Its got nice drum intro, menacing “Heartbreaker” chant and again a heavy guitar and bass line with the drum intro setting the tone, with drum driven vibe. “Heartbreaker, Dream maker, love maker, don’t you mess around with me”.

Bullet To My Heart – wow by now I’m getting seriously into this band, the screaming guitar note reminiscent of a Van Halen guitar scream before the song slams into some AOR layered sounds, the vocals wouldn’t be out of place on a Journey track and the chorus is as catchy as f..k. The vocals of Adam Stewart sit nicely and rule the roost.

Perfect Obsession – Acoustic sounding guitar with a wonderful jangle to the riff and smoky vocal that would sit comfortably on any melodic masterpiece, I’m racking my head to link it to other bands, it certainly has the 80’s US AOR vibe and I’m loathe to mention the likes of Toto, Age of Reflection, Poison, Warrant etc but I will.

2nd Hand Love – a lovely gentle guitar solo beginning and then we’re away again. I still think of Don Henley and Bryan Adams feel especially the lead into the chorus. The lyrics are cleverly written not clichés. Another guitar solo that compliments the song and doesn’t take over.


Shout It Out – rockier but with a classic chorus as if a title like Shout It Out could have anything else, catchy with the backing vocals pure class. It did remind somewhat of Myke Gray and his track Shout which is no bad thing in my book. It will be a classic played live.

Can’t Stop Loving You – a solid ballad with Stewart’s vocals just perfect. The harmonies again, are spot on.

Eye To Eye – let’s rock. A full on blast of rock, keyboard and guitar solo and a real quirky vibe.

Hey Mother – Styx/Toto feel with the real melodic feel of the guitars in the background. Top guitar solo and to me it reminded me of Work of Art as the keyboards are superb. “Hey Mother can you rescue me”, well sorry Mum, that ship has sailed. It as if Lars Safsund, Tommy Shaw and Steve Lukather had a ménage a trots and the resulting baby would be this!

Blue Jeans Eyes (Bonus Track) – I always wonder what a bonus track is. To me it fits in nicely, “time after time” as a lyric reminds me of Cyndi Lauper but that’s where the comparison ends. The guitar sound is punchy and the chorus is nearly as good as the wonderful guitar solo. Blue Jeans Eyes is a great description to use

The River Is Rollin’ – As there is no “G” on Rollin you know this gonna have a real Americana vibe, it doesn’t disappoint. A great end to what is a wonderful piece of AOR/melodic rock. If you close your eyes you are back to Boys Of Summer and the lyric of a young girl growing up with the attention of jerks in leather jackets who just want to jump her bones but she’s independent and is uninterested is wonderful.

Stunning stuff and cap doffed.

10/10 – it’s a classic.

Review by Lawrie

Track list:
Runaway
Heartbreaker
Bullet To My Heart
Perfect Obsession
2nd Hand Love
Shout It Out
Can’t Stop Loving You
Eye To Eye
Hey Mother
Blue Jeans Eyes (Bonus Track)
The River Is Rollin’
Line-up:
Adam Stewart - Vocals, rhythm guitars
Ben Martin - Bass
Dave Legrand - Keyboards
Facey - Guitars
Tim Keeley - Drums


Thursday, 3 September 2020

Landfall - 'The Turning Point' Album Review

 


Landfall - ‘The Turning Point’


According to the PR bumf that comes through, Landfails singer, Gui Oliver (ex-Auras) is a ringer for Steve Perry. You know the people that you hear about in the news that get a knock on the head which causes anmesia, then when they come around, speak in a French accent. Well this fella got a right pounding and come back round with Steve Perrys clothes but Eric Martins voice, if Eric was singing in the bathroom next to you with the bathroom door shut. Its Eric, but not quite Eric if you see what I am getting at. This is the Trumpness that you sometimes having to contend with when emailed a press pack.




“I’m really glad to be back with Frontiers with a new band and new songs in a new perspective. I believe this is my best album so far. I was really impressed when I met the band for the first time. They are truly amazing, gifted and very prepared to do this with me,” says Gui Oliver.


Landfall was originally started by drummer Felipe Souzza and guitarist Marcelo Gelbcke, who are childhood friends and have been playing together since they were about 15 years old. Some years later, bassist Thiago Forbeci joined up with them, adding new musical input and influences and the band decided to go in a new direction. 


They began writing their songs and creating their own music repertoire to work off of and it was during this period that they recorded a few albums together and performed several concerts around Brazil, including opening for acts like Glenn Hughes and Mike Vescera. 


Opening track ‘Rush Hour’ certainly gets ‘TTP’ off to a cracking start. It’s a pace number that skips along and had a decent crunchy riff and an instantly singable chorus. ‘No Way Out’ ticks some boxes and is catchy enough. ‘Jane's Carousel’ follows a similar path. ‘Across The Street’ shows Landfall at their best and reminds me of early Ten, and ‘Don’t Come Easy’ is one of the more pleasant ballads Ive heard recently, considering I’m not a massive fan of ballads any more.




Its basically ‘wash-rinse-repeat’ from here on in. ‘Roundabout’ and ‘Sound Of The City’ stand out in the second half of the album, and ‘Hope Hill’ offers up a singalong moment for the listener. Beyond that, its bang average, in a sort of an half decent way. The songs are pleasant, a couple are very decent, but there’s not enough here to tempt me in for a second or third listen. Some people will think Im talking out of my Covid-larger-than-normal arse, but I just feel it has all been done before, and in a lot of cases, much better


Half of the album is good, but the balance is basically melodic rock by numbers. The production is good though, the playing for all is what I’d expect from a Frontiers AOR signed band.


I jest when I say that Oliver doesn’t sound like Steve Perry, but really, he doesn’t. Ok, maybe a few notes here and there, but he is not in the same sounding universe as Hugo Valenti or Arnel Pineda. Now those two are Perry ringers. 


Score 6.5/10


Review by Paul Chesworth



Landfall 

Gui Oliver - Vocals

Felipe Souzza - Drums

Marcelo Gelbcke - Guitars

Thiago Forbeci - Bass


Tracklisting - 

Rush Hour *

No Way Out *

Jane’s Carousel

Across The Street*

Don’t Come Easy 

Taxi Driver

Distant Love

Roundabout *

Road Of Dreams

Hope Hill

Sound Of The City *


* worth a listen