Hair metal band Nova Rex debuted the video for its latest single this week.
The band premiered the video for its new single, ‘Time Is Up For You’ Tuesday. The song is featured in the new documentary, It Ain’t Easy Being Cheesy.
The video is a straight forward, familiar style presentation. It features the band performing its new single in a forested setting at night, a large bonfire burning behind the group as it sings.
The musical arrangement featured in the band’s new single is full on 80s hair metal. Comparisons can easily be made to vintage music from the likes of Ozzy Osbourne, Poison, and Motley Crue throughout the arrangement. That is evidenced through the rich, bass and guitar-driven composition.
No information was provided about the song’s lyrical theme. No lyrics are provided with the video, either. A close listen to the song adds even more to that vintage hair metal sense. That is because the whole thing is heavy with so much lyrical tough guy bravado that is so common from that era.
More information on Nova Rex’s new single and video is available along with all of the band’s latest news at:
Independent rock band Ratchet Dolls will release its first new record in more than five years this summer in the form of a new EP.
The band is set to release its new EP, Bring The Noize this summer. An exact release date is under consideration. In anticipation of what will be the band’s second studio release, the band premiered the record’s lead single, ‘Modern Mistake‘ March 20.
The musical arrangement featured in ‘Modern Mistake’ is a high-energy, guitar-driven composition. Its big riffs and energy will impress any guitar rock purist. The incorporation of the piano as a backing element alongside the bass and rums adds even more to the arrangement’s overall impact. The whole lends itself to comparison to works from the likes of Motley Crue and Poison. Audiences could even argue that there is a touch of Buckcherry influence here, too.
The lyrical theme featured in the band’s new single is about a woman. More specifically, it is a familiar theme about a man who is crazy for a woman that he knows is bad for him. That is evidenced as founder/front man Kevin Sauceda sings, ‘It hurts like hell, but I enjoy the pain” about what the woman puts the song’s subject through. The very statement that the song’s subject “can’t resist” adds even more to that noted theme. It is an all too familiar matter that will resonate with a wide range of audiences, especially when it is paired with the song’s infectious musical arrangement.
‘Modern Mistake’ is just the latest of Ratchet Dolls’ singles. The band released its then most recent single, ‘Parasite‘ in 2020. That song’s arrangement also boasts a clear Buckcherry influence. Its release was preceded by that of the single, ‘Out Of Control‘ in 2019. The band released its debut album, Damaged, two years prior in 2017.
In other news, the band is on tour in support of its new EP. The next date on the band’s tour is scheduled for Thursday in Asheville, NC. From there, the tour will gradually wind down through the first two weeks of April. The band is also scheduled to perform at this year’s annual Rockfest Festival, which is scheduled to take place July 14-16 in Cabot, WI.
More information on Ratchet Dolls’ new single and tour is available along with all of its latest news at:
Veteran rock band Angeles returned this week with its latest album, Running Like An Outlaw. Independently released Friday, the record is the band’s 14th and came less then two years after the release of the band’s then latest album, Hell on High Heels. The eight-song record will appeal primarily to the band’s established audiences, as has already been proven by the album’s current singles, ‘Nothing But Love’ and ‘Witch Hunter.’ Each song will be discussed here. When they are considered along with the likes of ‘She’s On Fire,’ the album’s closer, and with the rest of the album’s entries, the whole makes Running Like An Outlaw a record that Angeles’ most devoted audiences will find engaging and entertaining.
Running Like An Outlaw, the latest album from veteran rock band Angeles is a presentation that will find appeal among a very targeted audience. That is evidenced through the album’s musical and lyrical content. The record’s lead single, ‘Witch Hunter,’ is just one of the songs that serves to support the noted statement. The musical arrangement featured in ‘Witch Hunter’ is a mostly driving composition. The combination of the vocals alongside bassist Cal Shelton’s performance, Dale Lytle’s work on guitar, and the time keeping gives the song a sound and stylistic approach that will appeal to any classic rock fan. The whole shows an interesting mix of influence from the likes of Judas Priest, Motley Crue, and Ozzy Osbourne. Yes, it sounds like quite the eccentric mix, but it works here.
No information was provided about the song’s lyrics. In listening to the song, listeners are left to infer that this song’s lyrics center on…well…a witch hunter. That would match up with lyrics of so much music from that era.
‘Nothing But Love’ shows how Angeles’ new album also through its musical arrangement. The arrangement in this case is another upbeat, guitar-driven composition. The combination of the vocals and the distinct vintage guitar rock approach and sound will take audiences back to that eera of big hair and even bigger riffs. Influences from the likes of Motley Crue and Poison are evident throughout the four minute-plus composition.
