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HARD RAIN | Hard Rain | (Semaphore, 1997)

Rage On / Shame For The Bad Boy / You'd Start A Fight / Stop Me From Lovin' You / Looking For A Way / Cry Cry Cry / I Must Have Been Blind / Perpetual Commotion / Different Kind Of Love / Another Fine Mess / That Ain't Love

With the result in the hands I can't quite understand why songwriter/guitarist Tony Clarkin and vocalist Bob Catley not released this album under the Magnum monicker.
Style- and soundwise this isn't that different to what Magnum did during the nineties.
I don't think they'll gain any more or new fans as Hard Rain. More likely less.
Even though I didn't have that big expectations on this album I still have to say I am a bit disappointed when thinking back on what Magnum was able to do when they were at their best in the eighties.
Favourite songs on this album are the two rocking opening tracks "Rage On" and "Shame For The Bad Boy". The ballad "Stop Me From Loving You" is also quite good, even if the intro is stolen from The Beatles "Free As A Bird". 10th track "Another Fine Mess" is everything but a mess. The verse before the chorus made me think of a Magnum tune, "Vigilante" I think it was.
Tony Clarkin's songwriting isn't as sharp and precise as it once used to be.
This record feels just like a blunted arrow.

Review by: Stefan

HAREM SCAREM | Karma Cleansing | (Warner Music, 1997)

Karma Cleansing / Cages / Hail, Hail / Morning Grey / Die Off Hard / Rain / I Won't Be There / Victim Of Fate / Believe / The Mirror

After a debut (released 1991) packed to the max with pure Canadian FM-rock (what a debut!) they followed up 2 years later with another album ("Mood Swings") crammed with more of the same. A bit tougher yes, but very melodic. Man, what a great record!
On their 3rd record, "Voice Of Reason" from 1995, they explored new territories. It was a "moodier", darker and actually a bit grungy release.
When "Karma Cleansing" was released last summer I just had lost interest in the band. But never say never. The curiosity began growing and finally I had to feed it.
The best way to describe its sound would be to say that sounds like a mix of "Mood Swings" and "Voice Of Reason".
Favourites are the acoustic "Rain", the heavy riffin' "Die Off Hard", "I Won't Be There" with its guitar stringing and the chorus strong "Hail, Hail".
All in all very, very good actually, even if those enourmus euphoric feelings I get from the 2 first records never really appears.
But nevertheless they're back on the right track again.

Review by: Stefan

HAREM SCAREM | Big Bang Theory | (Warner Music, 1998)

Turn Around / Wasted Time / So Blind / Without You / Climb The Gate / What I Do / Sometimes I Wish / New Religion / Lying / In My State Of Mind

This Canadian 4-piece impresses me with every new release. Not one album sounds like the other. Important things they do have in common are strong melodies and strong harmonies.
Describing their sound is a bit risky, as it's pretty diverse. One moment they're running along a more mainstream line like in "Tables Are Turning" and "Seas Of Dissension" (both only featured on the Japanese version). Then they're in "weirder" moods as in "Sometimes I Wish", sung by bassplayer Barry Donaghy by the way.
Exclusive for the Japanese version are also "Reload" and the Queen-influenced "Never Have It All".
The 4 songs exclusively on the Canadian version (the versions differ with for songs each) "Wasted Time", "Without You", "What I Do" and "New Religion" has a more modern edge to it than those do on the Japanese version.
They're closing the album with a beautiful piano ballad entitled "In My State Of Mind. The lyric content is far more thoughtful on this ballad than most you hear.
If being a Harem Scarem fan you should definitely have both versions, even if it may cost you an arm and a leg.
If you enjoyed their previous records you'll find this a natural progression.
I am totally sold on this band.

