Steve Lukather – ‘Transition’ album review

 

 

 

Steve Lukather – ‘Transition’ album review

Released on: Mascot Records. Release date: Jan. 22nd 2013

 

 

 

Steve ‘Luke’ Lukather is truly the musician’s musician as I have certainly encountered when talking to people at either his solo performance or with multi-platinum AOR band Toto or just talking to friends who likewise appreciate the guy’s talents.

My admiration goes right back to when at age sixteen, I first heard the classic ‘Hold The Line,’ from the very first Toto album in 1978.

The guitar solo on that track alone was killer, but of course that was such a small part of what Steve Lukather has been all about, I mean he and the guys in Toto were all known session musicians, by the time they released that first combined gem as Toto.

 Since 1977 ‘Luke’ as he’s best known to so many, has been an in demand player, composer, singer, you name it, he’s got it!

 

He has performed on well over 1,000, in fact I believe it's closer to 1,500 and still counting and has co-written hit songs for so many artists too, but then if you’ve read ‘Chambers of Rock’ on a regular basis, you’ll have been well aware of my admiration for Luke.

I’m so fortunate to have seen the guy play both back in the UK and here a few times now in the States and have also been especially proud of having interviewed the guy too.

The man’s ability to play hard rockin’ riffs, to more soulful and jazzy pieces just seems endless.

Oh and if you can’t believe those stats, just go here for his credits:

http://www.stevelukather.net/Discography.aspx

 

 

So here we are in 2013 and Luke has a new album out this week.!

‘Transition’ is Luke’s seventh solo studio release and frankly it’s amazing that time allows for solo ventures for the guy, but Toto has run a little on and off over the years, which has usually worked out to allow Luke to do just that!

In fact, in speaking with Luke not long before Christmas he said that this album wraps up a trilogy of releases since 2008’s brilliant ‘Ever Changing Times’ through 2010’s ‘All’s Well That Ends Well’ and I agree that they are very much in sync with one another, so fans of the last two, should likewise enjoy this one.

 

 

Another really great thing about this album is once again, Luke has called upon his live band players to be a part of the release as well as other great guests and I have say, live they gel so well as if they’re a unit that’s been around for donkey’s years!

 

 Opening with the epic ‘Judgement Day’ clocking in at over seven minutes long, it couldn’t be better!

He manages to touch on many of the styles that he likes to play, from smooth AOR, through rocking riffs and heavy driving drums and bass to easing back a little with soulful, almost jazz like touches right back into the rockin’ groove!

Oh and the solo …, killer, of course!

Toto fans should love this opener, no question.

 

 

‘Creep Motel’ next, appropriately written about the many weirdo’s that you bump into in travels through various stop overs here and there.

It’s got a wonderfully laid back, sub-bluesy meets Steely Dan kind of groove to it.

This one runs just under six minutes long and while there is only nine tracks here on the whole album, it’s really only the closing instrumental track that’s less than four minutes long here, so even for nine tracks, it’s not bad.

Luke also said to me, ‘Who has time to listen to like fifteen tracks or more anyway and your attention span / interest may not stretch to that either.’

Valid points to some folks, although I’d certainly enjoy more music from this guy, its class stuff indeed in my books!

 

 

Next track ‘Once Again,’ is a beautiful heartfelt ballad that would easily fit well on a Toto album to be honest. I love it, although it clearly reflects emotional pain for Luke.

 

The haunting intro on ‘Right the Wrong’ leads into a funky laid back groove, but then there’s a massive power ballad style chorus and then the bridge leads into a wonderful guitar solo. It’s a class six plus minute track, co-written with his son Trevor.

Haunting words throughout too about all we’ve done so wrong with our world, moving stuff.

 

‘Transition’ does exactly what it’s title suggests, jumps from one groove to another direction, starting soulfully and then gets into a real sweet jam, then comes right back down again and then … Wham! Killer stuff with so many layers from Steve Weingart and Luke, it’s just phenomenal and just when you think its instrumental track, Luke throws in some vocals around the four minute mark.

Really nice track indeed, great stuff!

 

With ‘Last Man Standing’ it sounds like Toto turf once again, a wonderful slow to mid paced number.

There’s just so many rich textures to this track and the whole album to be honest, but then that’s exactly what Luke is all about. He’s such a master of his art, he really is.