The lyrical content featured alongside the song’s musical arrangement is just as familiar as the musical content. It focuses on the all too familiar topic of a broken relationship. New front man Mason Oliver (who replaced Louis Collins) last year, makes that clear when he sings here about seeing that love interest everywhere he goes. He sings, “There’s nothing but love for you/No matter where I go…I still see you.” Again, the theme here is clear. Whether intended or not, Oliver also makes references to songs from Metallica, and Marvin Gaye & Tammi Terrell in the lyrical content. That makes for its own interest. All these considered, the song’s lyrical and musical content collectively just one more example of what makes this album appealing for the band’s noted audiences. ‘She’s On Fire,’ the album’s finale, is yet one more way in which the noted statement is supported.
‘She’s On Fire’ stands out musically because while the vintage rock sound is just as present as in any of the album’s other songs, the overall arrangement takes the band more in a Led Zeppelin direction. Even the vocal delivery here is comparable to that of Robert Plant while the guitar riff sounds so much like that of Led Zeppelin’s ‘Black Dog Mountain’ at points. Even the drums sound so rich, thanks to the production that went into the song. The whole of the arrangement makes the song appealing in its own right. The energy in the arrangement works well with the song’s lyrical content, which once again focuses on a woman.
In the case of this song, the woman in question is one over which the song’s subject is head over heels. This is made clear as Oliver sings, “Hey, girl/I see the fire in your eyes/Hey, girl/So many times, you tried to hide.” He goes on later to sing, “She’s on fire” amid everything else. Again, the whole is a man declaring how crazy he is for said woman. It’s another classic rock standard that is certain to appeal to the noted audiences and to fans of classic rock in general. When the song in whole is considered along with the others examined here and with the album’s other songs, the whole of that content ensures that Angeles’ established audiences and casual vintage rock fans alike will enjoy this record.
Angeles’ new album, Running Like An Outlaw, is a presentation that will appeal to avert distinct range of listeners. That is due to its combined musical and lyrical content (and its production). The band’s established audiences will find the record appealing just as much as casual classic rock fans because of said content and production. The songs examined here make that clear. When they are considered along with the rest of the album’s entries, the whole makes the overall album worth hearing at least once.
Running Like An Outlaw is available now through Dark Star Records/Sony/Universal. More information on Angeles’ new album is available online along with all of the band’s latest news at:
Independent rock band The Fifth is scheduled to independently release its new, self-titled EP Friday. The five-song record is a positive first outing for the band. That is especially the case for audiences who are fans of the pure, guitar-driven rock that bridged the late 80s and early 90s. Each item will be discussed in itself. The record’s production rounds out its most important elements and will also be discussed later. Each item noted is important in its own right to the whole of the EP. All things considered, they make the EP a successful new presentation that The Fifth’s established audiences and targeted listeners will agree deserves high marks.
The Fifth’s forthcoming self-titled EP is a presentation that will find wide appeal among the band’s established audiences and more casual rock purists. That is proven in part through the record’s featured musical arrangements. The arrangements in question exhibit the kind of pure, guitar-driven styles and sounds that bridged the late 80s and 90s. Their collective sound and stylistic approaches lend themselves to comparison to works from the band’s fellow North Carolina-based rock band Faith & Scars. Right from the record’s outset, audiences get an arrangement in ‘Shake Little Sister’ that is just as comparable to works from the likes of Motley Crue and Poison, what with the operatic vocals, the rich guitar line and just as bombastic drums. ‘Home,’ with its more subdued approach, is its own familiar style composition that again throws back to days gone by. Meanwhile, a track, such as ‘Coming to Get You,’ in its blues-based presentation is so similar to so many rock songs that were popular in the early 90s and are still just as popular today. To that end, it is more proof of the appeal that the record’s musical arrangements generate. That is even clearer when this and the other arrangements noted here are considered with the two others not directly examined. All things considered, they leave no doubt that the record’s musical content will engage and entertain audiences. It is just one part of what makes the record successful. The lyrical content that accompanies the record’s musical arrangements makes for its own appeal.
