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Examining the visceral emotional territory of a pandemic and the world’s reeling in its rolling aftermath, multi Platinum-selling and award-winning artist Sass Jordan readies herself to rock the blues once again with the announcement of her new album, Bitches Blues — available June 3rd, 2022 via Stony Plain Records.
Following rave reviews of her 2020 all-blues offering, Rebel Moon Blues, the Billboard Best Female Rock Vocalist winner mines even more of her expansive talent in the genre to deliver eight new tracks — including originals “Change Is Coming,” “Still The World Goes Round,” and
more.
A pioneer of powerful, gritty female-fronted rock, Sass Jordan has worked alongside fellow greats like Aerosmith, the Rolling Stones, AC/DC, and Van Halen, among many more. Born in Britain and raised in Montreal, she launched her solo career with the single “Tell Somebody” from her 1988 debut of the same name, garnering national acclaim and a JUNO Award for Most Promising Female Vocalist. Throughout her career, she’s earned three more nominations for Best Female Vocalist thanks to albums like Racine (1992), Rats (1994), Present (1997), Hot Gossip (2000), Get What You Give (2006), From Dusk Til Dawn (2009) and her side project S.U.N.’;s album, Something Unto Nothing (2011) — along with singles like “Make You A Believer,” “You Don’t Have to Remind Me,” “Sun’s Gonna Rise” and 1992’s “Trust in Me”, a duet with Joe Cocker from the record-selling Bodyguard soundtrack.
Jordan starred in the off-Broadway Janis Joplin show, Love Janis, performed The Vagina Monologues in Winnipeg and Toronto, toured the world with A Bowie Celebration, guest-starred on NBC’s Sisters, weighed in as the only female judge on Canadian Idol for all six seasons
beginning in 2003, and branded her own lines of wine and spirits, Rebel Moon Whisky and Kick Ass Sass Wine.
In 2017, she released Racine Revisited, recreating her sophomore album with an all-star cast for its 25th anniversary, and celebrated the same milestone for Rats in 2020 with a coloured- vinyl reissue. With Bitches Blues, Sass returns to a genre that’s long been ingrained in her grasp since the start. “There’s been an undercurrent of blues throughout my whole career”, she shares. “The music that I have mostly been drawn to has always had that gritty, rootsy vein running through it, and that’s why I’m enjoying making these records so much”.
As such, anticipate piercingly fierce guitar licks and defiantly driving tempos alongside Sass’ soulful signature rasp and the full backing of a glorious assortment of rambling road dogs, the Champagne Hookers — guitarists Chris Caddell and Jimmy Reid, drummer Cass Pereira, keyboardist Jesse O’Brien, and Steve Marriner on bass and harmonica.
Like our stories from the land of SARAYA, that take place in different times but are still connected.
Our own story (the band) began over 25 years ago…
For three decades we have been a hidden gem, a diamond in the rough waiting patiently in the shadows, planning, preparing and like Pandoras Box, almost lost and forgotten, waiting in silence to be revealed.
Transcending time and space, fate brought us back together and here we are, over three decades later, ready to take on the world, and let you inside our.
Like a lost treasure in the Swedish melodic hard rock scene, with some of the most outstanding musical visionaries and craftsmen the scene has to offer comes a beautifully crafted trajectory that reaches beyond traditional melodic hardrock. Introducing cinematic soundscapes and with the mesmerizing stories that take place in the land of SARAYA, SARAYASIGN brings something new and fresh to the table.
With stellar guitar riffs and haunting melodies and arrangements from our childhood dreams merged with our own twist of cinematic hardrock, we offer something old and something new.
Listeners will be in for a treat.
BIOGRAPHY
In a cinematic experience, music can propel narrative swiftly forward or slow it down. It often lifts mere dialogue into the realm of pure poetry. It’s the communicating link between the screen and the audience, reaching out and enveloping all into one single experience. That’s what we try to do through our storytelling concept and our music.
Like the exampled album “Operation: Mindcrime”, our songs are stories, and they are all drawn from the fictional world of SARAYA.
Through the eyes and words of the storyteller comes a compelling story that started out as a fantasy for creator Jesper Lindbergh almost 25 years and later due to various reasons stored away as his personal notes in hope someday a chance for them to be realized would emerge.
