An organization aimed at helping tour crews impacted by the COVID-19 pandemic will continue its efforts with another special event.
Roadie Relief is scheduled to hold its second music memorabilia April 14. The auction will feature items, such as a cymbal used at Rage Against The Machine’s last show and signed by the band’s drummer Brad Wilk; a signed skate deck and posters from 311, and Gibson Les Paul guitar used by Bon Jovi guitarist Phil X for sale. The full list of items that will go up for auction is available to see complete with pictures here.
KISS guitarist Tommy Thayer said in a prepared statement, road crews are crucial for the live music industry.
“Before I became the lead guitarist for KISS almost 20 years ago, I worked behind the scenes with Kiss on and off the road,” he said. “I have a unique perspective and appreciation for how hard our crew works day in and day out. I’ve been there.”
311 bassist Aaron “PNUT” Wills offered his own warm words about the work that roadies do for the live music industry.
“I’ve been a touring musician for over twenty eight years and roadies have made it possibly at every step of my career,” said Wills. “Roadies are free spirits who solve a myriad of problems daily while out on the road. I donated cause I love talking to awesome people and I thought it could motivate our audience to dig deep and help our industry get back on its feet.”
Independent rock band Lord released its latest record this week. Its new covers compilation, Undercovers Vol. 1 released Friday through Dominus Records. The 23-song (yes, 23 songs) comes less than a year after the trio released its then latest EP, Chaos Raining, and approximately two years after the release of its then latest new album, Fallen Idols. This latest compilation stands out from so many other compilations already released this year in part because of its featured songs. This will be discussed shortly. The band’s take on the songs makes for its own share of interest and will be discussed a little later. The songs’ sequencing puts the finishing touch to the record’s presentation. When this element is considered along with the other noted items, the record in whole proves that while it is largely a space filler between albums, is still a positive addition to Lord’s catalog.
Lord’s new covers compilation, Undercovers Vol. 1 is a positive new presentation from the longtime independent hard rock band. The record’s appeal comes in large part through its songs. The songs are important to note in that they are not just a bunch of songs that the band recorded specially for this compilation. Rather, they are mostly covers that the band has recorded throughout its life and has only now made available together. Simply put, they were brought together as a way to entertain the band’s fans in lieu of a live recording and even new live dates while promoters and venue heads decide their next steps for live music. They are not just some random space-filler used to appease contractual obligations.
Bassist Andy Dowling explained the songs’ collection during a recent interview.
“Covers have been a big love of ours since the early days of Dungeon right up to and including now,” said Dowling. “Over the years in Lord these tracks have ended up on limited edition releases, bonus tracks in isolated parts of the world and other weird and wonderful places. These songs have been scattered over so many different places that even we struggle ourselves to remember where on earth all of these songs can be found.”
“While bands around the world continue to navigate these uncertain times, we thought this would be the perfect opportunity to release this collection of cover songs, as well as new recordings, to keep the LORD machine moving while we continue to write new music,” he added.
Additionally, Dowling pointed out that two of the songs featured in the compilation — Savage Garden’s ‘To the Moon and Back’ and Judas Priest’s ‘Reckless’ – were the only songs specially recorded for the compilation. Those two songs are only a small portion of the 23 (yes, 23) total songs featured in this recording, and are important because they are a highlight of the diversity in the collection. The band also took on The Police (‘Message in a Bottle’) here, as well as songs from Bon Jovi, Helloween, Metallica, and Little River Band just to name a handful of other acts featured in the compilation. The short and simple is that the bands covered here come from a wide range of genres. From hard rock –Metallica, Iron Maiden, Judas Priest, Anthrax – to classic rock – Little River Band – to 80s hair rock – Bon Jovi – to prog – Queensryche, Symphony X – to mainstream pop and rock – The Police, Savage Garden – Lord takes on music from so many influences. That diversity in the bands and music featured here helps to build the band’s reputation and at the same time, perhaps even introduce audiences to music to which they might not have otherwise listened. If for no other reason, that diversity in the bands and songs will keep audiences engaged and entertained. It is of course just one of the elements that make this recording so interesting. The band’s performance of said songs adds to the record’s interest.
Lord’s take on The Police’s ‘Message in a Bottle’ is just one example of the importance of the band’s performances. Lord’s take on the classic song is interesting in that while it stays largely true to its source material, it essentially amps up that original in a sort of 80s power metal style work. That updated take — complete with machine gun-fast bass drum work, melodic guitar lines, and operatic vocals – shows that the song strangely enough works just as well in this case as in the original presentation. It is not one of those woks that hits listeners in its first listen, either. Rather, it will grow on listeners with each listening, highlighting its longevity.
The band’s take on a-ha’s ‘The Sun Always Shines on TV’ is yet another example of the band’s performances here. In the case of this performance, the band has opted more for an 80s hair metal style performance that makes for quite the contrast against a-ha’s keyboard-driven original composition. There is the slightest touch of a power ballad early on in the original composition, what with the string arrangement, but that soon gives way to the band’s more familiar new wave approach, which is more present throughout the song. Lord’s take on the song, as noted, is more of an 80s hair power ballad type work. It gives a-ha’s original quite the unique new identity in this case with its amped up take on the song. Where it ends up standing with listeners will be left for those audiences to decide. That aside, it definitely makes for its own interest.
W.A.S.P. is another of the bands whose work is covered in this compilation. In this case, Lord took on the band’s hit song ‘Wild Child.’ In this case, the stylistic approach taken by Lord is largely the same as that of W.A.S.P. The difference is that Lord’s cover is actually an improvement on the original. It would seem here that is more due to the production. The production makes the song sound so much fuller and richer here than the original. It makes the song sound more modern with a throwback feel. To that end, it is yet another example of the impact of the band’s performances here, and the importance thereof. When it is considered along with the other performances noted here and the rest of the record’s featured performances, the whole of those performances makes for even more engagement and entertainment. It is just one more example of what makes this compilation worth hearing. The sequencing of the songs featured in this compilation rounds out its most important elements.
The sequencing of Undercovers Vol. 1 is important to examine because of its role in the record’s general effect. The record starts in contemplative fashion with its cover of Savage Garden’s ‘To the Moon and Back’ but very quickly after, it picks up with its take of Iron Maiden’s ‘Judas Be My Guide.’ It is not even until the record reaches its midpoint in its take of Cutting Crew’s ‘(I Just) Died In Your Arms’ that the album’s energy even remotely pulls back. From that point on, the compilation’s energy remains relatively high, even as the band takes on what are some otherwise reserved songs. Even in those cases, the band manages to amp up those songs, including their energies. So overall, the sequencing ensures that the album’s energy remains relatively high throughout its 100-minute (one hour, 40 minute) run time. That the record’s energy remains relatively high, and even gives a break point roughly halfway through ensures that the record will run fluidly throughout, ensuring even more, listeners’ engagement and entertainment. When that certain engagement and entertainment is considered with the impact of the band’s unique performances and the variety of songs featured here, that whole makes the compilation overall, its own standout presentation. Add in the fact that this compilation marks the first time that the band has ever united the previously recorded covers in one setting, and the compilation gains even more appeal. It shows that this was not just some randomly recorded presentation used to appease contractual obligations. Between this and everything else noted, the record in whole proves to be a covers collection that is actually worth hearing.