The lyrical content that is featured in The Fifth takes on a variety of topics. The EP’s opener, ‘Shake Little Sister,’ is as the title notes, a song about a man who is admiring a woman. ‘Calm Before The Storm’ seems to be a commentary about a broken relationship, but in this case not so much romantic, but plutonic. There is something in the way that front man Roy Cathey sings about people’s paths never crossing again. The sense of foreboding that Cathey seems to paint in the song’s opening verse paints toward that inference just as much and continues as he sings that “I know things will never be the same.” There do not seem to be any real allusions here to a romantic relationship, but rather to the impact of the past on the present and future. This is all this critic’s interpretation, of course. Regardless, it suffices to say that this song is not about a broken relationship, but something quite opposite. The contemplative ‘Home’ comes across as one of those familiar themes of someone looking back at life and where life is going. Reaching back to the musical aspect, the song’s arrangement is one of those over the top hard rock ballads that was so beloved in the 80s, matching the big hair of the age. Cathey sings here about letting go of those memories from the past and moving forward, again showing the theme of that rumination. That and the musical approach together is sure to connect with a wide range of audiences. ‘Coming to Get You’ meanwhile is another song that is about a man who is obsessed with a woman. Considering that the band has already touched on this topic in the EP’s opener, it is a familiar topic. It is just presented in a different fashion than in ‘Shake Little Sister.’ On yet another note, ‘Roll The Bones’ (not to be confused with the song made famous by Rush) takes audiences in yet another direction. This is just a song whose lyrical content is full of swagger and energy. It’s just a full on celebratory song about going out and having a good time with friends. Looking back through all of this, it is clear that the band touches on a relatively wide range of items that are still in themselves accessible to audiences. That overall accessibility along with the arrangements’ accessibility makes the album’s overall content reason enough to hear this EP. The content is only part of what makes the record worth hearing. The EP’s production brings everything together and completes the record’s presentation.
The production that went into The Fifth is important to address because of the different sounds and energies in each composition. As noted, a song, such as ‘Home’ is one of those familiar contemplative rock ballads from the 80s that starts off subdued, but eventually crescendos in its solo. That means that from beginning to end, full attention had to be paid to each musician’s performance. The softer moments early on had to have the fullest impact as did the bigger, bombastic solo and finale. Every bit of it all was expertly balanced throughout, leading the song to be a favorite among any listener. On another note, the edge of ‘Coming To Get You’ required a different approach in the production. That is because of the aforementioned swagger that is exhibited through the song. Particular attention had to be paid not necessarily just to the guitar line here as a result, but just as much to the nuances in the effects used therein to really bring out that edge. Again, the attention to detail paid off here just as much as in any other song. It really brings out the confidence in Cathey’s vocals and even in the guitar line. Much the same can be said of the attention to the bass and drums, too. Each couldn’t just be a rich presentation, but had to have certain emphasis on specific notes and beats to really enhance the song’s presentation even more. The attention to that detail paid off just as much. It is just one more example of what makes the EP’s production stand out. When the overall production is considered together with the EP’s content, the whole of the record proves to be fully successful.
The Fifth’s forthcoming self-titled EP is a successful new presentation from the independent rock band. Its success comes in part through its featured musical arrangements. The arrangements stand out in their distinct 80s and 90s pure guitar rock approach. From the familiar rock ballad styles of the 80s to the harder edged stuff, and more, there is plenty for audiences of said sounds to enjoy. The lyrical themes that accompany the EP’s musical arrangements are also of note. That is because they are just as familiar and accessible as the record’s musical arrangements. The production that went into the EP’s creation brings everything together and completes the presentation, making sure that its general effect is as pleasing as its content. Each item examined is important in its own way to the whole of this record. All things considered, they make the EP a positive new offering from the band.
The Fifth is scheduled for release Friday. More information on the EP is available along with the band’s latest news at:
Former Dead Daisies front man John Corabi opened the new week with a new single and video.
Corabi debuted his new single, ‘Cosi Bella (So Beautiful)‘ and its companion video Monday. The mid-tempo semi-ballad style song was produced and co-written by famed guitarist Marti Frederiksen (Aerosmith, Ozzy Osbourne, Motley Crue) in Nashville, TN.
The lyrical theme featured in the new song is, as Corabi sings right from the song’s outset, about a woman. In other words, it is a love song.
Corabi talked at length about the song during a recent interview.
“‘Cosi Bella’ came about from a writing session I did with Marti for The Dead Daisies’ ‘Burn It Down’ record,” said Corabi. “I had the initial verse idea, and a chorus that didn’t quite work for the tune. I played it for Marti, and he liked the idea but gave me a better idea for the chorus. We recorded the rough idea on my phone, with both of us just scatting the melody.”
Added Corabi, “The Daisies heard the idea but felt it didn’t quite fit their format, so I put it to bed for a bit. After leaving the band in 2019, I started to revisit old ideas I had and sat down and recorded the track. Being new to ProTools, I took the song as far as I could and sent it to Marti to produce. I explained the song was musically inspired to a degree by ‘Penny Lane’ by The Beatles and ‘Killer Queen’ by Queen, so Marti and his son Evan recut the drums and bass, and added some horns, and sprinkled their magical fairy dust on the track to give it that shiny polished sound!”
