Category: Album reviews

This review was published in the March 2019 issue of Classic Rock magazine, no. 260.

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Twelve years’ worth of melodic rock crammed into one box set, and then some.

You Can Tune a Piano but You Can’t Tuna Fish was the warmup for REO Speedwagon, and this re-release offers additional tracks Piano Interlude and 157 Riverside Avenue, the biggest hit from their 1971 debut record. Going through three lead vocalists before hitting their stride paid off by 1980, when Kevin Cronin returned for Hi Infidelity, the album from which mainstream success and four hit singles were drawn. A whole CD is dedicated to Fidelity bonus tracks, including unheard demos – such gems include Someone Tonight and a very special Keep On Loving You: the Reggae Edition – make of that what you will. Rest assured, 1987’s Life As We Know It hides no secret country renditions of Can’t Fight This Feeling, nor a thrash metal Gotta Feel More, though both short and long edits of the latter lurk among the last few numbers. The ninth instalment of this monster box set ties together the golden age of Speedwagon: an extended Live, 1980-1990, showcasing their greatest hits and reaffirming REO’s clout as a live act.

With every song in almost every variation, The Classic Years delivers all fans could possibly want, and more – and more on top of that.

8/10

This review was published in the January 2019 issue of Classic Rock magazine, no. 258.

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The album Mumford and Sons would make if they suffered a deep, personal tragedy.

If I’m Crazy portrays the oft-overlooked, torturous side of love, a pain clearly portrayed through the Devil’s voice. First Day of the End of My Life exhibits but one example of the astonishingly dark lyrics – ‘I took years to find a meaningful and peaceful place to die,’ and Preacher Feature combines Leonard Cohen’s poetry with Johnny Cash’s southern twang, all with a decent portion of lost hope.

The acoustic, Southern gothic style doesn’t showcase Brad Wilk’s drumming; Ross Robinson’s excellent production emphasises the ardent misery of the entire record. If you’ve lost your keys or missed the bus, don’t listen to it. If everything you love is suddenly consumed by blazing fire and destruction, be my guest.

5/10

This review was published in the December 2018 issue of Classic Rock magazine, no. 256.

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A Robben Ford album on which the guitar does not take centre stage.

Tangle With Ya is heavier than expected, whereas Empty Handed is sultry, rich in acoustic twang and Southern imagery (“West Virginia bound, I never heard the sound of her frustration”). Shemekia Copeland provides guest vocals on Break In the Chain, although it’s a shame that she didn’t have a more substantial song on which to showcase her evident talent. Wild Honey is reminiscent of our short-lived, world-cup-heatwave portion of the summer (“Raise up my window, feel the beautiful breeze”). Travis McCready’s vocals on Somebody’s Fool ease the song into full-on blues rock territory, while Drew Smithers’ solo in Willing to Wait has a distant quality, as if recorded among the rock formations of Monument Valley.

With emphasis on songwriting and the faultless production talents of Casey Wasner, this album brilliantly combines Southern drawl, just enough distortion and the recognisable Ford solos that we all love him for.

8/10

This review was published in the April 2016 issue of Classic Rock magazine, no. 221

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Out of 60 songs created between 2014/15, Ginger Wildheart has cherry-picked his favourite 12.

He’s chosen wisely. From the introductory beat of Down the Dip to the harmonious collaboration with Courtney Love on Honour, Year Of The Fanclub has you hooked from the off. With only a small sniff of Wildhearts influence, the record is a hotbed of diversity. Also the perfect platform for Ginger’s renowned lyrical skills, The Pendine Incident is a folky onslaught of life advice, whilst a more cynical side of his songwriting is brought out in the exceedingly catchy Toxins and Tea. The gentle acoustic tracks are booted aside by hard-rock riffs, à la Ostracide. The whole album packs a punch, with choruses that will be glued to your auditory cortex for days, and obviously, a beat that won’t quit.

9/10

 

This review was published in the May 2015 issue of Classic Rock magazine, no. 209.

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Like slipping on an old pair of shoes, Ringo returns with his first new album in 3 years.

Calling on his all-star band, Ringo’s 18^th solo album treads a well-worn path. The opening track, Rory and the Hurricanes, is an autobiographical reminiscence of his pre-Beatles band, whilst Bridges harks back to a later period of sitar – laden psychedelia.

The album features some stellar musicians, but it’s a shame that they didn’t have more memorable material to work with, as the rest of the album drifts along as mid-tempo AOR with no particular standout tracks. A rather predictable record – if you like Ringo, it’s what you’d hope for, if not, then this album won’t convince you otherwise.

5/10

This review was published in the April 2015 issue of Classic Rock magazine, no. 201.

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They’re back with more of the same, fourteenth time round.

Toto invariably exemplify professionalism, and XIV maintains the tradition. Harmonies are tight, production slick. Running Out Of Time‘s energetic opening anticipates a developing melodic structure comfortingly reminiscent of their earlier work. It’s great to hear Joe Williams – the singer most identified with the band through their various incarnations – back on vocals. So far, so predictable. However, the mellow 21st Century Blues adds a jazzier edge that sweeps through its chorus, making it hard to believe that it doesn’t belong on Donald Fagen’s The Nightfly, due to its interjections of smooth harmonies, synth and unadulterated funk. Just as 1986’s Fahrenheit had I’ll Be Over You, XIV has The Little Things – a perfectly positioned, engagingly melodic, relaxing ballad to effortlessly delight the AOR mainstream. Chinatown is the track which smacks most of the band’s 80s work – with vocals switching between Lukather and Williams, the prominent piano interludes and the recognisable Toto harmonies, it’s a lost track from The Seventh One. The album is drawn to a close by Great Expectations, a surprising number; somehow combining a folk sound with distorted AOR, it should sound wrong, but somehow sounds right. Probably because it’s executed by several top quality session musicians. No problem there.

Toto have always showcased world class drumming (Jeff Porcaro, Simon Phillips) and in Keith Carlock they’ve secured the services of yet another well-seasoned session veteran. Despite a style less distinctive than that of Porcaro, Carlock brings the groove to XIV, particularly in Holy War and Orphan – challenge yourself not to tap your foot. Carlock is an adequate addition to the band’s back catalogue of drummers. Not surprising considering a percussive CV that includes Diana Ross, Steely Dan and Paula Abdul. Lukather still remains at the forefront of most of the tracks; producing an intrinsic infusion of distorted charm over the combination of blues and rock, his playing is just as recognisable as always. The pillars of Toto lie in Paich and Porcaro. As long serving Toto members and providing backing vocals and synth sound which has given the band their most recognisable sound, the two keyboard gurus tie the band’s new album together. However, it’s the distinctive vocals and production sheen of XIV that ultimately serves to reinforce the impression that Toto remains a by-word for quality, musicianship and pizazz.