 

 

I’ll tell you something else too, can it get any better ...?

You want hit single ...?

 

Seriously, ‘Do I Stand Alone’ could give the likes of Bon Jovi, U2 and Springsteen a real run for their money if it picked up radio play. It has hit record written all over it! Massive!

It’s so catchy, great hooks, great harmony vocals, it’s just huge! I love it!

 

 

‘Rest of the World’ allows Luke a little bluesy soul trip. Really nicely done and some seriously sweet licks!

 

 

Closing track is the instrumental cover of the song ‘Smile,’ originally written by Charlie Chaplin no less.

It’s beautifully conveyed by Luke’s slick guitar work, a really nice closing number.

 

 

 

I really like this album, it may be a grower for some people, but sometimes those are the best!

It’s certainly right up there with ‘Ever Changing Times’ for me and maybe has the edge over ‘All’s Well That Ends Well.’

Between C.J. Vanston and Luke, they’ve produced a real beauty!

Buy it!

 

Rating: 4.5 out of 5

 

Official weblinks:

http://www.stevelukather.net

http://mascotlabelgroup.com/ 

 

 

Paul Raymond Project – ‘Terms and Conditions Apply’ album review

 

 

 

 

Paul Raymond Project – ‘Terms and Conditions Apply’ album review

Released on: Hear No Evil/Cherry Red Records. Release date: Available now.

 

 

  Paul Raymond has been in the music business for some time, getting his first big break replacing Christine McVie (Then Christine Perfect) in Stan Webb’s Chicken Shack blues band, before moving onto Savoy Brown.

Most rock fans though typically associate the keyboardist/guitarist/vocalist with British rock legends, UFO and to be honest, other associated UFO offshoot bands such as the Michael Schenker Group and Pete Way’s Waysted.

 

Paul became pretty much a fixture in UFO when he joined the band for their classic ‘Light’s Out’ album released in 1977, although he joined them in 1976.
He stayed with the band until the tail end of 1980, when jumped ship to join former UFO guitarist Michael Schenker, in M.S.G. with a lineup that included the late drumming legend Cozy Powell and he appeared on two M.S.G. albums.

This lasted about two years before he hooked up with Pete Way in Waysted, recording the album ‘Vices.’

 
 

He briefly collaborated with Phil Mogg again, with the UFO album ‘Misdemeanor’ released in ’85, in ’89 his first Paul Raymond Project album got a Japan only release with ‘Under The Rising Sun.’ 

 

A full UFO reunion took place resulting in the ’95 release of the excellent ‘Walk On Water’ album but Paul Raymond’s participation in that didn’t last and in ’97 the Paul Raymond Project released ‘Raw Material.’

Raymond contributed to the 1999 Mogg/Way release ‘Chocolate Box,’ as well as another P.R.P. in ‘Man On A Mission’ was put out the same year, then 2000’s ‘Worlds Apart’ was released by P.R.P.

 

 In 2003 Paul rejoined the ranks of UFO once more and has remained a constant since then, releasing four studio albums with them to date, the solo release in 2005 ‘Secret Life,’ and then another Paul Raymond Project release in 2008’s ‘Virtual Insanity’ before this latest one, ‘Terms and Conditions Apply.’

 

This release pulls in a couple of guest players one very important character being Michael Schenker, although I personally think the track he features on is sadly, quite disappointing, but we’ll get to that …
 

The basic lineup on the album is Paul Raymond – lead vocals / lead and rhythm guitars / keyboards, Andy Simmons – lead and rhythm guitars / keyboards, Mark Coles – bass / backing vocals and Tony Steel – drums / backing vocals.

 

Opening track, ‘Born and Raised On Rock ‘n’ Roll,’ you know actually reminds me a little of Thunder, kind of Faces / Bad Company like too.
Good old rootsy R ‘n’ B grooving rocker, not too bad a start at all.

 

Next track ‘End of Life as We Know’ starts with a guitar led intro not unlike say Boston meets Blue Oyster Cult, before getting into a more laid back chug along rocker. A very harmony driven chorus indeed too which is really enjoyable, love the guitar work on this too. Nice stuff!

 

Ha ha! Paul, I think you have just ripped yourself off on the intro to ‘Deeper Shade of Blue,’ which is akin to the intro of UFO’s ‘Cherry’ or even ‘Couldn’t Get It Right’ but once the acoustic guitar plays it’s part alongside the electric, the track gains its own identity. There’s something about the last couple of minutes, where it becomes a little repetitive, but the song develops an almost E.L.O. like sound to it.