Now, over two decades later, they are all dusted off and reforged into a series of tales, ready to take listener on a unique journey as SARYASIGN was formed and these stories could finally be unfolded.
The initial story will be told over the course of four albums and Throne Of Gold is the beginning.
SARAYASIGN is a cinematic melodic hard rock band, and we took all that we learned to love about movies and poured it all into the mix of this concept. With guitar driven roots from the late 70’s, and the cinematic experience of the 21:st century, layered with strings and storytelling driven, melody-focused songs with an edge, the listener will be in for a treat.
In just over a week Michael Schenker’s new album will be upon us. Schenker of course is a legend, and whether you saw him back in the 80’s or rather more recently, then you’ll know that his relationship with the guitar is unsurpassed. There are few who have influenced as many, few with the kind of songs behind him he has, and few that thirty years after what some might call his peak is still producing the kind of material he is. Indeed after some great outings in recent years with Michael Schenker Fest albums Resurrection (2018) and Revelation (2019), the new official Michael Schenker Group album ‘Universal’ (the follow up to 2021’s ‘Immortal’) is all rather wonderful, keeping up the quality of recent years.
Interestingly although Ronnie Romero features on vocals here and is scheduled for the US dates later in the year it’s notable that Robin McAuley stepped in to cover most of the European dates on the 50th Anniversary Universal Tour earlier in the year. If I’m honest whist Ronnie is a real talent (and his work with Rainbow and Vandenberg is wonderful) and of course a young face looks great on tour he’s only part of a wonderful line up that includes Michael Kiske (Helloween) and Ralf Scheepers (Primal Fear), drummers Simon Phillips (Toto, The Who), Brian Tichy (Whitesnake, Foreigner), Bobby Rondinelli (Rainbow) and Bodo Schopf (Eloy), as well as legendary bassists Bob Daisley (Black Sabbath), Barry Sparks (Malmsteen, Dokken) and Barend Courbois (Blind Guardian, Zakk Wylde), with Tom Carey as a very special guest. Part of me of course wants to hear what McAuley sounds like singing these new songs after his wonderful recent solo vocals and with ‘Black Swan’.
Working again with producer Michael Voss seems to be at last part of the magic here “Michael Voss is happy to wait until I have worked out an idea and takes the time to really get to know the song, simultaneously developing ideas for the vocals,” Schenker describes the fruitful collaboration which has one cog intermesh with the other. “Then we work out the drums, bass and some keyboard parts together. He always has plenty of great ideas up his sleeve.”
If you’ve enjoyed Schenker’s recent output as I have then you’ll love this. In fact if you like the albums I’ve name-checked so far then like me you light even find this edges the others. Opening with the brooding ‘Emergency’ and the more melodic build of ‘Under Attack’ there’s a defined retro sound that pitches you nicely into the mid-eighties. And after that intro we find ourselves face to face with what some are even citing as one of Schenker’s most important tracks in recent years…
“The rock anthem ‘A King Has Gone’ and its intro ‘Calling Baal’ both have a special significance: The track, sung by Helloween frontman Michael Kiske, is a tribute to the immortal Ronnie James Dio, in particular to his performance on the 1976 hard rock classic Rainbow Rising. For this reason, Schenker has brought together an original Rainbow rhythm section consisting of Bobby Rondinelli and Bob Daisley, additionally enlisting keyboardist Tony Carey, who also played on Rainbow Rising, for a terrific Moog synth intro – a direct reference to the iconic intro of the 1976 album opener ‘Tarot Woman’. The impressive result ‘Calling Baal’/‘A King Has Gone’ is already considered to be one of the most important and successful songs in Schenker’s career to date, both musically and lyrically.”
Indeed it’s hard not to be impressed even just at the sentiment let alone the reassembling of the musicians who made such a wonderful album, but the song itself and its preceding intro have a wonderful passion and the sort of keyboard and guitar interplay that made albums like ‘Rising’ timeless. It’s a wonderful tribute.
‘The Universe’ has the hard act of following that and rather go full pelt we instead land in a soft ballad that sees Gary Barden and Ronnie Romero share a duet ‘Long Long Road’ has an initial feel of Thunderstruck with the smooth vocal driving it forward majestically. And if your love the vocals of Ralph Scheepers then you’re in for a real treat with ‘Wrecking Ball’ a real highlight here and the most driven offering so far – this one will sizzle live!