Corabi concluded, “I wrote the lyrics, and after singing the song, I felt ‘SO BEAUTIFUL’ was kind of an average title, so I looked those words up in a translation app and found it in Italian (Cosi Bella) and felt it had a nice ring to it! It’s not what some people truly expect from me, but I LOVE the way the song turned out, and it’s just a happy little upbeat love song with a twist! I hope you enjoy it as much as I do.”
More information on John Corabi’s new single and video is available along with all of his latest news at:
Angeles returned over the weekend with its latest single.
The band premiered its new single, ‘Witch Hunter‘ Sunday. The new single is featured in the band’s forthcoming album, on which the band is working. The single will release Tuesday on all major digital outlets.
Band founder Dale George talked about the group’s new single and album in a prepared statement.
“This new song is a little darker and heavier than our previous releases,” he said. “Furthermore, our new full-length album is in the works, for now we can reveal that our former singer Clare Diane and Cory Kyle will be joining on it, so stay tuned!“
The musical arrangement featured in ‘Witch Hunter’ is a mostly driving composition. The combination of vocalist Cory Kyle’s vocal delivery style, bassist Cal Shelton’s performance, Dale Lytle’s work on guitar, and drummer Danny Basulto’s work behind the kit gives the song a sound and stylistic approach that will appeal to any classic rock fan. The whole shows an interesting mix of influence from the likes of Judas Priest, Motley Crue, and Ozzy Osbourne. Yes, it sounds like quite the eccentric mix, but it works here.
No information was provided about the song’s lyrics, which were crafted by Allen Curtis. In listening to the song, listeners are left to infer that this song’s lyrics center on…well…a witch hunter. That would match up with lyrics of so much music from that era.
In other news, Angeles has three live dates scheduled. Those dates are noted below.
September 5th – Rainbow Bash with Staven Adler at Whisky a Go Go November 17th with Last in line at Whisky a Go Go March 20th with Loudness at Whisky a Go Go
**More shows TBA.
More information on Angeles’ new album is available online along with all of the band’s latest news at:
Independent nu-metal band The Chimpz unveiled a new video for one of its classic songs this week.
The band debuted the new video for its single ‘Corrupt’ Tuesday. The song is featured in the band’s 2011 EP, Who Can I Trust?, whose anniversary the band is celebrating with the new video’s premiere.
The new video is the second for the song, following the debut of the song’s original video in 2017. Where the original video was a showcase for extreme motorsports, the new video features the band performing its single. There are some external shots featuring co-front men Artimus Prime and Chuck P on a rocky outcrop, but the video is largely presented in a soundstage setting.
The musical arrangement featured in ‘Corrupt’ features a driving, bombastic guitar riff and steady time keeping that lend themselves to comparisons to works from the likes of Motley Crue. Artimus Prime and Chuck P’s shared vocals meanwhile offer a distinctly different approach. Prime’s vocals present more of a punk rock sensibility while Chuck P’s rhyme flow echoes that of former Stuck Mojo front man Bonz.
The lyrical theme featured in ‘Corrupt’ comes across as a social commentary, what with a line, such as that which reads, “Bad apple cause I’m made that way/Each and every day/It feels natural to say I’m corrupt.”
More information on The Chimpz’ new video is available along with all of the band’s latest news at:
Veteran rock band L.A. Guns unveiled another preview of its new album Renegades this week. The band debuted the album’s new single ‘All That You Are.’ The album’s fourth single – behind ‘Crawl,’ ‘Well Oiled Machine,’ and the album’s title track — it is just one more example of what makes the record a positive new offering from the band. ‘Why Ask Why,’ which comes between two of those singles early in the album’s 39-minute run, is another notable addition to the record. It will be addressed shortly. ‘You Can’t Walk Away’ is another intriguing addition to Renegades. It will be discussed a little later. ‘Don’t Wanna Know,’ the album’s finale, is yet another show of the album’s strength. When it is considered along with the other noted songs, the record’s existing singles and its four remaining songs, the whole becomes a widely appealing record for rock fans across the board.
L.A. Guns’ latest album Renegades is a presentation that will appeal equally to the band’s longtime fans just as much as it will more casual listeners and rock fans in general. The four singles that the record has now produced support the noted statements without question. They are just some of the songs that show what makes the record so appealing. ‘Why Ask Why,’ which comes early in the 10-song record’s run adds to that appeal in its own way. That is due in part to the song’s musical arrangement. The arrangement in question is a straight forward, guitar-driven classic rock style opus that throws in a touch of a modern rock element for a whole that is instantly infectious and keeps listeners engaged and entertained throughout its nearly three-and-a-half minute run time. The energy in the fiery musical arrangement serves well to help translate the message in the song’s lyrical content and its associated emotion.