 

‘C-List Celebrity’ has a kind of punky vibe to it, but also an underlying UFO like feel too for its mid-paced rocker grove.

 

The more laid back piano driven ‘We Will Be Strong’ has an almost Queen like feel to it throughout and it’s a nice track generally, even some strings become evident around the final third of the song briefly. As the song goes for an epic like finish, it just feels like the mix / production is lacking a little something.

 

The title track ‘Terms and Conditions Apply,’ is truly a monster track even if only four minutes long, it’s so strong and clearly the standout track of the album for me. It’s brilliantly structured and performed; it really is so well presented that I cannot say enough good about it and when I was first listening to it – before re-reading the press release album details. – I thought Schenker was playing the lead solo, it’s so sweet! Excellent track!

 

The rockin’ instrumental ‘Whiskey Mac’ isn’t bad at all, but it has that P.R.P. drum / cymbal sound that I’ve heard and really don’t like. I’m quite sure it’s electronic and I hear it in other parts of the album too here and there.

If it wasn’t for the drum sound I would love this track, but the false cymbal sound kills it for me, sorry.

 

‘Bright Lights’ next has the same drum / cymbal sound … Yuck! Don’t like it, I really don’t.

I generally like the song, that has a very Faces like feel to it and rocks at a mid-pace, but sometime feels a little disjointed in presentation.

 

OK, to the track that features Michael Schenker, the cover of the Four Tops ‘(Reach Out) I’ll Be There’ and I’m sorry, I love what both Paul Raymond and Michael Schenker have added to both UFO and M.S.G. in the past, but this track, this version is really, really just … Horrible! There, I said it …!

I’m sorry, but I really feel like saying ‘Did Michael hear this, before it was released and he agreed to it?’

There is a certain point about this album that until now I really haven’t mentioned, well OK, I did on the track ‘We Will Be Strong’ and ‘Bright Lights.’

The overall production of the album in some places, is really bad and I know I’m not a producer and far from it but when you listen daily to a lot of music, new and old for pretty much your whole life, you really do start to get a grip on what is sounding good and what’s really not and sadly elements of this release, really do not make it sound consistent.

I would even go so far as to say, there’s possibly at least three or four different producers / engineers behind this release.

What’s sadder still is that there are without doubt some really good, even great songs here, but they don’t come off as good as they could, without a good, solid name producer involved. Huge shame …

Paul, I wish you could get with someone and remix this … Please … :(

 

Next track ‘Love is Blind’ features another guest on the album, vocalist Reuben Archer (Stampede, Wild Horses, Lautrec) and it’s simply a very laid back ballad and that’s really about all there is to it.

 

 ‘If You Gotta Make a Fool of Somebody’ kind of starts a little like a Faces groove again, before getting a little Pink Floyd like trippy like space rock.

 

Now the next three tracks are identified as bonus tracks and I guess I’m not really sure what that means here as the press release doesn’t say there’s a deluxe copy or what so, hey, bonus tracks are a bonus right?!

 

‘Still The Same’ comes first and it’s a steady kind of mid-paced rocker, not unlike from the post Schenker period UFO.

Then comes ‘Drifting Apart’ which with its twangy guitar gives it an almost country like groove, then it rocks a little more briefly to a more Faces like vibe. There’s a nice little brief sax solo that merges into the guitar solo, both tastefully done.

 

Closing track here ‘Partners in Crime’ is a chug along type rocker to wrap the album up.

 

So, to summarize … I really wanted to like this album as I think what Paul adds to UFO and has added to M.S.G. in the past has always been great and without doubt makes his touch very important.

The Paul Raymond Project though, for me just doesn’t seem to flow that well. There are moments of brilliance though – The title track for sure. – and other good spots too, but I think the production sadly lacks consistency and balance.

It really does sound in places like some of this is dare I say, demo quality. Sorry, but I really feel it does ...

There’s no doubting the playing of anyone on here and likewise on the vocals, all good but for songs and final production it very much leaves me for sure, wanting more.