The final four might even edge it – first ‘Yesterday is Dead’ comes as a nice gritty headbanger before ‘London Calling (No not the Clash song – imagine that!) pays homage to the 80’s UK rock bands that put Hard Rock in the mainstream, it’s a great song and very reminiscent of Scorpions. ‘Sad is the Song’ that follows is more statuesque and definitely gives off a Rainbow vibe especially in the verses which are vaguely Eastern and the guitar work. The final word goes to the red hot fretwork of ‘Au Revoir’ the paciest fretwork offering here and another of the best. As they say, it’s a nice way to say see you later…
The album features two bonus tracks: ‘Turn Off the World’ which with that opening guitar is actually one of my favourites on the album a stomping mid-tempo rocker that comes with a message and is hard to see how it only made it as a bonus cut. The second bonus ‘Fighter’ is a mid-tempo rocker that would be worth inclusion just for the solo! There’s no slowing Michael down these days and here’s yet another treat for fans.
Diamond Star Halos is the brand new album from Def Leppard, their first since their chart topping self-titled Def Leppard record in 2015. Written by the band over the past two years it features 15 tracks including the anthemic, stadium-ready singles “Kick” and “Fire It Up”, with guest vocals from Alison Krauss on “This Guitar” and “Lifeless”. The album title references T. Rex’s “Bang a Gong (Get It On)” with nods to T.Rex, David Bowie and Mott The Hoople across the album, which mixes the sound of their classic spirit with modern fire. The 1CD features a black & white cover with colour logo, packaged in a jewel case.
There’s no harm in sticking to a formula when it’s served you well. For two decades, Ohio duo The Black Keys‘ amped-up blues sound has taken them from drummer Patrick Carney’s basement to the world’s biggest stages, making them a safe bet to pack any arena. Even after 2010’s breakthrough ‘Brothers’ put them in the limelight, they’ve stayed faithful to those roots, just last year paying homage to heroes of the game with covers album ‘Delta Kream’, which saw their love for the genre burning brighter than ever.
This sentiment is alive and kicking throughout their 11th studio record ‘Dropout Boogie’, a listen loaded with enough thrills and spills to soundtrack a wild ride down Route 66. The rollicking back-room riff of ‘For The Love Of The Money’, for example, could be a salvaged relic from rock‘n’roll’s heydey. Elsewhere they cut loose with the soulful and jittery jam of ‘Burn The Damn Thing Down’, which invites a gritty and raw early Angus Young blues solo. It’s of course, nothing new, but this pair are masters in capturing that timeless flair and spirit.
It doesn’t sound like the band who were forced into a five-year hiatus between 2014’s ‘Turn Blue’ and 2019’s ‘Let’s Rock’ due to simmering tensions and tour-induced PTSD. Those albums might not have hit the heights of their early days, but here they’re the embodiment of a band set for good times. Here, the jaunty riffs of ‘Wild Child’ are fresh as ever as Dan Auerbach’s coarse, soulful vocal bursts onto the scene: “I’m just a stranger / With a twisted smile and a wandering eye / Your heart is in danger / Come close now let me tell you a lie.”
It’s a testament to their status that the band have drafted in their own hero in ZZ Top’s Billy Gibbons for highlight ‘Good Love’, a brooding jam that evokes a prickly heat by way of swaggering fuzz and meandering organs as the band broach matters of the heart: “Good lovin’ is so hard to find / everybody wanna waste your time.” It’s brilliantly reclined, down-the-line rock, something that prevails in other areas of the record, just take the swampy strut behind slow burner ‘Happiness’ or the bubbling and understated angst in ‘Didn’t I Love You’.
‘Dropout Boogie’ is an apt title for this record and a good marker of where The Black Keys find themselves in 2022. Where previous albums have effortlessly gunned for their arena-punching heights, these days the band are thriving by making music more fit to shake down the walls of their local Nashville dive bars. The blues kings show no signs of turning off their well-beaten path here, but they’re still capable of conjuring enough magic on the journey.
American band Dillinger's sound is more like the 70s than the 80s or early 90s, this bluesy, solid hard rock band is more like Bad Company and Free or early Aerosmith with a touch of Lynyrd Skynyrd. The members of Dillinger (not to be confused with reggae artists) spent a lot of time listening to 70s rockers.