Lord’s new covers compilation Undercovers Vol. 1 is an interesting presentation that rockers and even pop music fans alike will find worth hearing at least once. That is due in part to the songs featured in the recording. The band does not just take on a bunch of hard rock and metal songs here, though there are a lot of those songs featured here. The band also takes on songs from pop and pop rock acts, such as Savage Garden, The Police, a-ha, and even Kylie Minogue. That variety in itself makes for reason enough to hear this presentation. That only two of the songs featured here were specially recorded for the compilation shows that this was not just some randomly thrown together presentation that was made to appease any contractual obligations for the band. Rather, it was a way for the band to bring together so many of the covers that it has recorded over the course of its life. That makes the presentation more special in itself. The band’s performance of the featured covers makes for its own appeal. That is because they give those originals their own unique identities from one to the next. The songs’ sequencing rounds out the most important of the compilation’s elements. That is because it ensures the record’s pacing remains stable throughout while also constantly giving listeners something interesting rather than redundant. Each item noted here is unquestionably important in its own way to the whole of the compilation’s presentation. All things considered, they make the record a work that despite being a covers compilation, still a presentation that is worth hearing, and at least once at that. Undercovers Vol. 1 is available now through Dominus Records.
More information on Undercovers Vol. 1 is available along with all of Lord’s latest news and more at:
Joe Bonamassa has made a career of playing the blues, covering the classics and handling his own originals. From one album to the next, he has shown why he is one of the leading names in the blues community. Now with the release of his latest album Royal Tea on Oct. 23, Bonamassa has completely cemented his place not only in the upper echelon of the blues community, but the music community in whole. That is because Bonamassa has branched out so much in this record, opting to offer so much more than his standard blues compositions. This is well worth discussing in itself. The record’s production adds its own touch to the presentation and will also be addressed here. The sequencing puts the final touch to this album’s presentation. When it is considered along with the noted production and musical arrangements, the whole make Royal Tea a work that proves Joe Bonamassa is music royalty.
Joe Bonamassa’s latest album Royal Tea is without question, one of his greatest albums to date if not his greatest work yet. It is a presentation that shows so much growth from the famed blues rock guitarist/singer. That is proven throughout the course of the 10-song record’s 53-minute run time. Rather than just sticking with the standard blues style works for which he has come to be known, Bonamassa opted this time to branch out. That is evidenced right off the top in the album’s opener, ‘When One Door Opens.’ This nearly eight-minute epic composition opens with a broad, symphonic arrangement, complete with strings, crash cymbals, and horns. That bombastic opening gradually gives way to a very contemplative, introspective stylistic approach whose chromatic scales and vocal harmonies are more rock ballad-esque than blues. As the song progresses into its “third movement” (the very fact that the song is so in-depth displaying so many styles is itself impressive. That me blends them together so well is even more worthy of applause) things change over to Bonamassa’s more bluesy style before switching back to the noted contemplative ballad-style approach to close out the song. There is even a hint of Holst’s ‘Mars: The Bringer of War’ mixed in for good measure. Whether that was intentional is anyone’s guess. Regardless, the subtle addition of that element adds so much to the song in its own right. The whole of this composition shows clearly that it is anything but what audiences have come to expect from Joe Bonamassa. It is just one of the works that exhibits his growth in this album. Just as interesting to note as this song is the clear influence of certain other equally well-known acts in other songs.
Listening to the album’s title song, the Beatles influence is undeniable, especially as the song opens. From there, there is a touch of Jimi Hendrix influence. Considering that Bonamassa recorded this album at the legendary Abbey Road Studios, none of this should come as a surprise. Hendrix rose first to fame in England before the United States. And of course, The Beatles are synonymous with Abbey Road Studios. ‘High Class Girl’ meanwhile immediately lends itself to comparisons to Booker T and the MGs’ famous hit ‘Green Onions’ what with the combination of its guitar, bass, drums and keyboards. The side-by-side is a near mirror image, yet even with that in mind, Bonamassa still manages to make this song about a man who is crazy for a woman who is out of his league into its own composition. On yet another note, ‘Lonely Boy’ echoes influences of Brian Setzer and Stray Cats with its rockabilly style arrangement. That Bonamassa was able to take influences from his equally well-known contemporaries and still create his own unique compositions is just one more way in which this record’s musical content proves so important to its whole. He also branches out into some other realms, and in the process makes his own unique compositions.
Case in point of the noted statement about Bonamassa branching out even more is ‘Savannah,’ which closes out the album. This song is a distinctly country/bluegrass work that will appeal widely to fans of acts, such as Steep Canyon Rangers and Zac Brown Band. The subtle use of the keyboards against the vocal harmonies, drums, mandolin and guitar makes the song such an enjoyable work. By contrast, ‘Lookout Man!’ is a bass heavy modern rock style composition whose heavy guitars, bass, and rums will appeal to fans of acts, such as Audioslave and Small Town Titans. The addition of Bonamassa’s gritty vocal delivery and the harmonica to the mix adds even appeal more to the arrangement. ‘A Conversation With Alice,’ the album’s lead single, throws lends itself to similarities to works from the likes of maybe Foreigner if not other veteran rock acts. Simply put, these songs in themselves show even more the breadth of Joe Bonamassa’s talents and abilities. They show, along with the other noted arrangements, that he is not just a one trick pony whose bread and butter is just the blues. It shows that he can play any style of music any time. Hopefully with that in mind, audiences will hear him take that into account even more when he releases his next album. Now taking all of this into account, the wide range of styles of music exhibited throughout Royal Tea make up collectively just one part of what makes the album so enjoyable. The album’s production adds another positive touch to its presentation.
The production that went into Royal Tea’s presentation is so pivotal because, again, Joe Bonamassa branched out so much throughout this album. ‘Why Does It Take So Long To Say Goodbye’ is a good example of the impact of the production. This slow, bluesy work, is clearly a work about a broken relationship. The song’s arrangement adds so much to its impact. Listeners will note the subtlety in the guitar and bass balance and the way the drums cut through here when they listen closely. The way each element is balanced in the song’s verses versus the more bombastic choruses serves well to translate the emotion in each moment as the song’s subject is going through so many thoughts.
‘When One Door Opens’ is another example of what makes the album’s production so important. That is due in part to the symphonic element in the song’s opening bars. This is something that Bonamassa has done rarely if ever. That means that a subtle backing element, such as a cymbal crash had to be really controlled. Even in the song’s more subtle moments, the vocals and drums had to be balanced with the equally subtle string arrangement and bells (yes, bells) to make sure the fullest impact was achieved, which it was.