Review by: Stefan

HAREM SCAREM | B-Side Collection | (Warner Japan, 1999)

So Blind (Acoustic) / Climb The Gate (Acoustic Live) / Without You (Acoustic Live) / Cages / The Mirror / Surrender / Change Comes Around (Acoustic) / Turn Around (Acoustic Live) / Hard To Love (Acoustic Live) / Good Enough (Previously Unreleased) / Wasted Time / Without You / Blue (Live '97)/No Justice (Live '97) / More Than You'll Ever Know

Harem Scarem are back with yet another release. This time around we are presented with acoustic tracks, some b-sides (well, they are b-sides to the Japanese market) and a few live songs thrown in for good measure.
They start things off with an acoustic studio version of "So Blind" and a mighty fine version I might add! I have always felt that Harem Scarem songs sound just as amazing unplugged as they do on the original release.
"Climb the Gate" and "Without You" are both acoustic live versions and they have a very stripped back feel to them! One thing I've noticed is how the vocal harmonies in these songs sound a bit flat to this ear. It does give it a very "raw" feel to the songs, which may have been the intent all along. I don't really like when bands "touch up" live performances in any way, so having it this way is fine with me. The next three songs are all studio tracks, "Surrender" being a cover of the Cheap Trick classic and the other two can be found on the Canadian release "Karma Cleansing" or you can get all three songs on the "Believe Special Edition" CD. Have I confused you yet? "Change Comes Around" and "Hard To Love" are both very well done. I've always liked "Hard To Love" unplugged a great deal more than the studio version for some odd reason! I feel the song has more personality in the unplugged format. "Good Enough" is they only new track on the disc! It's an acoustic-based ballad of sort, very moody and genuinely a strong song overall. The next mentionable tracks are the two live songs "Blue" and "No Justice", from what I've heard these were left off the "Live At the Siren" CD that was released in Japan last year. Why they didn't just put them on that release is beyond me. The CD ends with an incredible ballad called "More Than You'll Ever Know" which wouldn't seem out of place on the "Voice Of Reason" CD. This is a outstanding ballad with a very strong sing-along chorus.
Overall, this is a favorable release, but there are too may studio tracks that have already been released on their other albums. It's not an essential purchase, but definitely an enjoyable disc that most Harem Scarem fans will most likely want to own.

Review by: Rob

HAREM SCAREM | Weight Of The World| (Frontiers Records, 2002)

Weight Of The World / Killing Me / Outside Your Window / All I Want / This Ain't Over / Internude / YouRuined Everything / Charmed Life / If You / See Saw / Voice Inside / End Of Time* (*Bonus track on Japanese version)

The more things change, the more they stay the same! There has been a tremendous amount of "hype" around this release. To some extent it's been a bit too much. Early reports said the record would show a "back to the roots approach" with material closer to their first two albums than their latter-day power-pop-tinged contemporary records.
Well, lo and behold, Harem Scarem anno 2002, is basically Harem Scarem anno 2002! No more, no less. Granted, the songs have a stronger AOR-focus, but it is not a major turn towards the past. On the contrary Harem Scarem has taken parts of their past and mixed it with ALL their "eras" and topped it with a contemporary production to keep a fresh sound - and it is a good record!
The title track kicks-off in a good way and has a touch of "classic" HS. "Killing Me" is another highlight. One of the best tracks on offer with a clever arrangement. "If You" is latter-day Scarem/Rubber and has every (cheap) trick (pun intended!) in the book: pure power-pop with a superb chorus. Simply great stuff!
The Japanese bonus track "End Of Time" is perhaps the most apparent AOR-track of all. Great track but by no means a classic.
But there are songs that just strolls on by without making much of a fuss. And what about including no less than TWO instrumental songs? Definitely a sign of lacking inspiration and it drags down the overall judgement a bit. Still, this IS an essential release for every AOR-fan.

Review by: Larry

HARLAN CAGE | Double Medication Tuesday | (MTM Music, 1998)

Blow Wind Blow / Halfway Home / Lola's In Love / Solitary Dance / My Mama Said / Dearborn Station / Defend This Heart Of Mine / Restless Hearts / Lights Out For Losers / As You Are / Turn Up The Radio / Joker On The Kings Highway

I more or less trashed the debut from this American outfit. Now, almost 2 years later, I can't quite understand why? Because it's a really great collection of songs all brilliant performed.
So, my expectations were pretty high this time around.
And I'm glad to report that it is a monster follow-up.
It starts up with "Blow Wind Blow" which gives a smooth start. "Halfway Home" explodes in keyboard mayhem; a heavy drumbeat all mixed up with excellent guitar work.
The mid-tempo rocker "Solitairy Dance" is another highlight where vocalist L.A. Greene is in top shape.
The sentimental ballad "As You Are", with its soaring saxophone, touches your soul towards the end of the album.
This album is any AOR-fans wet dream. You think you died and went to heaven...