Dillinger as a whole is decent and satisfying (albeit derivative) material that deserves your attention.
Houston native Nathan Quick belts out his raspy vocal over lush boogie/roadhouse guitar rhythms and soaring lead guitar. His sound draws from a vast pool of genres including classic rock and roll, blues and contemporary Americana. He is a multi Houston Press Music Award winning singer/songwriter.
Mike Campbell co-produced the follow-up to 2020’s Wreckless Abandon with George Drakoulias. Recorded last summer at Campbell’s home studio in Los Angeles, Hocus Pocus Recorders, the album features guest appearances from Margo Price and Ian Hunter (of Mott the Hoople). Additionally, the guitarist and bandmates Jason Sinay (guitar), bassist Lance Morrison and drummer Matt Laug are joined by Campbell’s fellow Heartbreakers co-founding member Benmont Tench on piano for the track “Lightning Boogie.”
“The band became this spontaneous type of combustion—to borrow a word,” stated Campbell in a press release regarding the group’s evolution. “The longer we played, the more intuitive it got.” While most of the material on External Combustion was penned by Mike Campbell during the past year, the album also features two songs written in the 1990’s that the guitarist rediscovered in his vast cache of unreleased compositions.
Deze twee vrienden behoeven geen introductie, de één frontman van de grootste rockformatie die Nederland ooit heeft gekend en de ander de motor achter de Common Linnets, De Dijk en vele andere formaties.
Vroeger of later zouden Barry Hay en JB Meijers zich aan een gezamenlijk muziekproject zetten en in 2019 was het zover, toen bij Universal Music hun album ‘For You Baby’ verscheen.
De twaalf songs op het album waren een greep uit de platenkast van Barry Hay, opnieuw opgeno-men door en met zijn vriend en duizendpoot JB Meijers. Er werd zo enthousiast gereageerd op For You Baby dat een serie concerten al snel uitverkocht. De pandemie die vervolgens uitbrak gooide roet in het eten, maar voor 2022 zijn er nieuwe, grootse plannen gemaakt.
‘Barry Hay: Eigenlijk werken we heel hard. JB heeft een tomeloze werkdrift en daar laat ik me dan volop in meesleuren. Bovendien wordt er veel gelachen en zo hadden we voor we er erg in hadden een dubbelalbum, Tataaa!’
In januari verscheen het zonnig klinkende Unconditionally en een maand later de vrolijke mariachi klanken van ‘Fiesta de la Vida’, tevens de titelsong van het album dat eind april zal verschijnen. Op het album Fiesta de la Vida staan naast vier nieuwe composities weer een hoop covers. Het mag geen verbazing wekken dat de sound van de plaat hier en daar een tropisch tintje heeft gekregen, nu JB Meijers zijn Quasimono Studios heeft verplaatst naar Bonaire.
Fiesta de la Vida kent weer een bonte verzameling songtitels, van T-Rex tot Tanita Tikaram en van Chuck Berry tot Tom Jones.
‘JB Meijers: Barry is mijn beste vriend. Mind you, ooit was hij die iconische zanger van de allereer-ste band die ik live zag. Daar denk ik nog maar zelden aan wanneer we samen muziek maken. Dat is zó spontaan en zó verschrikkelijk leuk! Niets is te gek in Barry’s rijke kop en ik loop daar graag doorheen als een kleine jongen in een snoepwinkel.’
Ter gelegenheid van het verschijnen van Fiesta de la Vida (én ook een beetje van For You Baby, dat immers nooit live kon worden uitgevoerd) heeft mediabedrijf Medialane een concert georgani-seerd op 5 november in de Ziggodome. De band zal worden aangevuld met een echt Mexicaans mariachi-orkest en ook Danny Vera zal er een gastoptreden geven.
Platenlabel Zip Records zal speciaal voor de gelegenheid vinyl laten persen waar de fans op kun-nen intekenen en dat ter plekke gesigneerd kan worden afgehaald.
Speciaal voor hun eigen streaming platform zal Apple Music van het album een revolutionaire ‘At-mos-mix’ laten maken, waarbij de muziek van alle kanten op je af lijkt te komen.
Op 22 april verschijnt het album Fiesta de la Vida op de streaming platforms én op CD.