‘Beyond The Silence’ is one more example of what makes this album’s production so important. The song, whose arrangement is a very western style work, conjures thoughts of Bon Jovi’s hit song ‘Blaze of Glory’ and Blues Saraceno’s ‘Evil Ways.’ The song stars and ends in very brooding fashion, with thunder setting the stage. The subtle way in which that thunder rumbles “in the distance” is powerful in its subtlety. The equally subtle use of the organ, drums, piano, guitar, bass and vocals makes for such high levels of engagement. As the song enters its chorus, the more energetic approach makes for a stark contrast to the more subdued verses. That contrast adds even more impact to the song. The work that clearly went in to balance the two moods paid off, maximizing the impact. When this is considered along with the examined production in the other songs noted here and the rest of the album’s entries, the whole of the production clearly plays an important part to the album’s presentation. It is still not the last of the record’s most important elements. The sequencing rounds out the album’s most important elements.
The sequencing of Royal Tea is important to examine because it ensures the energies in the album are balanced. Audiences will be glad to know that the record’s sequencing is just as successful as its production and songs in general. The record starts so strongly in the multi-movement ‘When One Door Opens.’ The energy stays high even as the stylistic approach changes in the album’s title track. From there, things pull back noticeably in ‘Why Does It Take So Long To Say Goodbye’ before picking right back up in ‘Lookout Man!’ and carrying through to ‘Beyond The Silence.’ That song in question has already been addressed. ‘Lonely Boy’ considerably changes things again, picking up the fun and energy once more before the album sets listeners gently on another shore in ‘Savannah.’ This simple, laid back country/bluegrass track is, again, so unlike anything that Bonamassa has ever composed. It is a wonderful finale for the album, especially considering the musical journey on which audiences embark in listening to the album. Simply put, the album’s energy rises and falls at all of the right points throughout the course of this album. This is a tribute to the time and thought that went into the album’s sequencing. It assures listeners will remain just as engaged and entertained for this aspect as for the rest of the album’s aspects. Keeping all of that in mind, Royal Tea proves itself to be a solid new offering from Joe Bonamassa and potentially his best work to date.
Joe Bonamassa’s new album Royal Tea is an impressive new offering from the veteran blues-rock guitarist/singer. It is a record that is largely unlike anything that he has ever presented. That is presented in part through its musical arrangements, which toss aside the standard blues songs for which he has come to be known in favor of a more diverse selection of styles. The production of those works and their sequencing puts the final touch to the record, collectively speaking. They ensure listeners will remain engaged and entertained through the presentation of the arrangements and the balance in their energies. Each item noted here is important in its own way to the whole of the album. All things considered, they make Royal Tea royalty among Joe Bonamassa’s catalog. Royal Tea is available now. More information on the album is available along with all of Joe Bonamassa’s latest news at:
When veteran rock band Angeles released its 12th full-length studio recording Fire It Up last year, it was the first time in more than 40 years that the band, founded by Dale Lytle, had released any new music to the masses. Having been away from the limelight for such a long time, one would have thought the band would have had a hard time getting back into the swing of things, but as it turned out, the case was quite the opposite. Now less than a year after its release, Angeles has returned with a new album in the form of Hell on High Heels and slightly changed lineup, — now former vocalist Gwendolyn Casella parted ways with the band following the album’s release and was subsequently replaced by new front man Louis Collins. The eight-song record is scheduled for release Friday through Dark Star Records/Sony. The new forthcoming 30-minute record continues the success that the band enjoyed in Fire It Up and builds on that success with its musical and lyrical content. That is proven in part through one of the album’s latest singles, ‘Celebrate.’ It will be discussed shortly. ‘Heal The Wounds,’ which is another of the album’s singles, is another way in which the album shows the band’s continued success on this record. ‘Start Living’ is yet another example of what make Angeles’ new album another successful effort from the band. Together with the other two songs noted here and the other five songs not noted here, the whole of Hell on High Heels proves to be another work that will certainly appeal to Angeles’ most devoted fan base as well as the most devoted 80s rock aficionados.
Angeles’ forthcoming album Hell on High Heels is a positive return for the band, especially having come less than a year after the band released the record’s predecessor Fire It Up. Considering how little time has passed between these two records – unlike Fire It Up and its predecessor – one might think the album might feel rushed, and in turn messy. However, the exact opposite is the case here. That is proven in part through one of the album’s latest singles, ‘Celebrate.’ The musical arrangement at the center of ‘Celebrate’ is an upbeat, positive work that lends itself to comparisons to works from the likes of Poison, Ratt, and Motley Crue. The noted musical arrangement fits the song’s lyrical theme, which touts the joy of just being together with friends and family. It is that full-on happy, upbeat party rock sound that was so popular during that age of big guitar riffs and even bigger hair. The positive vibe exuded by the song’s musical arrangement does well to help convey the sense of joy that is exhibited through the song’s lyrical content.
Collins sings in the song’s lead verse, “Slip on my boots/And get my head on right/We’re going to a rock and roll show/meet up with the boys/And we’re heading to the club/We’re fired up and ready to go/Raise a glass tonight and let’s celebrate/It’s only midnight and it’s not too late.” He continues in the song’s second verse, “The drinks are flowing/And the music’s pumping/We’re having a real good time/the pretty girls are dancing and they’re looking at me/Gonna make one of ‘em mine/Sweet little Susie’s coming home with me/And we’re gonna set the night on fire/We’re back to my place and we have some fun/burnin’ like a funeral pyre.” From there, the story continues, telling about the morning after that night of celebration with friends and what followed. Little Suzie stayed the night and left the next afternoon, not to give away too much. From there, Collins sings about working hard all week and in turn, celebrating on the weekend. It’s never revealed if the song’s subject saw little Susie again. That is left to the listener’s imagination. That aside, the overall…well..celebratory nature of this song musically and lyrically makes it a work that lives up to its name and will assuredly keep listeners engaged and entertained what with that throwback musical and lyrical style. It is just one of the songs that makes Hell on High Heels another positive offering from Angeles. ‘Heal The Wounds’ is another way in which the album shows its strength.
Much as is the case with ‘Celebrate,’ this song’s arrangement is another full-on throwback to the guitar-laden rock that made the 80s such a notable musical era. While the stylistic approach is the same, the sound is anything but. This song’s musical arrangement is more akin to Poison’s ‘Every Rose Has Its Thorn’ and some older works from Bon Jovi. It starts off soft and simple before becoming much more bombastic yet still ballad-esque in the same stylistic vein of the noted older works. That familiar stylistic approach will appeal to the already mentioned audiences just as much as the arrangement featured in ‘Celebrate.’ It goes well with the contemplative nature in the song’s lyrical theme, which serves as a reminder to listeners that “time will heal the wounds,” of a broken relationship, as front man Louis Collins sings in the song’s chorus.