 

Rating: 3 out of 5

 

 

Weblinks:

www.facebook.com/paulraymondproject

www.paulraymond.info

www.cherryred.co.uk



 

 Paul Raymond Project Lineup 2012



Chasing Violets ‘Outside Heaven’ album review

 

 

 

Chasing Violets ‘Outside Heaven’ album review

Released on: Perris Records. Release date: Available now.

 

 

For those that don’t know and I understand there may be many of you, Chasing Violets are a wonderful band / project, fronted by two great singing talents in sisters, Sarah and Melissa Fontaine.

It is also a project with large input from AOR master Frederic Slama who wrote most of the songs on here with the exception of just three, two written by Sarah and Melissa and the other co-written by Sarah, Melissa, Frederic Slama and Daniel Fontaine.

Frederic Slama also plays guitars, keyboards and produced the whole album too.

 

The album also features a massive input from a considerable who’s who of various global AOR musicians including the likes of Tommy Denander (Guitars), Paul Sabu (Various instruments / vocals), Michael Landau (Guitars), Bruce Gaitsch (Guitars), Robert Sall (Guitars / Keyboards), Philip Bardowell (Vocals), Goran Edman (Vocals), Eric Ragno (Keyboards) and so many more!

Obviously though, the main focus lies on the vocals talents of Sarah and Melissa Fontaine and talents they are indeed!

I know you expect me to draw some sort of comparison to others and yes, I do hear some comparisons and they are good, but you check them out for yourselves folks, as they are certainly special. Very pleasant on the ears!

 

Opening track ‘I Can’t Love No More’ is very piano / vocal driven indeed, yet still punchy pop / rock and reminds me of many other artists. Perhaps vocally quite poppy indeed, but musically very AOR indeed which is why I think it’s so appealing.

The two vocals work so well together, they really do.

 

‘No Margin For Error’ brings a cross over musically not unlike say Toto meets Mr. Mister, very smooth and once again, even with piano quite prominent it has edge to it.

OK, if I were to mention some similarities vocally perhaps some Belinda Carlisle, Pat Benatar, maybe Issa at times too overall the album and the music that accompanies these smooth vocals is equally slick.

 

On ‘The Price To Pay’ Goran Edman (John Norum, Yngwie Malmsteen, Brazen Abbot, Street Talk) shares the lead vocal duties to mix things up a little, but again takes nothing away from the girls vocals. It’s very well mid to up tempo delivered pop / rock and nice guitar solos thrown in too!

 

The only thing I would say that may throw some people throughout the album, is that since English isn’t Sarah and Melissa’s first spoken language or Frederic’s for that matter, sometimes when you’re listening, you’re trying to understand the words in places, you realize that it’s just down to the phrasing which in fact throws a different appeal at you too.

 

‘When The Darkness Falls’ has one of those great intros that throws / pans the sounds from one channel (Speaker) to the other, great with headphones of course.

It’s certainly an up tempo number, that’s starts with a perhaps heavier Duran Duran like sound, before getting into a very AOR like strong chorus. Love it! 

 

Joining Sarah and Melissa on ‘Voices in the Wind’ is AOR vocalist Dane Donohue, who I really know very little about except for one solo album of his from back in 1978 …

It’s a smooth laid back and steady AOR / pop style track, that brings things down a bit.

 

‘Above Suspicion’ features Goran Edman once again, helping share lead and backing vocals, brings the tempo back up some, with Goran’s vocals complimenting the girls vocals well too.

 

A character I used to like quite a bit from his days with Kidd Glove and Sabu, Paul Sabu plays and arranges everything on the title track next, ‘Outside Heaven’ as well as singing backing vocals too just to add his stamp and once again a great vocal delivery from both Sarah and Melissa and it’s quite an epic AOR style track too.

This is actually the first time I’ve heard Paul Sabu’s contribution to anything since the 80’s and I actually really like this, if his voice sounds a little different, not bad, but different and Paul’s solo too is very tasty indeed!

 

‘Hold Back The Dawn’ next is another enjoyable track and this time Jerry Hludzik (Dakota) shares lead vocal duties and there’s nice guitar work here from both Tommy Denander and Michael Landau. Class!

The only thing I would say, is the album sleeve notes name the track ‘Hold Back The Dawn,’ yet the song title is sung as ‘Hold Back The Down?’

A little strange so I don’t know if it’s a typo or something else? Still a great track though.