De vinyl uitgave van het album zal exclusief verkocht worden in combinatie met een ticket voor het optreden in de Ziggodome.
On April 15th, UMe/Mercury and Anthem Records label groups continue the extensive Rush 40th anniversary album series with new, expanded editions of the band’s groundbreaking 1981 release, Moving Pictures, embodying its well-deserved classic album status.
Moving Pictures, Rush’s eighth studio album, was originally released on February 12, 1981, and its adventurous yet accessible music catapulted the forward-thinking Canadian band to even newer heights as it began navigating the demands of a new decade. The album’s seven songs expertly blended Rush’s intrinsic prowess for channeling its progressive roots into radio-friendly arrangements, a template the band had mastered to a T all throughout its previous album, 1980’s deservedly lauded Permanent Waves. Moving Pictures was also the second of many Rush recording sessions at Le Studio in Morin-Heights, Quebec, which was ultimately nicknamed the trio’s own personal Abbey Road recording studio.
The album’s lead-off track, “Tom Sawyer,” became one of Rush’s most cherished FM favorites in addition to taking its rightful place as a perpetual concert staple for decades to come. Next, the band shifts into the multi-generational dreamscape of “Red Barchetta,” which chronicles the thrills and chills of a high-stakes backroads car race. The instrumental barnburner “YYZ,” lovingly named after the airport identification code for Toronto’s Pearson International Airport, runs the gamut of the band’s forever impressive progressive chops in under four minutes flat. Side A closes out with the observational luminescence of “Limelight,” a timeless, if not prescient look at how introverted artists grapple with public demands while trying to maintain a personal level of earned privacy.
Side B commences with the expansive palette of “The Camera Eye,” a multi-layered, ten-minute-long travelogue that takes a bird’s eye view of the inherent hustle and bustle of New York City counterbalanced with the intense energy and deep-rooted history of London. “Witch Hunt” (subtitled as being “Part III of Fear”) offers a grim view of prejudice and mob mentality, while the album wraps up with the angular, cutting-edge “Vital Signs,” a propulsive track that clearly foreshadows a number of the more adventurous musical directions Rush would undertake as the ever shifting 1980s continued to unfold.
The Super Deluxe Edition includes three CDs, one Blu-ray Audio disc, and five high-quality 180-gram black vinyl LPs. The set encompasses the Abbey Road Mastering Studios 2015 remastered edition of the album for the first time on CD, along with two discs of previously unreleased and newly restored bonus live content newly mixed from the original analog live multi-tracks by Rush’s original producer, Terry Brown, featuring the band’s complete, unreleased Toronto concert from Maple Leaf Gardens in Toronto, Ontario, on March 25, 1981 (designated here as “Live In YYZ 1981”). The fourth bonus disc is a Blu-ray Audio disc with the core album newly mixed from the original multi-tracks in Dolby Atmos (a Rush catalog first!), Dolby TrueHD 5.1, and DTS-HD Master Audio 5.1 surround sound as done by noted producer/engineer Richard Chycki, alongside the previously available PCM Stereo mix. Also included on the Blu-ray are four bonus videos: a brand-new video for “YYZ” plus three remastered vintage promo videos for “Tom Sawyer,” “Limelight,” and “Vital Signs.” Additionally, all of the vinyl in the Super Deluxe Edition has been cut via half-speed Direct to Metal Mastering (DMM) (another Rush catalog first!) on five 180-gram audiophile LPs.
The Super Deluxe Edition of Moving Pictures-40th Anniversary will also include several exclusive items, including a 44-page hardcover book with unreleased photos and new artwork by original album designer Hugh Syme, along with new illustrations for each song; extensive liner notes by Kim Thayil (guitarist, Soundgarden), Les Claypool (bassist/vocalist, Primus), Taylor Hawkins (drummer, Foo Fighters), Bill Kelliher (guitarist, Mastodon), and Neil Sanderson (drummer, Three Days Grace); a Red Barchetta model car mounted on a black perch with an MP40 nameplate; two Neil Peart signature MP40 branded drumsticks; two metal-embossed guitar picks, one each with Geddy Lee and Alex Lifeson’s respective signatures engraved on them; a replica of the Moving Pictures 1981 official tour program; an MP40 logo enamel pin; a 3D lenticular “Moving Pictures in motion” lithograph; an 18×24-inch Toronto 1981 concert poster; a replica concert ticket from the 1981 Maple Leaf Gardens show; a 12×36-inch Rush Through The Years 1973-1981 poster; a YYZ luggage tag; and a All Access World Tour ’81 insert. All contents are housed in a premium lift-top box, which features movingly reimagined cover artwork by Hugh Syme.