Collins sings sings in the song’s lead verse, “I’m all out of things to say/Out of tears to cry/All out of thoughts…Can barely let out a sigh/the memories and time/All pas me by/See you on the street/Makes me wanna die/Time will heal the wounds/Time will kill the pain.” He continues in the song’s second verse, “I’m all out of whisky/I’m down to my last cigarette/Trying to get it together/I haven’t figured it out just yet/Sleepless nights, they haunt me/I’m laying down in a cold sweat/It’s time for me to go/It’s time to raise my bet/’Cause time will heal the wounds/Time will kill the pain.” Following this point, listeners are presented the story of the actual breakup and the subject’s emotional recovery from that breakup. It would explain the much more uplifting sound that gradually develops through the remainder of the song. Considering that the song’s subject reminds himself that time will heal the wounds and kill the pain, this is a key to continuing to make sure this song connects just as easily with listeners through its words as much as through its music. All things considered, the song is just one more way in which Hell on High Heels proves its strength in itself and within the bigger community of new 80s rock style releases put out so far this year. ‘Start Living’ is yet another way in which the album holds its own alongside its counterparts.
‘Start Living’ is another positive, uplifting (so to speak) work featured in Angeles’ latest album. That is due in part to its musical arrangement, which is a work that is as energetic and upbeat as ‘Celebrate.’ Its sound and approach is also just as similar to works from Motley Crue and others as that song. It should be noted that even with that stylistic similarity, the song still bears its own sound, so it is not just ripping off the works from those bands or even itself. To that end, the song’s arrangement does its own part to keep listeners engaged and entertained in this case. Its lyrical content builds on that engagement and entertainment.
Much like ‘Celebrate’ is a full-on song that pays homage to being out with friends and just living the rock and roll life, so does this song in its own right. Collins even sings in the song’s lead verse, “Thirty days in and I’m feeling down…Sick of the walls/I’m tired and bored/I wanna rock the world.But I’m stuck indoors/Let’s get moving/Start living all night long.” He continues in the song’s second verse, “Look at my guitar/I play real loud/And take the shows to the biggest crowd/Party all night with the pretty girls…getting in the fights with the boys in the band…Patch things p with a whiskey shot/Do it again tomorrow/Ready or not/let’s get moving/Start living all night long.” Now while some of the lyrics are indecipherable without a lyrics sheet to reference, enough is understood in this case that it is pretty obvious what is being addressed here. There is a mention of fever making someone feel bad. It could be interpreted that this has to do something with the impact of COVID-19, considering that the album was being recorded late last year and early this year as COVID-19 started to take over the world. That mention of getting tired of looking at the walls strengthens that supposition even more. It comes across as Collins talking about just wanting to get out and live, to get out and hit the road, which is what so many bands, acts and groups want to do, but sadly likely won’t get to do until at least next year. It makes for its own engagement and entertainment for audiences. That is because the fans want to be out there just as much as the bands. Keeping that collective mindset and the energy and sound in the song’s musical arrangement, it becomes increasingly clear why this song is another standout addition to Hell on High Heels. It is certain to become an anthem in its own right as bands and audiences alike await the return of live music. Together with the other songs noted here and the rest of its works, Hell on High Heels shows why it is a positive return for Angeles.
Angeles has scored another win with its 13th full-length studio recording, Hell on High Heels. That is due in no small part to its musical arrangements and lyrical themes, all of which are sure to engage and entertain audiences in their own way. That is proven through three of the album’s eight songs addressed here. When that trio of songs is addressed along with the rest of the album’s works, the album in whole proves, again, why it is another positive return for the band. Hell on High Heels is scheduled for release Friday through Dark Star Records/Sony.
The album’s track listing and recording information is noted below.
‘Hell On High Heels’ tracklisting:
1. Hell On High Heels – Lytle/Collins – 4:43
2. Celebrate – Lytle/Collins – 3:37
3. Heal The Wounds – Lytle/Collins – 3:52
4. Apocalypse – Lytle/Collins – 4:24
5. Start Living – Lytle/Collins – 2:58
6. Rolling Like Thunder – Lytle/Collins – 3:56
7. Run – Lytle/Collins – 3:06
8. Holly Fenton – Merrit/James – 3:22
Music recorded at Clear Lake Recording Studios N. Hollywood CA – Ara Sarkisian.
Vocals recorded at MT Studios Burbank CA – Matt Thorne.
Produced by Dale Lytle and Matt Thorne
Mixed and mastered by Matt Thorne
Front cover by Jeffrey A. Swanson
Back cover by Connie Lytle
Graphic Design by Monarch Digital Design
More information on Angeles’ new album is available online along with all of the band’s latest news at:
Early this past April St. Louis, Missouri-based metal outfit Conquest released its latest album Under The Influence. The forty-three-minute covers album presents eleven songs from some of the band members’ favorite bands. The songs themselves are, collectively, their own important part of the record’s presentation. That will be discussed shortly. They are not the album’s only key element. The band’s take on the featured songs is just as important to note in this record’s presentation as the songs themselves. That will be discussed later. The album’s overall sequencing rounds out the record’s most important elements. Each element is important in its own right to the album’s whole. Altogether all three elements Under The Influence a covers album that any rock fan should hear at least once. This applies regardless of audiences’ familiarity with Conquest’s body of work.
Covers albums are a dime a dozen nowadays in the music industry. Nine times out of ten, they are space fillers used between new albums to tide over fans and fulfill contractual obligations for record labels. Even worse, said albums are commonly thrown together rather haphazardly, much like all of the “hits” albums that are out there. The end result in both cases are albums (if one even wants to call them albums—note the sarcasm) that are anything but memorable or even worth having in one’s personal music collection. Enter Under The Influence, the new covers collection from St. Louis, Missouri’s hard rock outfit Conquest. Unlike all of the covers (and “hits”—technically singles) collections out there on the market today this eleven-song compilation record is one that every rock fan should head at least once. This applies regardless of audiences’ familiarity with Conquest and its body of work. The record’s featured covers are in themselves just one of the elements that make this record worth hearing. That is the case because the songs don’t just come from one of rock’s many sub-genres or another. Rather it crosses those genres from beginning to end. It also spans rock’s rich modern history with its presented songs. It all kicks off with a pair of Judas Priest covers in the form of ‘Metal Gods’ and ‘The Ripper.’ That pair of songs is followed by a cover of Iron Maiden’s beloved ‘Wraith Child.’ The band gets even heavier from there with its own take on Metallica’s ‘For Whom The Bell Tolls.’ Things change even more dramatically in the band’s next offering, a cover of Motorhead’s ‘Ace of Spades.’ This one comes at just the right moment, too, as it is essentially the album’s midway point. It isn’t even the album’s most interesting of the record’s inclusions either. The album’s second half features covers of songs from Bon Jovi, Anthrax, Pantera, Black Sabbath, Motley Crue, and even UFO. To say that that is a broad swath of bands (and songs) would be an understatement. Simply put, the eleven songs (and bands) that are featured in this covers collection is extremely wide. The songs are just as diverse in their stylistic approaches as the bands are within their own rock sub-genres. Keeping that in mind, it becomes clear as to why the songs featured in this record are so important to its presentation. They don’t subject listeners to just one style of rock. Rather, they cover so many different styles from so many ages of rock’s rich history. They make up just one of the record’s most important elements. The band’s take on each of the featured songs is just as important to note here as the songs themselves.