Review by: Stefan

HARLAN CAGE | Forbidden Colors | (MTM Music, 1999)

No Sunday Bride / Chinatown / Thrill Of It All / Can't Tame The Raven / Hard Yellow Line (You Lied To Me) / Last Plane Out / A little Rain / Feel Of The Wheel / Makin' My Way Back To You / Late Night Escapades / Before The Night Is Gone / Two Ships In The Night

How do you follow up one of the most convincing and gigantic AOR records of the decade? You can do like Harlan Cage and simply (?) do another one almost as good. Yes, this is brilliant!
The criticism that I have is that it may sound too much like "Double Medication Tuesday" (MTM Music, 1998), but at the same time that is one strong reason why I love it so much. When there's a lack of this type of melodic driven rock with keyboard layers Harlan Cage seems to be able to deliver without hesitation.
Opening track "No Sunday Bride" sets the standard immediately with a powerful and melodic chorus part. "Chinatown" and the Fortune remake "Thrill Of It All" are even bigger. Flashing guitars, keyboard mayhem and powerful drumming, by Ron Wikso by the way. Question: Have anyone besides me noticed how those Fortune songs sound so much better in the shape of Harlan Cage?
Like they weren't afraid to use Saxophone on "As You Are" on the previous record they have on "Can't Tame The Raven" featured the violin, which gives the song a different feel. Slowly building to lead into a strong chorus. If you can't get enough of AOR "Hard Yellow Line (You Lied To Me)" and "Last Plane Out" will feed your appetite.
Looking for midtempo/ ballad stuff in the vein of "One Naked Kiss" (from the 1996 MTM Music debut) and "Solitairy Dance" (from "Double Medication Tuseday")? Fear not! "A Little Rain", "Making My Way Back To You", "Before The Night Is Gone", "Two Ships In The Night" will not disappoint you in any way.
They have on this record tried to branch out a bit on 2 tracks. "Feel Of The Wheel" and "Late Night Escapades" are definitely rawer than anything they've previously released is. Though it might be needed for some new sounds I don't think it work out too well in "Feel Of The Wheel", which is plain boring.

Review by: Stefan

HARLAN CAGE | Tempel Of Tears | (Atenzia Records, 2002)

Any Port In The Storm / Wooden Cross / Just A Face In The Rain / One New York Morning / On The Nickel / In My Neighbourhood / Deep In The Heart Of The Night / Sin City / As You Fly / Later Than You Know / We Belong

The always reliable duo Larry Greene and Roger Scott Craig is after three years since the previous album "Forbidden Colors" here with the fourth effort from their band Harlan Cage. There is no doubt that they are very good at what they do, the pomp flavoured AOR style that they have, but this is the weakest effort so far. They have basically made the same album over and over again. Maybe one too many times? It worked great before and that's because there was enough great songs to keep things together. This time there just isn't. This time the songs are only good.
"Any Port In The Storm" and "Wooden Cross" are two of the better songs on "Temple Of Tears" having all the well known trademarks from Harlan Cage with big keyboards from Roger Scott Craig and the characteristic voice of Larry Greene. "On The Nickel" and "Sin City" are two songs definitely not up to par with anything they have done so far. "Just A Face In The Rain" might stand out as the best new track on this album, but at the same it also made me wonder about the drum sound. It's thin and in places sound as programmed drums. Not good at all.
As always they have re-cut an old Fortune tune (the band Greene and Craig did a record with in 1985), this time it's the song "Deep In The Heart Of Night". It's a true winner of the album with a majestic sound. Again I think the remake sounds better than the old Fortune original.
I find it difficult to pick out any other songs because it feels as they have done them several times already.
We have got used to nothing but great so it is a minor disappointment that they only deliver a good album.

Review by: Stefan

HAVEN | The Road | (Frontiers Records, 2001)

The Curtain / Can You Hear Us / All I Ever Need / Halfway Home / Strange Premonition / Face The Day / Show Them / The Road / Hold On / Someday Soon / Be The One / Forgiveness

A US female fronted 3-piece band with at least one prominent guest musician, in the shape of former The Cult/Guns'n'Roses drummer Matt Sorum, serving rockers, AOR numbers and ballads. They aren't bad at all, it sounds overall fairly competent, but still oh so monotony.
This sounds as the type of material that may work late at night in some bar or night club, but on record this gives me nothing. Not down my alley.