The lyrical content in question comes across as a familiar story of someone dealing with a toxic relationship. Whether that relationship is romantic or plutonic is left to interpretation, but it seems relatively clear as front man Kurt Frohlich sings in the song’s lead verse, “I don’t know everything you feel/But I know that what I’m feeling is unreal/Can you show us what’s on my mind/Will you walk the wild side blind/Why ask why/I don’t mind.” He continues in the song’s second verse, “Can you reach through inner space/Will you choose to meet me face-to-face/Are you two-faced/Yeah, you get on my last nerve…Why ask why/Why ask why/So don’t mind/’Cause I don’t mind.” A small portion of the lyrics is difficult to decipher sans lyrics to reference, but the bigger picture here is relatively clear. The energy in the song’s musical arrangement works to help translate the feeling of frustration obviously going through the main subject’s mind. That is especially the case considering the tone in the guitar and bass. To that end, the pairing of the noted musical and lyrical content here is certain to help the song connect with listeners and in turn, make the song accessible. It all comes together to make the song just one example of what makes Renegades a positive return for this lineup of L.A. Guns. ‘You Can’t Walk Away’ is another of the album’s notable entries.
‘You Can’t Walk Away’ is such an interesting addition to Renegades because it really defies everything that audiences have come to expect from L.A. Guns throughout its life. Yes, there is a little bit of a ballad type of approach here. At the same time though, the production, the choruses, and the instrumentation really throws back to the 1960s and some very distinct influence of The Beatles. It really is the album’s most surprising and engaging work because of that approach. That musical aspect, with all of is production and emotion works with the song’s familiar lyrical content about a relationship, to make the song even more appealing.
The noted lyrical theme is mad clear right from the song’s outset as Frohlich sings, “Nothing’s right/Gonna be a long way home tonight/A lover’s fight/I’ve been away too long/Another day rolls by/And it feels like an old friend/But nobody wants to do it/No one seems to care/And nobody wants to listen anyway/You can’t walk away/Something inside is telling you/Why is it so hard to do/You can’t walk away/When it all falls apart/Leave with your heart.” The theme is made even clearer in the second verse, in which Frohlich sings, “Nobody pays your precious way/Thought it was an easy thing to do/But when you turned around something told you/Go back to where they know you/You can walk away/Something inside is telling you/Why is it so hard to do/You can walk away/Still it all falls apart/Leave with your heart.” Keeping all of this in mind, the song’s lyrical theme remains relatively clear. This deals with the emotional difficulties that come with a breakup. The addition of the song’s subdued musical arrangement adds even more to the song’s overall impact. The two elements jointly make this song one of this album’s most notable and important works. Together with ‘Why Ask Why,’ the two songs show even more clearly what makes Renegades an appealing new offering from L.A. Guns. The two songs are just a glimpse into the album’s appeal. ‘Don’t Wanna Know,’ the record’s finale, is one more of the album’s most notable entries.
‘Don’t Wanna Know’ is a good way for L.A. Guns to close out its new album. That is because this song’s musical arrangement is pure 80s hair metal. The light, almost bouncy feel of Scotty Griffin’s guitar work and that of drummer Steve Riley works with Frohlich’s equally loose vocal delivery to take listeners back to the heyday of L.A. Guns, Motley Crue and Poison. It is a fun, upbeat work that is certain to appeal to plenty of listeners, especially considering the more straight forward feel of the album’s opener, ‘Crawl’ and the rest of the album’s work. It’s like this song is a reward to listeners for having made their way through the rest of the record. Interestingly enough, as light and upbeat as the musical arrangement is here, it makes for an interesting contrast to the song’s lyrical content.
The lyrical content that is featured in ‘Don’t Wanna Know’ comes across as perhaps an indictment of someone going through addiction of some sort. This is inferred as Frohlich sings in the song’s lead verse, “Heard it from my best friend/Heard it on the street/What’s going down/You puttin’ me down/Sayin’ I was obsolete/Heard it from your mother/Said you’re not the same/Tellin’ lies/With bloodshot eyes/Bringing the family shame/I’ve been this way too long/Too long/Nothing right or wrong.” He continues in the song’s second verse, “Heard it from your doctor/You’ve been running late…never sleep/Losin’ all your weight/Heard it on the telephone/Picked it up to call/Got no place to hide my face/Even on a bathroom wall/It only hurts my soul/Don’t wanna know/Makes me lose control.” What is interesting here is that all of this comes across in an almost frustrated yet sarcastic fashion. It really makes for an interesting listen, again, especially when it is paired with the song’s high energy musical arrangement. Maybe this is meant to be someone who is fed up with hearing about what a person is doing to himself/herself through the noted supposed addiction. This is all just this critic’s own interpretation. Regardless, the song offers audiences plenty of reason for engagement. It all comes together here to show once more why Renegades is such a positive return for L.A. Guns. When this song is considered along with the others examined here, the rest of the record’s songs and its singles, the whole of the album proves the album to be a widely appealing new offering from the veteran rock band.