The second configuration of Moving Pictures-40th Anniversary will be released in a three-CD Deluxe Edition digipak that includes the newly remastered original album on CD 1 and the entire, unreleased 1981 Toronto concert on CDs 2 and 3. Extras include a 24-page booklet with unreleased photos and reimagined artwork by Syme, along with the aforementioned liner notes by Kim Thayil, Les Claypool, Taylor Hawkins, Bill Kelliher, and Neil Sanderson.
The third Moving Pictures configuration will be offered as a five-LP Deluxe Edition, all of it housed in a slipcase including a single-pocket jacket for the remastered original Moving Pictures on LP 1, and two gatefold jackets for LPs 2-5 that comprise all 19 tracks from the complete, unreleased Live In YYZ 1981 concert. As noted above, all vinyl has been cut for the first time ever via half-speed Direct to Metal Mastering (DMM) on 180-gram black audiophile vinyl. Extras include a 24-page booklet with unreleased photos, Syme’s reimagined artwork and new illustrations, and the complete liner notes.
The fourth configuration is a one-LP eCommerce exclusive edition, featuring the first-ever half-speed DMM vinyl pressing. It comes newly wrapped in a limited-edition premium tip-on style gatefold jacket with printed sleeve, and each pressing comes with one of six randomly inserted Neil Peart hand-drawn lyrics sheets.
The fifth configuration, the Deluxe Digital Edition, features the original album and all 19 bonus live performances from Toronto, and is the digital equivalent to the three-CD Deluxe Edition.
Finally, the sixth configuration, the Dolby Atmos Digital Edition, is the digital equivalent of Richard Chycki’s masterful Atmos mix of all seven tracks from the original album.
Rush — bassist/keyboardist/vocalist Geddy Lee, guitarist/vocalist Alex Lifeson, and drummer/lyricist Neil Peart — maintains a large and uniquely passionate worldwide fanbase that acknowledges and respects the band’s singular, bold, and perpetually exploratory songcraft that combines sterling musicianship, complex compositions, and distinctive lyrical flair. Rush has sold more than 25 million albums in the U.S. alone, with worldwide sales estimated at 45 million (and counting), and has been awarded 24 Gold, 14 Platinum, and three Multi-Platinum album distinctions. Rush has received seven Grammy nominations, and the band was inducted into the Canadian Music Hall of Fame in 1994 and the Rock and Roll Hall of Fame in 2013.
Ted Nugent's latest album Detroit Muscle. Detroit Muscle is produced by Michael Lutz and Nugent. When asked about the album, Nugent says, "The mighty Motor City is forever globally known as the epicenter of the ultimate high energy soul-music firestorm, and everybody desperately needs a suckerpunch of Detroit Muscle now more than ever. Relax, it's good for you. " To download, go to Telegram
Gifts From The Holy Ghost, Dorothy Martin's third studio album as frontwoman for their pseudonymous rock band Dorothy, is the album she's always wanted to make. Born from a sense of diving urgency, it's their most bombastic rock n' roll work yet. While the debut album was made on a combination of whiskey and heartbreak, Gifts was built on sobriety, health, and spiritualism, in a way that reverses the cliched "good girl gone bad" narrative. It features the Top 40 Rock track, "Rest in Peace." To download, go to Telegram
With Rock Night in Jersey, Billy Hector utilizes his full five 5 decades of experience in mind melting fashion. Through the intricate horn arrangements, masterful songwriting, and undeniable guitar chops, Mr. Hector's skillset is on full display. Backed by a band of world-class musicians and co-written/produced with his creative cohort Suzan Lastovica, Mr. Hector has fashioned a truly noteworthy collection of songs. This is rock and roll like you just don't hear anymore. Ladies and Gentlemen, report to the dance floor for your dose of Fender Therapy; It's a Rock Night in Jersey.
The album Badder to the Bone has 10 tracks. It delivered various themes such as motivation, romance, anti-cheater, and heartbreak.
For songs about motivation, “United We Stand” (track #1) is perfect to fight against all problems, which is fitting during this pandemic. The best line is “Join hands together, let’s fight a good fight.” Because of the positivity of the lyrics, I recommend it to listeners who are fighting depression. It is also perfect for a TV series with a positive outlook on life.
If you’re up for romance, listen to “Queen of the Nile”, “Lockdown Love”, “King Kong”, “Fueling Me Up”, “Can’t Find My Way Home”, and “Queen of The Nile II”.
The best guitar track goes to “King Kong.” Man, I am so amazed. Everything about this track is a masterpiece. It made me headbang and want to dance when I heard the song. The backing vocals are outstanding too. I love the epic high note at the end. If this was a single review, I’ll rate this 10/10.
The longest and one of the sexiest tracks on the album is “Queen of the Nile” (feat. Lance Lopez & Peter Keys). Eliza’s vocals are so sassy and powerful. It has a longer length because of the guitar solo and backing vocals. What I like about this track is the background effects that gave a smooth listening. Its 2nd version, “Queen of the Nile II,” has an improved bass volume and a shorter length, which I think is better.
I mentioned the pandemic a while ago, so we are going to relate to “Lockdown Love” (feat. Michael Puwal). The main point of the song is how partners still love each other, even during the lockdown. Also, Neals sure is creative with her lyrics. There are funny lines about how we store a lot of food before lockdown and how we gain weight because of it.
“Fueling Me Up”, on the other hand, surprised me with its high and sudden opening line “Fueling me Up!” with backing vocals but without intro instruments. The song is an energy booster because of its lines “Boy you make me hotter and hotter” and the rest is history.
Lastly, the love song “Can’t Find My Way Home” has a lonely theme with no sexuality but has an alternative fast beat part in the outro section. When I first heard this track, It reminded me of “I’m With You” by Avril Lavigne. This emotional song could have some violin and piano, but Eliza still focused on the blues rock genre. It really shows that she’s a queen of blues rock.
Now let’s move on to heartbreak songs. The best anti-cheater song goes to “Got a Gun” feat. Billy Davis”. Cheaters, beware!! Your girlfriends have a gun, they will shoot you and the 3rd party. The lyrics and music are so catchy!! The most iconic and badass line is “I got a gun don’t mess with me, I’m gonna use it on you”. It’s perfect for female characters who are being cheated.
The next heartbreak songs are “Bucket of Tears” and “Heathen” but are very different from “Got a Gun”. Eliza Neals showed her emotional side in writing songs. “Bucket of Tears” is so poetic. It shows a deep sadness when a man can’t come home for a girl. The lines hit so hard “Where have you been? I’d cry a bucket of tears for you?”. “Heathen”, on the other hand, is one of my favorites, I absolutely love the piano, sound effects, backing vocals, bass, and everything in this track! It’s mellow and smooth. Eliza still has a powerful voice even on less-rocky songs.
Three and a half decades after releasing Special EFX’s self-titled debut album, multi-faceted composer/guitarist Chieli Minucci is still blazing innovative trails in contemporary jazz, continuously finding that musical sweet spot between in the pocket, radio ready pop/soul/funk and progressive, freewheeling world fusion.
It is difficult to sum up in few words the history and influence in the history of rock music that an act like Nazareth has had. Having celebrated their 50th Anniversary in 2018 with the release of their 24th studio album, “Tattooed On My Brain”, the long-running UK hard rockers will enter their 54th year of existence in 2022 with the release of their 25th studio album, "Surviving The Law". The line-up for "Surviving The Law" is the same as the previous release, consisting of Jimmy Murrison (longest serving guitarist in the band’s history), Lee Agnew (drummer since Darrel Sweet’s death in 1999), Pete Agnew (founding member, on bass) and vocalist Carl Sentance.
Daxx & Roxane are a ‘full-throttle’ 4 piece rock n’ roll band originating from Switzerland, now based in London (UK).
Citing Led Zeppelin, AC/DC and Mötley Crüe as key influences, it’s no wonder that Kerrang! Magazine has hailed them as “tooth-and-nail, testosterone-powered rock.”. They believe in: “Rock ’n’ Roll is all about energy. All about creating an adrenaline rush”