Review by: Stefan

HEARTLAND | Bridge Of Fools | (Escape Music Ltd., 1997)

Tomorrow Won't Wait / Castles In The Sand / Where The Pieces Fall / I Will Wait For You / Elena / Front Page News / Only A Heartbeat Away / Not Till Heaven Falls / Hardworking Man / Feels Like Magic / Still Got My Feet On The Ground / Don't Let The Fire Die

Third times a charm... For Heartland maybe it should be fourth time, or whatever. To tell you the truth I have never really been a big fan of this British outfit. They came to my knowledge with their third release "III" and despite the good words it got I found it surprisingly uninterested, could even say boring, so I really didn't bothered in trying to look up their two previous albums.
"Bridge Of Fools" caught me with my guard held very low. I was down for the count, got up in the last second while I still was in a state of mind to write something sensible down for a review. "Castles In The Sand", can best be described as a superb up-tempo AOR-smasher! Then there's "Elena", I think I'm in love, "Hardworking Man" got a nice beat that also is, if not mega, but great.
There are more songs mentionable, but why ramble about them when you should buy this album and listen for yourself.
If you were disappointed with their last effort and thought it had a very crappy sound, then let me inform you that this time around it's a completely different story. The (drum)-machines has been thrown out in favour of real live musicians. I'm not sure of where to place this album compared to their previous, so it's possible I'm overrating this album by giving it 3,5?
Who knows I just might build some castles in the sand this summer…

Review by: Stefan

HEAVEN AND EARTH | Windows To The World | (Frontiers Records, 2000)

Dogs of War / Worlds Apart / If Only Love / Jade / Broken Arrow / Prisoner / Away From Harm / Through Your Eyes / Windows to the World / Politician / Years Gone By

Here we have Stuart Smith's sophomore release which Stuart opted to drop his name from the title and have the band name HEAVEN AND EARTH. Stuart's debut cd was excellent and featured a variety of different vocalists like: Richie Sambora, Kelly Hansen and Joe Lynn Turner - to name a few. This time around Kelly Keeling of Baton Rouge fame is in charge of the vocals and does a fabulous job on this record.
The album starts off with "Dogs of War" which is the heaviest track on the disc and to be quite honest - my least favourite. After the first track though, it gets better than I could have ever imagined. When I first heard "Worlds Apart" I loved the song right away. It will please any AOR fan and is one of the most infectious songs I've heard all year. Pure melodic bliss! "If Only Love" slows things down a little more with some superb acoustic guitar work from Stuart. Kelly's vocals on this track remind me of Sammy Hagar at times. The chorus picks up the pace again and then it slows down for the verses.
By this point I know this album is going to be huge. "Jade" gets things rockin' again in a similar style to "Worlds Apart" but with a little more of an edge - an excellent rocker! "Broken Arrow" is a big slow bluesly ballad - the kind of blues I love. Other highlights include the ballad "Through Your Eyes" and the rocker "Politician." Overall, an incredible album which is more consistent than the debut. If you liked the first one - you better add this one to your shopping list as well.

Review by: Rob

HEAVENS EDGE | Some Other Place - Some Other Time | (MTM Music, 1998)

Rock Steady / Some Other Place - Some Other Time / Jacky / Jump On It / Just Another Fire / Backseat Driver / Cuts Both Way / Call My Name / Cry / Rollercoaster

Not only is there a song titled "Rollercoaster" on Heavens Edge's 2nd record, musicwise this CD also takes quite a ride.
Opener "Rock Steady" kicks off the record big time. Melodic hardrock á la Dokken.
The title track, "Jacky", "Call My Name" are 4 fine songs in a more mainstream vein.
Then there are all these really silly hardrock tunes - like "Jump On It" and "Backseat Driver" - which destroys what could have been a really great record.
Compared with their Neil Kernon produced debut it's basically just more of the same.

Review by: Stefan

HEAVENS FIRE | The Outside | (Frontiers Records, 2000)

Beyond / Future's waiting / Can You Believe / The Outside / Skitzo / Tommy / Mirror / Long Way / Now's The Time / Tears

It seems as the guys at the quality control centre at Frontiers Records were on a break or out for Pizza when the final version of this album came in. This might probably be the heaviest release so far from this label - and boring too.
The saying "Don't judge the book by its cover" does not fit in this time. Although I wished the saying would fit, the cover so much speaks for the music. Basically it looks like hell!
Next!