The songs (and bands) that are featured in Conquest’s new covers collection are collectively their own important part of the record’s presentation. That is because they lift liberally from rock’s rich modern history. The songs present a wide range of bands and rock styles from beginning to end. That is just one part of what makes this record a rare covers collection that is actually worth hearing. The band’s actual performance of the record’s featured songs is just as important as the songs themselves. The band’s take on Metallica’s ‘For Whom The Bell Tolls’ is one of the band’s best performances in this record. If one were to hear this take on the classic heavy metal tune without knowing it was Conquest, one would actually think that it was Metallica. The band performed the song verbatim both lyrically and stylistically. And front man Derrick Brumley may not sound just like James Hetfield circa 1984. But listeners will be surprised at the similarity in the sound of the singers’ vocals. The band’s take on ‘Ace of Spades’ is just as impressive. One could argue in fact, that Conquest’s take on the classic rock anthem is just as good as Motorhead’s original recording. It doesn’t bear the grittier, garage rock sound presented in Motorhead’s original composition. But even with that taken into consideration it still pays honor stylistically to the original right down to the song’s familiar up-tempo bass line (handled here by bassist Rob Boyer). One of the song’s biggest surprises is Brumley’s vocal delivery. It’s not certain as to whether or not Brumley set out to emulate Lemmy Kilmister in this cover. But interestingly enough listeners will note that there is a certain element of that gritty sound made so familiar by the late rock legend in Brumley’s own vocal delivery here. It is a nice touch to the, and especially so if Brumley did not set out to try to sound like Kilmister. The band’s take on UFO’s ‘Lights Out In London’ is another example of the importance of the band’s performances in this record. It could actually be argued here that Conquest’s cover is even better than the original. That is thanks to the bombastic guitar solos, Bruley’s powerhouse vocal delivery, and Tim Fleetwood’s equally solid work behind the kit. Of course Boyer’s work on the bass here shouldn’t be ignored either. The whole of the band’s work here makes the band’s take on the song a song that will have make every rocker out there proud. It is just one more example of what makes the band’s performance of each of the record’s featured songs is just as important as the songs themselves. They are hardly the record’s only key examples of that importance. Audiences will take just as much notice of the band’s take on ‘Dead Or Alive’ ‘Wraithchild’ and ‘Cowboys From Hell.’ The prior pair of covers is much more bombastic here in the case of the original songs. ‘Cowboys From Hell’ on the other hand is a relatively close take on the original. All three will hold listeners’ ears and have them talking afterward just as much as the other noted covers and those covers not noted here. All in all, the band’s take on each of the songs featured proves just as pivotal to the record’s presentation as the songs themselves. They are not the record’s only important elements, though. The album’s sequencing is just as important to its presentation as the songs and their performances.
The songs that are featured in Conquest’s new covers collection and the band’s take on each song are equally important to the album’s presentation. The songs are so important to note because of the broad range of influences presented throughout the record’s forty-three minute run time. The band’s performance of the songs is just as important to note as the songs themselves because of the similarities and differences between the originals and the band’s updated take on each song. Those similarities and differences are certain to create their own share of interest and discussion among audiences. As important as each element proves to the record’s whole they are not its only key elements. The record’s sequencing is just as important to its presentation as those noted elements. Audiences that pay close attention to the record’s sequencing will note that for the most part the record maintains a relatively solid energy level from beginning to end. Though, the energy does pick up just enough at given points, so as to maintain listeners’ engagement. It picks up first just past the record’s halfway point in the form of Motorhead’s ‘Ace of Spades’ before puling back just a little bit as the record transitions into its second half. As the album nears its end the band picks things up once more in the covers of ‘Red Hot’ and ‘Cowboys From Hell’ before finishing off with the slightly slower (slightly at best) but no less heavy ‘Children of the Grave.’ Simply put, the band has balanced the record’s energy and even its varied musical styles from beginning to end thanks to its expert sequencing. This ensures listeners’ maintained engagement, and in turn, entertainment. Keeping this in mind, the record’s sequencing shows in the end why it is just as important to its presentation as its songs and performances thereof. Each element is important in its own way to the whole of the record. All things considered, Under The Influence shows in the end to be a rarity of a covers album. It doesn’t come across as just some contractually obligated space filler. Rather it proves to be a collection of classic rock songs that Conquest’s fans will enjoy just as much as those of the bands featured throughout the record. It is a record that succeeds at presenting a solid introduction to rock’s rich modern history all while entertaining rock fans of all ages. It is a covers collection that is actually worth hearing at least once regardless of audiences’ familiarity with Conquest or its body of work.
Conquest’s latest studio recording Under The Influence is a record that every rock fan should hear at least once. This applies regardless of listeners’ familiarity with the band or its body of work. That is because it isn’t just a random, contractually obligated space filler record. Its eleven songs present a solid introduction to rocks rich modern history. That is thanks to the broad array of bands and songs that is presented here. The band’s performance of each song is just as important to the record’s presentation as the songs themselves. That is because they present new and familiar takes on the classic songs; takes that will keep listeners engaged and generate their own share of discussion among audiences. The album’s sequencing rounds out its presentation. Over the course of its forty-three minutes, the records sequencing expertly balances the record’s energy from beginning to end. This ensures just as much listeners’ engagement. Each element plays its own important part in the record’s presentation. Altogether they make Under The Influence a record that very rock fan should hear at least once regardless of one’s familiarity with Conquest or its body of work. It is available now in stores and online. It can be ordered online direct via Dark Star Records’ online store. More information on this and other titles from Conquest is available online now at:
Independent metal act Conquest is making some of its music available to the masses.
The St. Louis, Missouri-based band, which is signed to Dark Star Records, has made available for free download its cover of Black Sabbath’s ‘Children of the Grave.’ It is available here. But it is only available for a limited time. It will be available only until next Monday, June 20th. The band’s cover of the classic tune is included in the band’s album Under The Influence. Front man Derrick Brumley explained recently where his love for both the song and for Black Sabbbath comes from noting, “These guys started it all. When I was 7 or 8 my brother’s girlfriend brought over their first album and I was completely blown away! She ended up leaving it at our house and it became mine. “Children ..” is the one song that has stuck with me over the years.”
Under The Influence is the tenth full-length studio recording from Conquest and its third for Dark Star Records. It was released April 8th. The album is a collection of covers of music from bands that influenced the band’s own members including: Judas Priest, Metallica, Motorhead, Pantera, and (believe it or not) Bon Jovi among many others. It can be ordered online now direct via Dark Star Records’ online store. More information on Conquest, it’s new album, free download, live dates, and more is available online now at:
Independent rock band Screaming at Demons recently introduced itself to the world in a big way when it partnered with the nationally known charity group Homeless Rock Stars. The band combined the video for its new song ‘Rock Star’ with footage from a Homeless Rock Stars event to make an emotionally moving and powerful to help raise money for the organization and introduce itself to the music community at large at the same time. Now the band has taken another huge step in getting its name out there. The band has enlisted the help of one of the most talented and respected drummers in the music community today to help record a pair of songs for its upcoming debut record.