 

Next up, Tommy Denander adds a little more stamp here, as he plays every instrument on ‘No One’s Gonna Hurt Me Anymore’ and also is responsible for the arrangement too. Another nice mid paced melodic pop rocker …

‘A Hole In Paradise’ features vocals shared with Philip Bardowell (Magdalen) and it’s a really smooth, slick laid back ballad, multi-layering to great effect throughout and I really love Michael Landau’s guitar solo too and yes, Sarah and Melissa once more sound just right!

Beautiful stuff!

 

Frederic Slama and Tommy Denander share most of musical and song credits next on ‘You’re My Obsession’ here, with both guys credited with guitars and keyboards, Frederic’s song and Tommy’s arrangement.

It’s a steady pop rocker that just falls well in place with everything else here.

‘Cease Fire’ is another more laid groover, although it’s nice, I would say my only complaint at over six and a half minutes, this one actually does start to repeat itself a bit and become a bit repetitive, as there’s no real bridge or any real changes to make more of it’s length.

 

Closing track ‘Just Want To Be Your Heroin’ is a nice tasty rocker, that actually sounded a little Van Halen like as it starts and this is the only solely Fontaine written song here and I don’t if the players here are the live band or not, but Christian Tolle’s guitar work is very complimentary indeed and the musicians playing here, sound great together!

Credit also here to Morris Adriaens (Keyboards / Backing Vocals) and drummer Miri Miettinen too, as combined together I’d say this last track is a clear standout, out and out rocker, love it! Great album closer!

 

So overall, an album review wrapped after spending a weekend listening mostly to Saxon, which Chasing Violets really couldn’t be further removed from!

I would certainly say that both Sarah and Melissa Fontaine DESERVE a great future ahead of them.

Perris records is obviously a very low key label, but all power to them for getting this out there.

It’s a very enjoyable album, capturing AOR, Pop / Rock, smooth ballads and rocks out as well, I do like it and you should check it out too folks!

 

Rating: 4 out of 5

 

Website:

http://www.chasingviolets.fr/

 

 



Chambers of Rock Statement - New Years Day 2013

 

Hi Ladies and Gentlemen,

 

Happy New Year to one and all!

 

Well, 2012 was a tough year indeed, tough with the loss of my old Mum, the loss of a good guitarist friend that introduced Rhonda and I to one another and tough with how work in the new job has been.

Many things have combined to make keeping this site up to date harder and harder to do. My new day job has not helped ... It's just added extra stresses.

 

I've received so much review material, admittedly some that I requested specifically, but loads that just comes my way in the hope from some new or struggling artist, that my 'little old site' my give it review consideration.

I truly have appreciated the attention that I have received, heck even Classic Rock magazine took parts of my interview last year with Toto's David Paich to post on their website. That was fantastic!

Also, interviewing and talking to various artists provided introductions to other artists - like Dave Paich. - agreeing to do exclusive interviews with 'Chambers of Rock.'

 

I do hope that over the past three years of running this site single-handed, with occasional support from some friends reviewing some gigs for me and others helping to type up some of the interviews - A very painstaking task I can tell you! - I have managed to make some of you happy through this site.

 

Sadly, it's becoming more of a task as with working an extremely demanding day job, where lunch breaks often don't happen - That was when I most often managed previously to type up many album reviews ... - and a very young family and a great wife where it's becoming clear I'm not giving enough attention to either of, that I have come to the point where the site must at least be put on hold ...

 

To those artists / PR / management people that I already have outstanding items in for review, I still plan to wrap those or as many of those up as I can here but for now, I will not be accepting or asking for any more new materials for review, which I must say deeply saddens me personally. :(

 

There was also an interview that I did early last year that I never managed to find the time to type up and should've done. That will also be added to my list of things to close out.

 

Yes, this does also mean the end of any rock news updates too.

 

One thing has always baffled me too, how many real return and how many new visitors my site actually gets, as some days it's as low as 150 a day, others as high as 700.

To date over three years, the figures say that the site has seen over 175,000 views ...

Not bad for a non publicised site I guess, just run for the love of the music, no income, no donations, ocassional tickets for shows to review, of course, most of the music I review has come in gratis, but with the knowledge that a review in return is expected.

 

With any communication from site readers, that really makes me question the site's validity too. I have asked for readers opinions on stuff in the past and had no responses. Also, competitions where no one has responded ... What, no one wants any free stuff?