Renegades is an interesting new offering from the veteran rock band L.A. Guns. Its musical and lyrical content alike offers listeners so much motivation to remain engaged and entertained throughout its nearly 40-minute run time. That is evidenced in all three of the songs examined here. The same can be said of the four singles that the album has now produced and the album’s other songs not addressed here. Each song is notable in its own right to the whole of Renegades. All things considered, the album proves itself to be another example of why L.A. Guns remains one of rock’s elite acts.
More information on L.A. Guns’ new album is available along with all of the band’s latest news at:
Independent rock band Faith & Scars’ debut album Revolver officially drops today. The eight-song record runs only 26-minutes, but in that time, it proves itself a strong debut from the band. That is proven in part through the record’s collective musical arrangements. They will be discussed shortly. For all that the arrangements do for the album’s presentation, it does bring about at least one concern – its sequencing. The sequencing does not make the album a failure, but is something that cannot be ignored. It will be addressed a little later. The concern raised by Revolver’s sequencing is its only real notable negative. Its impact is lessened through an examination of the record’s lyrical content, which when coupled with the musical arrangements, makes for even more appeal. Considering the noted appeal and the one minor concern, Revolver still proves itself a work that has plenty of its own firepower.
Faith & Scars’ debut album (and second studio recording – the band’s first studio recording was its 2016 EP Highway Ride) is a positive start for the up-and-coming independent rock band. That is proven in part through the record’s musical arrangements. The arrangements in question are largely southern and pure, guitar rock-tinged compositions. They are easily comparable to works from the likes of Sons of Texas, Charm City Devils, and Black Heart Saints. That is clear in listening to the twang in the guitar line and the heaviness in the drums. Front man Roger Glenn’s vocal delivery even has that certain southern rock twang in his delivery style, adding to that noted comparison. The more modern guitar rock sound makes itself known early on slightly in ‘Rain.’ Right from the song’s opening bars and its heavy intro, listeners get thoughts of Motley Crue. That influence gives way as the song proceeds, to more of the noted southern rock sound before returning to a more modern rock sound in the choruses. What’s interesting to note here is that the more modern rock sound in those choruses is comparable to works from Saliva. Audiences get even more of that Saliva-type sound in ‘Breathe,’ the album’s midpoint. The Charm City Devils comparison is just as evident in the song’s arrangement as the Saliva influence, adding to its appeal. ‘Never The Same’ also boasts the noted Saliva influence. As the album reaches its end, audiences get more of the Motley Crue influence, except in this case, it is in the more subdued fashion akin to that band’s more reserved works. There is also a slight hint of a Zac Brown Band influence here thanks to the subtlety in the guitar, bass and drums. Looking back through all of this, what audiences get in Revolver’s musical arrangements is a collection of compositions that gives them a solid range of influences and styles. That in itself makes for plenty of reason in itself for audiences to hear this record. For all that the record’s musical content does to help its presentation, the record does raise one concern. That concern is its sequencing.
Revolver’s sequencing poses a problem that one cannot ignore, yet in the album’s defense, it is not such that it makes the album a failure. The sequencing proves a problem primarily because of the placement of just one song – ‘Lightning.’ ‘Lightning’ closes out the album and is the record’s sole reserved moment. Even ‘Never The Same,’ which does have its own slightly reserved points, is not as pulled back as this song’s arrangement. Every other moment in this eight-song record is so adrenaline-fueled. So to go from having so much energy throughout to the stark, sudden change in the record’s finale is just uncomfortable. Listeners will find themselves wanting to accept the song’s placement, but it is just so difficult. Looking at the album from a purely observational standpoint, it would have made so much more sense to made the song the record’s midpoint. Had the band (and whomever made the final decision on the sequencing) gone that route, the album would have been a perfect start for the band. That is especially the case in considering the overall structure of ‘Never The Same.’ The way in which that song balances its more fiery and more reserved moments and the way in which it closes would have made for a much smoother finale. Of course hindsight is 20/20. Again, this is a concern that listeners cannot ignore, but even considering that, is not enough to ruin the album’s presentation. The record’s lyrical content couples with its musical arrangement to make for even more appeal.
The lyrical content featured in Revolver is important to note in examining the album because of its accessibility. Case in point is the lyrical content featured in the album’s lead single, ‘Breathe.’ The band talked about that content in a prepared statement back in March when the band premiered the song and its video.