Screaming at Demons announced this week that it has enlisted famed drummer Chad Smith (Red Hot Chili Peppers, Chickenfoot) to record the drums for two of the songs to be included in the band’s upcoming album. Those songs are ‘Our Time’ and ‘All Of Me.’ Smith’s inclusion on the album, which currently has no set release date, is rooted in his friendship with AD bassist Chris Clemmence. Having previously performed live with Smith, Clemmence had a first hand understanding of and appreciation for Smith’s work behind the kit, leading to Clemmence asking Smith to lend his talents to the band’s new record. When asked about those talents, Clemmence responded telling reporters, “Chad is a legend and phenomenal powerhouse of a drummer. We are beyond honored to have him play on our two new upcoming singles. His feel and groove have brought our songs to a new level. We are so lucky to have him as well as an all-star team working on our music.”
Photo Credit: Thierry Brouard
Currently, Screaming at Demons is hard at work on its upcoming album. The album is being mixed by five-time Grammy Award-winning producer Chris Lord-Alge. Alge is no stranger to the music community and obviously to success within that community having those awards to his name. The roster of bands with which he has worked over the course of his career says plenty of his expertise behind the boards. That list includes the likes of: Eric Clapton, Tina Turner, Cher, Bon Jovi, Seal, Meatloaf, Three Days Grace, Aerosmith, Shinedown, Deftones, and countless others. Alge was asked by reporters his thoughts on working with SAD. his response showed just how excited he is to work with front man Shimon Moore and fellow SAD band mates Russell Ali and Chris Clemmence. He had only positive things to say of working with the band, noting of the group, “A new level of excitement is coming from these boys and they are giving back to people in need and making music that instantly makes you wanna be a part of it!” While fans wait for Alge, and the members of SAD to finish the band’s new album, they can check out the band’s video for its inspirational and infectious song ‘Rock Star.’ It can be viewed online now via YouTube at https://www.youtube.com/watch?v=N0g7QiwkAe4&feature=youtu.be. Audiences can also keep up with all of the latest updates from the studio and all of the band’s latest news online at:
Up-and-coming rock outfit Lawless Hearts’ new EP Creatures of Habit is the first great EP of 2015. The four-track disc from the Jacksonville, FL-based five-piece is a good listen for anyone that is a fan of Heart, Joan Jett and the Blackhearts, and to a lesser extent Pat Benatar among other acts of that ilk. The similarity to those bands should come as no surprise to audiences as the band even notes Heart as one of its influences on its Facebook page. And just as fittingly the band notes in the bio on its Facebook page that its collective dream is to make something entirely its own in terms of its sound and lyrics. Listening to the songs that make up Creatures of Habit, it is safe to say that the dichotomy of the band’s old school rock sound and the songs’ lyrical content has created something entirely the band’s own. That is clear right from the record’s opening number and lead single/title track. The old school rock influence is obvious on the song’s musical side. Lyrically, it definitely has its own identity and will certainly have listeners thinking and talking. The musical bombast of ‘If I Have To’ coupled with its equally deep lyrical content shows this song to have its own identity, too. And the EP’s closer ‘Fallout’ with its seemingly Bon Jovi-influenced sound coupled with its insightful lyrics serves as one more example of how the members of Lawless Hearts have indeed created a record in Creatures of Habit that is entirely its own creation even with its old school rock influences. It is a record that though an EP bodes well for the band and its future endeavours.
Lawless Hearts’ new EP Creatures of Habit only boasts four tracks. That may not seem like much. But when considering the mix of the music and lyrics that make up those four songs, it proves to be a surprisingly enjoyable record. This is evident right from the EP’s opener/title track/lead single. ‘Creatures of Habit’ boast a sound musically speaking instantly conjures thoughts of both Heart and Joan Jett and the Blackhearts thanks not only to the powerhouse vocals of front woman Alex Marie but to the work of her band mates–Michael Thomas (guitar, vocals), Justus Sutherland (rhythm guitar), Rob Joseph (bass, vocals), and Corey Ahlquist (drums)–too. Marie even sounds slightly like Joan Jett as she sings, “Creatures of habit/Liars and savages/Hoping for one more drink from the well/A city for the dead/A silent tomb of regret/Try waking up but the nightmare never ends/It ever ends.” Those first two lines in which she sings, “Creatures of habit/Liars and savages” is a rather damning statement. It appears to be a short, yet rather sharp statement in regards to the nature of people. This is made even more clear as she sings in the song’s second verse, “Dirty little savage/Masochist at best/Looking for one more night to derail/Your time is wearing thin/Better hold before you lose your grip/There’s no one to hear you scream when you slip.” Marie comes across as singing about someone that is on a self-destructive path and who is about to reach a breaking point with no one to help if said subject continues on that same path. It is a powerful statement, especially if it is indeed the correct interpretation. Considering that Marie sings in the song’s bridge, “You’re covered in dirt/From the hole you dug yourself in/An early grave for the ones who deserve it,” it would seem that this is in fact the correct interpretation. It’s almost a warning of sorts. Taking into account the song’s driving musical side alongside with these words, it is no wonder that it was chosen to lead off the band’s new EP. Audiences can check out the brand new video for ‘Creatures of Habit’ online now via the band’s Facebook page at http://www.facebook.com/LawlessHeartsMusic.
‘Creatures of Habit’ is a solid opener for Lawless Hearts’ new EP. It is also proof that the band has indeed succeeded in creating something influenced by other bands yet still holds its own identity. It does so quite well at that. It is just one of the tracks on this EP that proves that, too. The EP’s second track, ‘If I Have To’ strengthens that argument even more. It could be just this critic’s interpretation (again) but this song shows something of a Bon Jovi influence. It is so easy to close one’s eyes while listening to this song and see it being performed live. For that matter, the song’s overall makeup makes it easy to see it complemented with a video that matches its bombastic sound; big stage setup, sweeping pans across the stage that capture the entire band, the audience singing along, etc. It doesn’t seem like such a stretch. That is especially the case considering the song’s lyrical content. The song’s lyrical make-up Marie starts out by singing in the song’s opening verse, “I, I’ve been shot down/Fully defeated/A bullet to my chest/Holding my breath/Running on empty/Fear is nothing compared to this.” Obviously she is speaking metaphorically when noting the “bullet to the chest.” As a matter of fact, the entire verse is written in metaphor. She is saying that she has been through the worst that can be thrown at her. Because of that, fear has nothing on what she has endured. Despite having gone through so much, she goes on to note that she has not been defeated, singing, “I’m not afraid to die to save a life if I have to/I’ll walk the line of fire/Prepared to fight/With or without you.” She finishes her statement of firm defiance singing in the final lines, “I am awake/Fully determined/Nothing will be the same.” Such lyrics come across as being rather positive. It is almost as if Marie is singing out proudly that she will not let anything stop her no matter what. Considering this as the possibly intended aim of the lyrics, it makes the song that much more enjoyable. It proves the song to be yet another original work despite its classic rock roots. And together with the EP’s opener, proves once more why this record is the first great EP of 2015.