Hard to validate the site's value from all of those points.

'I love rock 'n' roll,' as Joan Jett once said I truly do, but this part of it for me personally has become so difficult to maintain so sadly for the time being I am putting 'Chambers of Rock' to rest ...

Once again, thanks for friends, artists, PR folks and those of you that did come and check out 'Chambers of Rock,' it has been fun for the most part, so I will miss it.

If and when I do resurrect the site, I will post it on my personal Facebook.

www.facebook.com/#!/alun.williams.906

 

My special thanks to Dave White at http://classicrock.about.com/ who without his belief in my writing, this never would've happened.

To Jeb Wright for allowing me to contribute live reviews to http://www.classicrockrevisited.com/ for six months and to my old mate Andrew McNiece for much moral support and who allowed me to contribute on rare occasions to www.melodicrock.com in very limited capacity.

All these guys inspired what I did get done here at 'Chambers of Rock.'

 

I wish you all a truly wonderful 2013, take care out there, it's a wicked world, but always remember one thing ..., keep on rockin!!!

 

All the very best,

 

Alun Williams - Owner / Editor

Chambers of Rock

 

 

 

Quick Note Update for Thursday December 27th, 2012

Hi All,

 

Well, as we come closer to ending yet another year, I and I hope you can reflect on so much great music that has come to us all in 2012 and by the looks of things, there's plenty more where that came from to come in 2013!

Heaven + Earth's new one especially something I can't wait to hear!

The new Steve Lukather is not too shabby either, nice work again Luke, that'll be out late January!

T&N the band featuring George Lynch, Mick Brown and Jeff Pilson will be getting a new (2nd) album out soon in 2013 and they plan to tour with Michael Sweet (Stryper) helping out on vocals / rhythm guitar too.

 

Sorry there's no news update right now. I had hoped to get something done, but it's been a crazy Christmas, very busy, but then we've had a little sickness in the house too.

Rhonda and I had planned a jam tonight (Thursday), with a bunch of band mates from various line ups, but with the kids struggling with chesty coughs, noses going too, we couldn't see how we could pass them off to family to take care of, so we've postponed the jam for now ...

 

I really wanted to get more reviews up here too, but ..., time has been no friend, so apologies to my many PR contacts and artists, that it didn't happen. It was not intended. :(

Sadly, many I have just not even had the chance to get to watch (DVD's) or listen to with some of the albums. Again, it was not intended.

So ....

I hope and pray that 2013 can be a little better in terms of getting to more stuff.

I wish I had a few more 'helpers' here at 'C.O.R.' could sure use some ....

Anyway, it's 1.30am, T.G. it's the holidays, but I need to sleep, already corrected a bunch of typo's as I did this!

Take care folks, hope to get something up before the year's out, so check back soon, OK?!

Cheers,

Al 

 

Issa – ‘Can’t Stop’ album review

 

 

 

 

Issa – ‘Can’t Stop’ album review

Released on: Frontiers Records. Release date: Available now

 

 

 

First of all, Norwegian vocalist Issa – Full name Isabell Oversveen – is without doubt a singer that I have a lot of time for as my previous reviews on ‘Chambers of Rock’ reflect on her first two releases, 'Sign of Angels' and 'The Storm.'

 

She really does have a wonderful voice that fits the AOR / melodic rock genre perfectly, while also bordering on the pop / rock world too and she has been fortunate to have worked with the right team of players, who with the backing of Frontiers records have got her significant attention.

 

 So here we are with her third release for Frontiers, the first ‘Sign of Angels’ was released in 2010.

 

‘Can’t Stop’ is ultimately a combination of cover songs, reworked the Issa way and to be honest, I did not know all of the original versions so I’m really not going to look to draw on too many comparisons. Part of that too, is because chances are most of my readers here may not know of or even have heard of any of these band / artists names, but I do know some ...

 

The songs on here come from 21 Guns (Scott Gorham, Leif Johanson), BLVD – Great AOR band! – Aviator – I like what I’ve previously heard. – Mark Free (Now Marcie Free – Unruly Child) was a good singer, but sadly as to the rest I know little or nothing about.

 

Tower City (Surrender)? Atlantic? Regatta? Worrall? Sorry folks …

Failed that pop / rock quiz didn’t I?!

 

 

Opening with the excellent ‘Can’t Stop’ title track, she does no wrong by me.