“In a time where the world seems so divided, ‘Breathe’ is a song meant to crate hope for anyone who is struggling,” the statement reads. “We want to let everyone know that they are not alone in the trials they face. We hope that we can lead by example and show that even when life brings you to your lowest point, you can still rise up and live a life worth leading.”
On another note, audiences get a southern pride anthem of sorts in ‘Nothin’ Wrong.’ Glenn sings in the song, that “there ain’t nothin’ wrong wit ha rebel yell/Take a shot of whiskey/And raise some hell.” There are also mentions of enjoying trips to Louisiana, Florida, North Carolina, etc. Again, this is a full-on tribute to all things southern. It will definitely get its share of audiences putting their horns in the air. It is just one more example of what makes the album’s lyrical content so important. ‘Long Way Home’ presents yet another way in which the album’s lyrical content proves so important.
‘Long Way Home’ is a song that centers on one’s self-care, according to a statement that the band released upon the debut of the single’s video.
“We wrote ‘Long Way Home’ as a reminder to remain grounded, in tune with yourself, and focused in the midst of the storm that is life,” the statement reads in part. “Oftentimes life will strike us like a tidal wave. Saying it can be hard to endure is an understatement. The lyrics promote positive state of mind, & self caring. We believe that, especially in the unknown, taking that extra moment to breathe, relax, and re-align with oneself is crucial to maintaining a positive mindset.”
The noted statement is illustrated as Glenn sings about being wary “of the whiskey sunrise,” “the blind man,” and encouraging people to heed the man’s words. The added note of taking “the long way home/Back to the place where I’m from” is, in its own way, a reminder that people need to keep their priorities in order. It echoes the comments in the statement. Keeping that in mind along with the equally accessible themes in the other noted songs’ lyrical content (and that of the rest of the album’s songs) the album’s lyrical content in whole leaves zero doubt about its importance to the record’s whole. When the record’s lyrical content is considered along with its companion musical content, that collective content in whole counters the record’s one concern to make the presentation in whole a still positive work from Faith & Scars.
Faith & Scars’ debut album Revolver is a record whose presentation hits the mark in nearly every way. That is due in part to its accessible musical arrangements. The arrangements will appeal widely to southern rock fans, those of classic and even more modern rock sounds. It couples with the record’s equally accessible lyrical content to make this record quite a positive presentation even despite the concern raised in the album’s sequencing. Keeping all of this in mind, Revolver is a work that is a near perfect first full-length recording from Faith & Scars. The record is available now.
More information on Faith & Scars is available online now along with all of the band’s latest news at:
Neo-classic rock band South of Eden (formerly Black Coffee) will release its first major label studio recording Friday. The band is scheduled to release its new four-song EP The Talk through Lava/Republic Records. The 16-minute record is the band’s first new music since it released its 2018 album Take One under its former moniker. That nine-song album was the band’s debut (and only) album under the name, but was an impressive offering from the group. Now two years later the band has found success yet again with its debut EP. That success is thanks to the record’s musical and lyrical content together, as is evidenced right from the EP’s outset in its title track. It will be addressed shortly. ‘Morning Brew’ is another way in which the EP shows its strength. It will be addressed a little later. The EP’s closer, which is also its lead singles, is one more example of how this record’s musical and lyrical content comes together to make it such an impressive new effort from the band. When it is considered with the other two songs noted here and the EP’s one other song, ‘Solo,’ the whole of the EP becomes a work that will definitely leave listeners talking about South of Eden.
South of Eden’s sophomore studio recording and debut EP The Talk is a successful new offering from the up-and-coming neo-classic rock band. It is a work that will appeal to rock and roll purists and rock fans in general. That is thanks to the record’s combined musical and lyrical content. The EP’s opener/title track is just one of the songs that serves to support the noted statements. The song’s musical arrangement wastes no time grabbing listeners in its opening bars with its up-tempo riff. That riff gives way to a more reserved nature in the song’s lead verse. That reserved approach gives way to the noted high energy chorus. The back and forth of that reserved and more up-tempo sounds ensures listeners’ engagement and entertainment from beginning to end of the nearly four-minute song. What is really interesting to note here is that the classic rock influences of AC/DC and Guns N’ Roses, it also lends itself to comparisons to works from Buckcherry and Alter Bridge. In other words, the classic rock influences are infused alongside the modern guitar rock influences. The end result is an arrangement that is a strong start for the album and just one example of why the EP’s musical content is so strong. The lyrical accompaniment to that musical content adds to the song’s appeal.