Both of the first two tracks taken from Creatures of Habit are solid examples of what makes the record the first great EP of 2015. Both songs display classic rock roots yet original lyrics. The combination of both elements gives both songs their own identity and in turn makes the record in whole that much more enjoyable. The disc’s closer ‘The Fallout’ on the other hand, is the polar opposite of those songs. It boasts more of a modern rock sound with only the slightest hint of old school rock influence, musically speaking. The slow build that starts with just Marie and an acoustic guitar is about the only hint at that classic rock influence. It conjures thoughts Bon Jovi, Poison, and others. From there though, the classic rock influence disappears very quickly as the song leads into a much heavier sound. On the song’s lyrical side, it almost seems to bring the record full circle, echoing the topic of human nature presented in the record’s opener. It just presents it in a different avenue. Instead of making a seeming statement about the rather negative side of human nature, this song comes across as discussing people’s refusal to face the music of life so to speak. She sings in the song’s opening verse, “There’s more than two sides to every story/The pain and loss is never-ending/You wanna break down/You wanna scream out as they take, and take, and take everything/What is fair anymore/We go through life always trying to even up a score/You say the truth will set you free/We’re all so damn scared of honesty/But it all comes with a price in the end.” On the one side, Marie presents someone that is miserable, almost shaking his or her fist at the heavens. On the other is someone that wastes their life away holding grudges and trying to point the finger. That person is reminded that doing so comes at a price. In both cases, the individual ends up doing nothing but separating himself or herself from everyone else albeit in different ways. As Marie sings in the bridge, “You say none of it matters/You don’t want to deal with the fallout/You burn bridges/You build castles/To keep everyone out.” It is a statement that whether preaching and pointing that finger or shaking one’s fist at the heavens, doing so is counterproductive. People that do this are doing nothing but wasting their lives away, separating themselves from others. She goes on to warn those people that considering the direction this world is going, wasting their lives away in such fashion simply isn’t worth it. How many mainstream bands can say that they have songs that present such lyrical content? In an age when so much music is still dominated by themes of self-loathing and loathing of the world, this song comes across as a breath of fresh air. And being such a breath of fresh air, it proves even more why Creatures of Habit is the first great EP of 2015.
All three of the songs noted here are prime examples of why Creatures of Habit is the first great new EP of 2015. The combination of the songs’ musical and lyrical makes all three songs stand out from so many songs that dominate mainstream rock radio today. One would be remiss to ignore the EP’s third song, too. It offers its own value to the record in whole, too. All things considered all four tracks prove Creatures of Habit the first great EP of 2015 and one of the year’s best. Given the right support, it could be just the beginning for this up-and-coming band. More information on Creatures of Habit is available online now along with all of the latest news from the band at:
2014 was a great year for the worlds of rock and metal acts. Major names the likes of Exodus, Machine Head, Judas Priest, and Black Label Society all released new albums alongside a number of equally impressive up-and-coming bands the likes of The Amsterdam Red Light District, Zodiac, Royal Blood, and others. Now with 2015 not even a full month old, this still very young year is already looking just as good for the metal masses the world over. One sign of this is the upcoming new release from Germany’s own Alpha Tiger. Alpha Tiger will release its new album iDentity in the United States next Tuesday, January 20th. The album, the band’s third is a solid follow-up to the band’s 2011 debut Man or Machine and its followup, Beneath The Surface. The band wastes no time re-introducing itself to audiences on its new album. The band launches into things right off the top in the full throttle, socially conscious ‘Lady Liberty.’ The song is a commentary of sorts on the current state of things in America. On the other end of the spectrum, the band offers an uplifting piece in the positively-charged ‘Closer Than Yesterday.’ The album’s lead single ‘We Won’t Take It Anymore’ is just as powerful a song with its driving guitar riffs and powerhouse vocals from front man Stephan Dietrich. It is another very socially conscious piece that is sure to become a fan favorite if it isn’t already. It, along with the other noted songs are just one part of the whole that makes iDentity a great start to 2015 for the metal masses. The other tracks not noted here each play their own part in iDentity’s enjoyment. Together with the compositions noted here, all ten tracks that make up Alpha Tiger’s new album prove it to be a solid new album and a good start to 2015 for the metal masses.
Alpha Tiger’s upcoming new album iDentity is the band’s third full-length record in four years. Usually when an act releases so many albums in such a short amount of time, it can prove to be a bad thing. It can prove to be bad because in many cases there is a noticeable decline in the quality of said acts’ material. Said albums feel rushed for lack of better wording. In other cases, putting out albums so quickly also means that audiences can actually grow weary of said acts. This applies both to the bigger names in the music world and even to those signed to independent labels. In the case of iDentity, Alpha Tiger hasn’t suffered from any of those issues. The band impresses right off the top in its socially-charged opener ‘Lady Liberty.’ The very first thing that audiences will note in this song is the obvious influences from the likes of Iron Maiden and Judas Priest on its musical side. The dual guitar attack of Peter Langforth and Alexander Backasch coupled with drummer David Schleif’s solid timekeeping and [Stephan] Dietrich’s vocal talents will easily fool audiences. Anyone hearing this song and not knowing it was Alpha Tiger would instantly think they were hearing either of the aforementioned greats. Lyrically speaking, it is just as much a solid opener with it’s seeming commentary on the current state of America. The seeming message in question comes across as Dietrich sings with obvious sarcasm in his voice, “Come on over hear the news/the day has come/Now we are free to choose/I Choose the path that’s best for me/Thank God to live the American dream.” The message is made even clearer later in the song as Dietrich sings, “I’m free to shoot a stranger down/I claim my right, He trod my ground/I’ll raise the flag of liberty/The lady on her hill will shine down on me.” It is only this critic’s own interpretation, but the line “I’m free to shoot a stranger down/I claim my right, He trod my ground” seems to make reference to the Treyvon Martin case and others like it. Regardless of the intended reference, such lyrics make for quite the indictment of a nation in whole. And they are sure to make quite the discussion. That discussion itself makes ‘Lady Liberty’ the perfect choice to open iDentity. The song’s musical backing makes even clearer why this song was chosen to open the album.