Perfectly crafted, contagious pop / rock with a perfect AOR touch in an up tempo piece of class … Yes, I did say class!

 

 

‘Power Over Me’ is next and her voice sounds great and musically the band backing her sound great, Mario Percudani’s guitar work on the solo here is just beautiful!

A perfectly well produced album here by Alessandro Del Vecchio (Hardline), there really is great balance over the entire album.

 

This really is a nice overall blend of AOR / Pop rock and without being too poppy Issa’s rendition of ‘Wherever I Run’ is sweet!

 

The band backing her feature the aforementioned talents on guitar of Mario Percudani, nice work from the producer Alessandro Del Vecchio on keyboards, who provides some great keyboard flurries here and there, Anna Portaluppi on bass and Alessandro Mori on drums completes the lineup.

 

Issa and the band’s performance on 21 Guns excellent, ‘Just A Wish’ actually reminds me more of Heart meets Roxette than anything if you ask me and it’s monster!
 Huge power ballad of the finest nature, I love it!

 

 

Here’s the thing where I feel at a disadvantage, as I said before I was not familiar with all the original versions of the songs that Issa has covered here, so I obviously can’t really compare against many of these songs original versions.

 

‘If You Ever Fall’ is just one of those songs that you’d easily say, ‘Wow, doesn’t that sound like ...?!’

The original singer of the song is Tone Norum, who is the younger sister of Europe’s John Norum. Now who wrote it …???!

 

On Tone Norum’s first album – She released five that I know of ... – the majority of the musicians on it were indeed the band Europe, but this song originated on her second release, which I can find very little info on ... I’m getting off track here aren’t I?!

 

Issa does a great job on this track for me and again all power to producer Alessandro Del Vecchio for doing a grand job on every track!

 

 

‘Do You Ever Think Of Me’ is just such a massive song, it eases in gently at the start, then the chorus is just AOR to die for!

I love the song, it’s a more laid back AOR power ballad in style, still some great music accompanying Issa’s great voice.

 

 

Next track ‘Dream On’ is possibly my favourite here because it the best known of the songs here – Besides the 21 Guns songs. – and the original by BLVD was always a winner with me and that album by BLVD, hard to find but every bit a winner.

This is one of those classic AOR gems that deserved to be huge, but amazingly never was.

Nice guitar and synth solo’s on this version though and of course a great vocal from Issa.

Thank you for bringing this song to more people’s attention.

 

 

‘Stranded’ next I did not know before hearing it here and it’s pretty nice stuff, not outstanding but however you look at or listen to it, there’s no denying Issa and band have done a nice job.

 

 

Another song next that I am not familiar with in ‘Heat of the Night’ and its origin by Worrall (Who?), but the tune sounds like it should be familiar, probably why Serafino (Perugino – Frontiers) picked the songs for Issa to redo.

 

 ‘I Won’t Surrender’ falls into the same category as the last song, good stuff, but something I never previously knew of.

 

OK, ‘State of Love’ originally done by Mark Free – Now Marcie Free in Unruly Child. – is a song that is really very familiar to me and I’m thinking I have it on some album somewhere, BUT I never had the Mark Free album that it featured on.

Really nice track and yes, it’s well done by Issa, mid to up tempo almost in Bryan Adams like territory at times to be honest.

 

 

So to the final track which is just a monster in anyone’s eyes, originally done by the so overlooked yet excellent 21 Guns, ‘These Eyes’ is just an absolutely perfect gem and it’s done so well here too.

 

Why 21 Guns never broke bigger with songs like this one and the earlier ‘Just A Wish’ as well, as they are two outstanding tracks, is just beyond me but then it was the 90’s so classy AOR at that time faced the grunge takeover and even many classic and establish bands struggled then. I guess I just answered myself!

 

This has without doubt though, made me want to go and pull out my 21 Guns albums for a trip down memory lane!

 

This really is, yet another really nice album from Issa, she has a class voice and she’s always recorded with great musicians, so I’m telling you, this is music to pay attention to! Ignore at your cost / loss!

 

 

Rating: 4 out of 5

 

 

Ed's note: Without any real official website for Issa, the best I can do is point you to Issa's old MySpace page here:

http://us.myspace.com/isabelloversveen

Or what I believe is her official Facebook page:

http://www.facebook.com/issa.oversveen