Not having a lyrics sheet to reference, the song’s lyrical content is difficult to decipher. However, from what can be deciphered sans said sheet, it can be inferred (hopefully correctly) that this song is a commentary of sorts about how people say one thing but do something opposite; those people who feed lies to themselves and others. This is supposed as front man Ehab Omran sings in the song’s chorus about someone who is seemingly rejecting the help that others offer. He goes so far as to sing in the chorus, “You say you’re trying/But who can tell/When you talk, talk, talk?” There is even mention in the song’s second verse of “helpful hands/reaching in/everyone tries/But you don’t give in” before he asks again, “What do you want?” The song’s lead verse adds to the discussion as it addresses someone who in a different situation who doesn’t seem to know what he or she wants. Again, this interpretation is made wholly sans lyrics to reference. Hopefully it is somewhere in the proverbial ballpark. Right or wrong, it can at least be agreed that there is a certain commentary going on here. That in itself is sure to engage listeners while the song’s musical arrangement will entertain them. To that end, it makes for a strong start for the EP. It is just one of the songs that shows the EP’s strength. ‘Morning Brew,’ the EP’s third song is one more example of why audiences will enjoy the record.
‘Morning Brew’ is much more reserved in comparison to ‘The Talk’ and to the EP’s other two songs in terms of its musical arrangement. This arrangement is a bluesy, subdued composition that lends itself to comparisons works from the likes of maybe Johnny Lang with its slick guitar riffs. That reserved nature in this almost blues ballad type composition serves to help translate the emotion in the song’s lyrical theme.
The lyrical content at the center of ‘Morning Brew’ comes across as an introspective statement. It seems to come from the mind of someone who is going through a difficult time, emotionally speaking. This is inferred as Omran sings in the song’s lead verse, “Where do you go/When your days are numbered/You’re feeling lonely/Down by the seashore/When your days are bright/Lights are heavy/Where would you go/If I can’t see straight/And my feet stay steady/Walk out the door/All we do/Our world is not ready/Ain’t that the way it goes/When you’re all alone.” He continues in the song’s second verse, “What would they say/If they tell you no/But you do it anyway/Life’s all a big game/Where the people lose/When the evil stands to gain/Looking down the aisle of a train/People’s eyes/All I see is pain/newspapers and crosswords say we’re all lookin’ down the barrel of a gun.” Again, there is a lot of contemplation here about one’s own situation and the world. When this deep thought is coupled with the song’s so subtle that it’s heavy arrangement, the result is a deeply moving work that stands strong on its own merits. It is just one more example of what makes the EP stand out. The EPs closer and lead single ‘Dancing With Fire’ is yet another key addition to the record.
The musical arrangement at the heart of ‘Dancing With Fire’ is as fiery as the title implies. Drummer Tommy McCullough and guitarist Justin Young lead the way this time out. Omran and bassist Nick Frantianne add their own touch to the arrangement, fleshing it out even more and making it just as strong a finale for the EP as its opener was a start. Fans of bands, such as Motley Crue, Guns N’ Roses, and Poison will appreciate this arrangement. It’s just one part of what makes this song shine. The song’s lyrical content adds to its impact.
This is probably the easiest song to understand of the EP’s four tracks in terms of its lyrical content. It clearly focuses on a person who is head over heels in love with another person. This is made relatively clear early on as Omran sings in the song’s lead verse, “Well you’re pushin’ left/Pullin’ right/I can’t feel my hands tonight/Now, baby/yeah, you tell me when/tell me who/Stuck between a hard place and you/Sweet lady/You’ve been talking for so long/Putting up so strong/Forget about it/Got me feeling so wrong/Trapped in wire/’Cause I’ve been dancing with fire/Those flames keep burning up brighter/You’re walking past desire/But I can’t keep from loving you.” This is pretty clear in its message. This is someone who is crazy for that other person. Any doubt is eliminated in the song’s second verse, which finds Omran singing, “Here we go/Go again/Ultimatums that never end/I’m hazy/With your smiling lips and your whispering tongue/Getting by/Saying you’re so young and lazy.” Again, here audiences get someone whose mind is obsessed with that other person. This readily accessible lyrical theme couples with the song’s equally accessible musical arrangement to make the song in whole the EP’s best song. When it is considered with the other two songs noted here and the EP’s one remaining song, ‘Solo,’ the whole of the EP becomes a work that rock and roll purists everywhere will appreciate and a record that deserves its own consideration for a spot on any critic’s list of the year’s top new EPs.
South of Eden’s second studio recording and debut EP The Talk is a positive new offering from the neo-classic rock band that purists of the genre will certainly appreciate. That is due to its musical arrangements and lyrical content alike. All three of the songs discussed here support that statement. The EP’s one remaining song not addressed here supports that statement, too. All things considered, the EP’s content overall makes it a record that will leave audiences talking. Yes, that awful pun was intended. It is scheduled for release Friday through Lava/Republic Records.
More information on South of Eden’s new EP is available along with all of the band’s latest news and more at: