Queen – 'Hungarian Rhapsody - Live in Budapest' DVD / CD review

 

 

 

 

Queen – 'Hungarian Rhapsody - Live in Budapest' DVD / CD review        

Released by: Eagle Entertainment. Release date: Available now.

 

 

 

 

Queen were such an incredible band, something that I clearly didn’t take seriously enough when I was younger.

For whatever reason, I seemed to sit on the fence on a few occasions when I could’ve gone to see them live and consequently missed out on catching them with the flamboyant Freddie Mercury.

I have since seen them albeit without Freddie and now own, many live Queen DVD’s and time and time again kick myself for not having gone and seen them, with Freddie!

When I did see the band a few years ago though with Paul Rodgers, being a fan of both artists, I thoroughly enjoyed that evening, although I know there were many die hard Queen fans who thought it sacrilegious, to do such a thing.

My take on that is that Paul never tried to sound like Freddie, by any means, as he never could for one thing and the band in respect of Freddie played all those shows as Queen with Paul Rodgers. Enough said …

Maybe Thin Lizzy should’ve done that and it could’ve got a number of fans off their backs and they wouldn’t have had to call themselves Black Star Riders …., maybe? Cough …. I doubt it!

 

 

Anyway, this concert performance ‘Hungarian Rhapsody – Queen Live in Budapest’ is apparently the last complete footage of Queen live in concert, before Freddie passed away and was filmed in July 1986.

I must say that I’m surprised that the last Queen concert to feature Freddie at Knebworth in the UK, in August of the same year was not filmed?

Maybe it was and that footage is being saved for another day ….?

 

This package is also special as although it’s a double format special DVD and two CD disc set, there’s bonuses about each of the formats!

The DVD of course includes bonus features, but the two CD set also includes live tracks not included in the DVD concert, which kind of beats me but there you go!

The extra tracks on the CD that are not on the DVD are, ‘Another One Bites The Dust,’ ‘Looks Like It’s Gonna Be A Good Night’ – Well, partially anyway! – a version of ‘(You’re So Square) Baby I Don’t Care’ and ‘Hello Mary Lou (Goodbye Heart)’ – Yes, really!  

I know, perhaps the only one of real interest to Queen fans, is ‘Another One …,’ but by the same token, it really reflects how far the band could stretch their repertoire when they wanted to.

 

 

So to this concert, which once again proved that Queen could control any crowd anywhere in the world and it was especially true in front of this 80,000 stadium crowd in the Népstadion in Budapest and the crowd loved the band!

 

So Freddie hits the stage first and he’s resplendent in his ringmaster like outfit and then the band launch into the monster that is ‘One Vision’ and so a massive light and sound event begins!

From the deft keyboards of Spike Edney into Brian May’s raw power chords to intro the song it’s ahem …, ‘a kind of magic!’

Sorry, ahem ..., couldn’t resist that one!

 

‘Tie Your Mother Down’ rocks out next and boy does it rock out, before closing with flash bombs! The band’s performance is killer already and they’ve only just started!

Freddie tells the crowd, ‘It’s so nice to be here tonight …,’ then into ‘The Lap of the Gods’ and has the whole of the Budapest audience backing him, as he parades around the stage and then takes his seat at the grand piano where he kicks off, ‘Seven Seas of Rhye,’ before running across the stage to work the crowd some more. Then Brian May’s guitar work is of course, spot on!

Seriously, this is only four songs in and this is a rockin’ show!!!

Must’ve been mad not to have gone to see Queen with Freddie!

Ed’s note: – Now kicking myself seriously hard!!!

 

Then there’s a brief interlude that rolls into ‘Tear it Up’ briefly, then eerie stage noises and the lights pan all over the darkened stage, before we hear Freddie utter, ‘It’s A Kind Of Magic’ cue song!

Freddie of course is / was, the ultimate, ULTIMATE poser that he was totally commands the audience and they love it!

Solid stuff of course from both Roger Taylor and John Deacon, keeping the backbone and backbeat of the band always there!

 

Then there’s a break from the concert, as the DVD switches to a photo shoot and catches the band on a sightseeing tour of the city during the day, then Freddie does a little solo performance at an evening reception, before it’s back to daytime shots of the band, then Freddie on the stage in the stadium before the concert, doing some warm up exercises that then leads back into the concert.

Freddie gets the crowd into a little singing session, back and forth, him then them and then it’s into the mega global hit ‘Under Pressure.’

Next Freddie introduces a “new song for us, this is called ‘Who Wants To Live Forever’” which was from the ‘Highlander’ movie, with Brian May on keyboards at the beginning, before punching out some power chords back on guitar and we’re off!

Really classy tune, love it!

 

‘I Want To Break Free’ up next, with Freddie sharing vocal duties with the crowd here at the beginning, before then taking the helm for the rest of it.

Brian May takes centre stage for an almost four minute - Over six minutes on the CD - guitar solo spot that then leads into more photo shoot stuff with Brian basically on walkabout, after a ride in a hot air balloon, then laid back on a speed boat then a bunch of autograph signings and receptions, then back to the air balloon before the ultimate Queen rock out song, ‘Now I’m Here.’

 

Really folks, there’s much more of the aforementioned great stuff here in this package.

If I were to go into a track by track review of the concert performance on this DVD and every little detail of the bonus material, I could write pages and pages.

As this stands, I have covered the first ten songs and Brian May’s tasty guitar solo spot moment and this so far, would typically be the length of any of my other reviews or thereabouts.

 

Some wonderful material is included in the remainder of the set Queen plays here, including a special moment for Hungarian fans, where Freddie sings part of a traditional Hungarian folks song in ‘Tavaszi Szél Vizet Áraszt’ – Translated it means, ‘The Spring Wind Blows The Waters.’ – to which even with the words on a piece of paper in his hand, he receives a wonderful response.

 

 

Of course there’s Queen classics that the band could no way leave out, such as ‘Bohemian Rhapsody,’ ‘Love of My Life,’ ‘We Will Rock You,’ ‘Crazy Little Thing Called Love,’ ‘We Are The Champions,’ and newer soon to be classics such as ‘Hammer To Fall,’ ‘Friends Will Be Friends,’  ‘Is This The World We Created’ as well as ‘Radio Ga-Ga’ to immense reaction!

 

It is a wonderful DVD / CD set, as well as the bonus twenty six minute mini documentary, ‘A Magic Year,’ that really captures the magic that was Queen with Freddie Mercury and I have other Queen live DVD’s too, including the fantastic Wembley concert in ’86 and the ‘Queen on Fire – Live at the Bowl’ from a storming set at Milton Keynes bowl from back in ’82 and others and this is another performance that once more reinforces what a phenomenal live band they were and a great showman Freddie was.

Seriously well worth getting folks, don’t miss out, get it!

 

 

Rating: 4.5 out of 5 

 

Website:

http://www.queenonline.com/

 

 



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/