Review by: Stefan

HOUSE OF SHAKIRA | Best Of Two +3 | (MTM Music, 2000)

Morning Over Marocco / Lint / Method Of Madness / No:8 / Who's Lying Now / Elephant Gun / Love Was Good / The Song Remains / Best Of Times / Ghost In Town / The Chance / Warp / Separate Ways / Susan / You Touched Me / Antelope

The nucleous of this band hails from my hometown Lulea but that won’t change my attitude towards them. I have never really been that hot for this band’s albums, and I have yet to find a reason to change my viewpoint. Sure, they deliver highly competent songs in the AOR-by-numbers vein but they don’t deliver anything that will change the world.
Some people claim that they have a sound not far away from a band like Journey’s. I am not so sure myself about that as there are at least a gazillion of bands around sounding more alike Journey than House Of Shakira do! And lots better, too!
Concludingly, why do they even try to cover Journey’s classic “Separate Ways”? Why bother? Things can only get worse…

Review by: Larry

HUGO | Hugo | (Now & Then Records / MTM Music, 1997)

Intro /We'll Find A Way / Walk Away / So Many Tears Ago / Crazy / All That You Wanted / All The People You Love / If You're Ever Lonely / Desire / Standing Alone / A Tear In L.A.

Former Valentine/Open Skyz vocalist Hugo's first solo-album could have been really good. Because the songs are of high quality and Hugo's vocal performances are splendid, but unfortunately Gary Hughes from Ten has managed to create a production too much alike his Ten-records.
Here follows a song-by-song review.

"Intro/We'll Find A Way" The opener certainly marks that this album is co-produced by Ten's Gary Hughes and Hugo. Even if you wouldn't know in advance you would be able to tell. One of the rockier tracks on the album quite good actually, but nothing out of the ordinary really.
"Walk Away" It is at least one of the best tracks on the album. The definition of AOR couldn't be more suitable.
"So Many Tears Ago" A ballad made after a concept that has been used far too many times. Originality equal to zero.
"Crazy" Whoa people I'm going crazy when I hear this song. AOR-conservatives like myself will scream, shout & turn the whole place upside down.
"All That You Wanted" This song is also pure AOR! What can I say? Hugo sings like a God, Vinny Burns breaks in with some cool AOR-riffs.
"All The People You Love" This Beatles influenced song I really don't like. One of the worst songs on the album. I wonder why everything's always so good when it reminds of Beatles. I'm just wondering.
"If You're Ever Lonely" I kind of like this track. Okay, it's not a renewal of the genre but for being written after an overused formula it's quite okay, isn't it?
"Desire" What has happened to Vinny Burns? I mean, his work on Dare's debut was splendid. The riff he's using on this song has been used since mankind learned to play guitar. Boring.
"Standing Alone" A magnificent soft keyboard intro with Hugo singing with a very tender and sentimental voice when suddenly Vinny Burns enters without even knocking on the door! The guitarplaying is actually really good on this one, but I would've liked a smoother entrance from Vinny because I liked the feel of that nice keyboard intro.
"A Tear In L. A." I'm not that impressed, but it is certainly a very sentimental ballad. Hug is one of few who can be compared to Steve Perry.

Review by: Stefan

HUMAN CLAY | U4IA | (Music For Nations, 1997)

Lessons Of Love / King Of The Nation / Salvation / Pain & Deception / The Thin Line / Speed Demon (Dedicated To The Worm) / U4IA (Instrumental) / Pretender / Stand 4 The Fall / Survive

Talisman boys Marcel Jacob (bass & guitar) and Jeff Scott Soto (vocals & keyboards) are here with a second effort from their project Human Clay. Without sounding too negative it has to be said that they have a tendency to do the same thing over and over again.
Fact is that this could have been released as a Talisman record as well as Human Clay. Also, on drums we find Talisman batterist Jaime Borger.
If you're familiar with Talisman's traditional hard rock/heavy AOR you know exactly how this sounds.
If you're looking for surprises you'd better look somewhere else.

Review by: Stefan