‘Lady Liberty’ was the perfect choice to open Alpha Tiger’s latest full-length release. It instantly grabs listeners by the ear with its fire and energy and refuses to let go. It boasts a lot of fire and energy both musically and lyrically. On the opposite end of the spectrum, Alpha Tiger offers a different kind of fire and energy in the uplifting Closer Than Yesterday.’ This song is the polar opposite of ‘Lady Liberty.’ But it is no less powerful. This song offers a welcome ray of hope to anyone going through a rough time both musically and lyrically. The song opens with a solid, driving piano riff that eventually builds into a full on arena-style song, musically speaking complete with huge guitar lick. One could almost argue something of a Bon Jovi influence to this song when one really sits down and listens to it for its musical side. That’s not an entirely bad thing, either. Now are the song’s equally uplifting lyrics. Dietrich sings in this song, “So don’t say you try/Just say you will/There is enough you left behind/It’s time to live!” The control in his voice as he sings these lyrics is something special. That control and gentility in his voice as he sings is like getting a musical pat on the back, reminding listeners that as tough as life gets, everything will be okay. He even goes so far as to sing, “I will step into the great unknown/Where dreams are made to become real/Yes I know it’s still a long way to go/But I’m closer than yesterday.” He comes across as saying that we must embrace the uncertainties in life without fear. We must embrace it because with each step forward we are “closer than yesterday” to defeating those uncertainties that cloud our minds. It is quite the positive reminder to audiences of all ages. That it can reach audiences of so many ages makes it even more powerful and in turn one more way in which iDentity works so well.
Both ‘Lady Liberty’ and ‘Closer Than Yesterday’ show why iDentity is a solid new effort from Aplha Tiger. Both songs are key examples of what makes the album so enjoyable because of the power both in their music and lyrics. The album’s lead single ‘We Won’t Take It Anymore’ boasts much the same energy and fire in its music and lyrics, too. And as with those songs, it too exhibits an obvious influence from the great veteran metal acts that have come before in its examining its musical side. Looking at the song from a lyrical vantage point, there is just as much fire as Dietrich sings “You call us hopeless generation/’Cause we won’t play by your rules/Or it’s because you can’t control us/Like your money hungry fools.” The pure defiant and infectious energy exuded by the band here will have the song resonating in listeners’ heads long after the song has ended. This is proven even more as Dietrich sings, “We won’t take it/Take it anymore/’Cause we are sick of it all/We won’t take it/Take it anymore/We’ve had it up to here.” It’s one more strong statement from Alpha Tiger that is sure to have listeners singing along proudly, pumping their fists in the air. If such striking lyrics and powerful music haven’t already made this single a hit among the band’s European fans, it won’t be long before it is. And when iDentity is released in the U.S., audiences will agree with that sentiment. They will agree with the sentiment regarding not only this song but the others mentioned here and those not noted. In hearing all of the songs that make up iDentity American audiences will discover what the band’s European fans already know–Alpha Tiger is one of the leaders of the rock world’s pack this year.
iDentity is scheduled to be released in the United States next Tuesday, January 20th. It has already been released overseas. And the band is currently on tour in Europe in support of its new album. Audiences around the world can find out the band’s latest tour updates and news online now at:
German rock band Unbreakable released its new album this week. The album, Knockout, is a work that will instantly transport listeners back to the days of big rock and even bigger hair. That musical trip back in time starts right from the album’s outset and trudges on nonstop throughout the eleven tracks that make up this record. Throughout the course of the album, audiences will hear clear influences from a number of the biggest acts of the 80s including names such as: Bon Jovi, Def Leppard, and Whitesnake among so many others. From the raucous opener that is the album’s title track to the more subdued sound of ‘In Your Heart’ to the full on rocker that is ‘Game of Life,’ and more, fans of the 80s rock scene will find plenty to like about this record.
Unbreakable wastes no time on its new album, grabbing its audiences’ ears, and showing them what’s in store from this musical trip back in time courtesy of the album’s title track/album opener. Front man Al Crespo’s vocals and the talents of his band mates—Martin Ries (guitar), Pascal Alles (guitar), Alex Ries (drums), and Lukas Mittler (bass)—instantly transport listeners back to that age of pomp and bombast in this song, with Crespo singing about having woken up next to a woman he had met the night before, not remembering a thing. It is classic big rock fare. Crespo sings in this throwback piece, “Who’s this girl/Next to me/In my bed/I lost my mind/Can’t remember where I’ve been/Just drunk too much/Too much in me/She looks real hard in my face/She demands/She demands me/My head explodes/But I’m happy what I see/She looks real great/She’s a knockout.” This is classic big hair lyrical fodder at its finest. And there’s plenty more of that to come after this song, too. Case in point, the more subdued ballad-style song, ‘In Your Heart.’
‘In Your Heart’ is a classic 80s style ballad that fits just as well on this record as any of the album’s other songs. Crespo sings in this song, “Wait/Why don’t you come back to me/I’ll love you forever/Don’t leave/There’s some work/I’ll make it right.” His delivery in the case of this song really is what makes the song so powerful. He already proved his prowess on the album’s previous songs. This includes the album’s opener. He shows his ability to really interpret the lyrics and get the most emotion out of the song. That one line is just a tiny part of the song in which he exhibits that talent, too. Of course that isn’t to discount the talents of his band mates. [Martin] Ries and [Pascal] Alles add their own share of emotion to the song. Even drummer Alex Ries’s talents on the drums add their own something extra to the song to make it even more hard hitting. That deep emotion makes this song even more reason for fans of classic 80s style rock and roll to check out Knockout.
Both ‘In Your Heart’ and ‘Knockout’ are prime examples of what Unbreakable has to offer 80s rock fans on its new album. They both show the band’s versatility or lack of better wording. Just as much of an example of that versatility is ‘Game of Life.’ ‘Game of Life’ is more classic 80s style big rock from Unbreakable. The comparison is especially easy thanks to its musical side. Any number of big hair bands could be referenced in terms of this song. Lyrically speaking, it comes across as another song centered on personal relationships. But it comes from a different angle, as audiences will hear. Crespo sings here, “The day begins/I open my eyes/And think of what I can do/For you in life/Never stop giving up on me/I tried to please you/And change my ways/Open my eyes to see/Welcome to the game of life/I’m going to touch your inner light/Welcome to the game of life.” At one point, when Crespo hits the high notes in this song, he actually sounds a little bit like Dream Theater front man James LaBrie. The guitar work of Ries and Alles gives the song something of a Scorpions type of vibe for fans of that band. It’s just one more way that the band impresses audiences of that old school sound with this new record.
The songs noted here are only a few examples of what audiences can expect from Unbreakable’s new record. Anyone that is a true fan of the classic sounds of the 80s will want to check out the rest of this album along with the songs noted here. Knockout is available now in stores and online. It can be downloaded now via Amazon and iTunes or at the band’s upcoming shows later this fall. The band’s German fans can also pick up its new album when it performs this November. The band is scheduled to perform live November 1st and 8th in Burgberghalle and Kult respectively. More dates will be announced soon. Fans can keep up with those upcoming tour date announcements and all of the latest news from the band via its official Unbreakable website and Facebook page. To keep up with the latest sports and entertainment reviews and news, go online to the Phil’s Picks Facebook page and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog.