Angel Witch's 'Angel of Light' - Album Review

The English heavy metal band Angel Witch are certainly one that embodies missed opportunities. Having formed in 1976, and found their feet during the NWOBHM movement, the band had the potential to really make something of themselves and were poised for greatness. In truth, the same can be said for many of the bands that made up the NWOBHM movement throughout the 1980s, but Angel Witch seem to epitomise the 'burning brightly' nature of that period. Their tale of false starts and modest success is perhaps more surprising than others' experiences however, as Angel Witch were certainly one of the genre's most unique and distinct-sounding bands. Angel Witch were one of the heaviest bands of the NWOBHM, and also the most atmospheric. There was always something spooky about Angel Witch's music. From their horror-themed album covers to their unsettling songs about mythical creatures - Angel Witch essentially started a whole metal sub-genre. Like many of the NWOBHM acts, Angel Witch live on more in their influence than in their records. Many of the bands albums are extremely hard to get these days, and considering the fact that the band's sole founding member Kevin Heybourne seems to hate most of them I doubt we will be seeing reissues any time soon! True success eluded many of the NWOBHM bands for a variety of reasons, but I feel that Angel Witch's lack of success was largely down to themselves. From the off Heybourne; the band's lead singer, guitarist, and main songwriter; has been the sole consistent Angel Witch member with many others coming and going over the years. An unstable line-up, coupled with long periods of inactivity, certainly derailed (and arguably still derails) the band's momentum - especially considering how the band burst onto the scene. The band's 1980 self-titled debut album was something of a hit in the metal world, and is rightly considered to be one of the best NWOBHM albums. The band should have capitalised on this, but it took Heybourne - and various new band members - five years to release a follow-up. Screamin' 'n' Bleedin' was released in 1985, with Frontal Assault following a year later, but not long after the pair dropped the second era of Angel Witch was over with Heybourne once again without a band. Incidentally these are the two albums that he dislikes now, essentially wiping a whole era of the band (and a big chunk of their small discography) out of existence. That discography was increased earlier this year however, as Heybourne released Angel of Light - the band's fifth studio album and first since 2012's As Above, So Below. A seven-year wait for a new album is a blink of an eye in the context of Angel Witch's career, but fans of the band were probably surprised when the new record dropped none the less. Stylistically, Angel of Light is very typical of Angel Witch's previous work (or at least the work I can actually listen to) and it fits perfectly into their existing canon. Spooky melodies, catchy hooks, and slightly progressive songwriting are the order of the day here, and Heybourne and co. seem out to prove that there is still more life in this witch yet.

The eight-track album kicks off with Don't Turn Your Back, a great old-school track that really harks back to the Angel Witch album nearly 40 years ago. With a warm, slightly fuzzy production, the album really recalls the NWOBHM period - and there is certain solace to be found in Heybourne's refusal to move with the times. A spooky guitar melody kicks things off, before a a weighty yet simple guitar riff provides the album's first moment of heaviness. All previous Angel Witch studio albums have been recorded with a single guitarist, but Angel of Light sees Jimmy Martin adding some additional guitar work throughout. Having a dedicated rhythm player this time around really helps to bulk out the songs, with the verses here feeling nice and thick thanks to the presence of two guitars. The heaviness is helped by the solid mid-pace, which mostly endures throughout, with Fredrik Jansson's hollow drumming really keeping everything within a tight groove. The choruses are a little faster, and based around a catchy vocal hook that is easy to recall after only a couple of listens. Heybourne has never been the greatest of singers - but his slightly-strained voice fits in with the eerie sound the band conjures up. Don't Turn Your Back is a strong opening track that should feel instantly familiar to fans of the band, and really captures the classic Angel Witch spirit. Death from Andromeda, for which a video was filmed, ups the pace with some galloping rhythms and the occasional burst of twin lead guitar. The gallop is a key sound of the NWOBHM movement, and its inclusion here perfectly recalls that era - while injecting some real energy into the album's early moments. Bassist Will Palmer, who amazingly is the second longest serving Angel Witch member in the band's entire history, holds everything together with his muscular playing - while Heybourne and Martin weave their six-string magic atop. This is a song that seems to be focused much more on the guitars' riffs and leads than on Heybourne's vocal melodies - although a simple chorus still provides something of a focal point. The way the album has been mixed means that the vocals always feel somewhat quiet. This does help to enhance the spooky vibe, but also means that some of the melodies feel a little buried - which is a shame. It is left to a soaring guitar solo instead to provide some real melodic meat - with a riff-heavy closing portion also adding plenty of weight. We Are Damned opens with some early Iron Maiden-esque (think their debut album) dual guitar leads that really come to dominate the whole feel of the track. Having two guitarists in the band really allows this side of their sound to be expanded - with Heybourne and Martin taking many opportunities throughout the album to team up and lay down some old school melodies. This is another track that really focuses on the guitar playing, although a chorus with a catchy refrain also provides a strong hook. It is a chorus that could have done with bulking out with some powerful backing vocals however in my opinion, as the call-and-response style ends up being a little buried - with a tasty guitar lead clearly given preference in the mix over the vocals. A lengthy Heybourne guitar solo more than makes up for this lack of vocal power however, and showcases his playing style well. He is not the most distinct of players, but has a certain way with phrasing that helps to contribute to the overall atmosphere of the song. There are quite a lot of lengthy instrumental sections here, with the fade out to We Are Damned being one of them.

The Night is Calling is a bit more of a dynamic piece, opening with a melancholic clean guitar pattern that Heybourne soon starts to croon over. I always find that Heybourne has one of those voices that you have to get used to - much like Ghost's Tobias Forge for example - but once you are 'in the zone' you really could not imagine anyone else fronting the band. The somewhat more laid back vibe that much of this song has means that his voice is much more prominent here - although once the song ramps up it returns to its semi-buried state. It is a track that constantly shifts between gentler passages like the opening and heavier sections - which help to create an unsettling vibe. As the song moves on however, the heavier sections begin to dominate with a muscular riff driving everything and a lengthy twin guitar melody that leads into a reprise of the chorus, with Heybourne howling the lyrics - only for the pace to increase suddenly and a shredding solo take its place. Condemned returns to a more consistently heavy sound, and opens with a somewhat doomy riff that definitely channels Black Sabbath. The song is fairly varied pace-wise however, mixing these slower sections with other parts that have more urgency to them. Much of the song is actually fairly pacy however, with an expressive riff driving the verses and a chorus that features one of the biggest vocal hooks of the album - with some subtle harmonies employed to widen the sound. Despite the strong vocal hooks, the song still maintains that classic Angel Witch vibe with many portions of the track seeing Heybourne and Martin linking up once again for some spooky leads - before the former tackles a shredding solo part way through. Those who loved the old-school NWOBHM gallops found throughout Death from Andromeda will also love Window of Despair - which is very similar. Palmer's bass once again shines, keeping the pacy groove up throughout the entire song, but this time the guitars are also really contribute to the gallop - giving the song a fuller and somewhat heavier feel. Nothing found throughout this album is particularly complicated, but there are still lots of strong riffs to be found throughout. There are a more than a handful in this track too, with some razor-sharp moments that really defy the album's production. The fuzzy, old-school production really helps the album to sound great, but it does somewhat take the edges off some of the riffs. That is how things were in the 1980s however, so its use here is entirely appropriate - but there are still a couple of riffs here that are potent enough to defy the fuzz. It really helps the song to stand out, with a furious guitar solo from Heybourne and a fast-paced pseudo-thrash ending section also adding plenty of weight - and showing their influence on other bands that followed.

With two tracks left, the band seem to push for greater heights during the album's home straight. I Am Infamy opens with some of the strangest guitar atmospherics on the album, further enhancing the album's overall mood, before a chunky verse takes over with some of the tightest rhythms of the album. Angel Witch is basically Heybourne and whoever he surrounds himself with at any given time - but the other three members of the band all do their bit to ensure that the album sounds strong. Jansson in particular shines on this track, with a varied performance and style. Old-school production often muffles drums somewhat, and there is sometimes little distinction between the different parts of the kit. That is somewhat the case here, but he still manages to make his presence felt. There is a lot of cymbal work throughout the piece, which really helps to add to the heaviness. It fits in nicely with the heavier guitars, and also helps to add some variation to the somewhat catchy chorus - although I do wish that the vocals were not so buried as the melodies seem to be pretty strong. The album's title track finishes the album off, and it opens with another chiming, unsettling clean guitar melody before some tough rhythms join in. This is the album's longest song, so as a result there is a lot going on. The band's progressive side is on show here, with a few distinct riffs being put on display before the vocals kick in - along with some neo-classical shredding. Producer James Atkinson also contributes some Hammond organ to the song, which adds some depth, but it never really dominates and still allows the band's classic guitar-dominated sound to shine. There are almost as many riffs to be found throughout this song as the throughout the rest of the entire album put together, and it is clear that Heybourne really put a lot of effort into this closing number. The vocal melodies however seem a bit of an afterthought, with no real catchy hooks to latch onto in that regard. This is most certainly a guitarist's piece, with all the riffs that anyone could want as well as a number of distinct solos - all showcasing Heybourne's fast-paced style. It is a pretty heavy track throughout, never really dropping out until the end - with the album finishing on a low-key clean guitar pattern that slowly fades away. It is a strong end to the album, and a song that showcases the skills of all involved. Overall, Angel of Light is another enjoyable album from Angel Witch. It does nothing evolve the band's style, instead sticking to the tried and tested formula that was first exhibited back in 1980. There are no real duds here, but with a few of the songs lacking some real hooks it stops short of being a truly great release. Considering there will probably be another good few years and line-up changes pass before we see another Angel Witch album, this is a release that is sure to keep the band's fans coming back for more.

The album was released on 1st November 2019 via Metal Blade Records. Below is the band's promotional video for Death from Andromeda.

Cats in Space - Tavistock Review

As 2019 draws to a close, I have been thinking over all of the great shows I have been to this year. I am not sure that I got to quite as many as I did last year (last November and December in 2018 in particular were ridiculous) but the quality has almost always been consistently high. I will sum up my favourite gigs of the year in my customary round up of the year posts at the turn of the new year - but it is safe to say that 2019 has been another great year, both for concerts and albums. There always has to be a 'last gig' every year and, for the first time since 2015, it is a band other than The Quireboys that closes 2019 out. I have missed my customary Quireboys acoustic gig to close out the year, but a bombastic display from the British rock act Cats in Space more than made up it! Despite having been around since 2015, Cats in Space are a band that I have only got into recently. I actually saw the band open up for Deep Purple in 2017, and somewhat enjoyed their set, but at the time they did not really grab me. I had somewhat followed the band's progress since then, but really started to take notice earlier in the year when frontman Mark Pascall joined the ranks - replacing the departing Paul Manzi. Pascall lives relatively locally, so I have been running into him in various bands over the years. I think I first saw him in 2008 when his band at the time Morph opened up for someone (I forget who) at the sadly-demolished White Rabbit in Plymouth. I have since seen him in both Empire of Fools and his current band Departed. Departed a band I have become a big fan of over the past couple of years, having seen the band a handful of times supporting various people and picked up copies of both of their EPs. It was his addition to the Cats in Space ranks that made me curious enough to pick up a copy of their most-recent album Day Trip to Narnia in HMV earlier in year - and I have to say I was almost-instantly blown away by the songs. Since then I have become a big fan of the band, and a trip to Tavistock to see the band on their Christmas UK trek was a no-brainer. It does not feel that I have been out to Tavistock as many times this year as I usually do, but I always love visiting the Devon town for live music. We are extremely lucky in the South West to have a venue like Tavistock's The Wharf, as it manages to attract quite a few decent bands down this way each year. I think this was Cats in Space's first visit to the South West, with Pascall clearly managing to tempt the band down to his home county. For a Sunday night, the turnout was pretty good but I thought it could have been better for a band of Cats in Space's rising stature. There were probably a couple of hundred people in attendance, which was decent, but it would have been nicer to have seen a few more faces.

Unusually for shows at The Wharf there was a support act, as former Furyon and Colour of Noise frontman Matt Mitchell took to the stage before Cats in Space to run through around 40 minutes of music from his new album with his new backing band The Coldhearts. I have been casual fans of both Furyon and Colour of Noise over the years, even seeing the latter at the Cambridge Rock Festival a few years, so I was already familiar with Mitchell and his vocal style. Fronting his own band however, he really came alive as a frontman. Throughout the set he channelled his David Coverdale-come-Paul Rogers style, with bluesy class oozing from his voice throughout his time in stage. I had heard The Coldhearts' album a handful of times prior to the show, so was somewhat familiar with most of the material. The songs came across much heavier live, although this partly down to the band's drummer who's kit was far too high in the mix. He was clearly more used to playing metal than bluesy hard rock, and really crashed his way through the set. A more subtle approach would have been more suitable really, but at least his playing kept everything moving at a brisk pace. The live band did not have a keyboard player either, which was a shame as the album has plenty of strong keyboard work throughout. I think the songs certainly lacked a certain edge without the keyboards, so that plus the rather leaden drumming did affect my enjoyment of the set somewhat. That aside however, Mitchell was fantastic. His stage presence and voice were both excellent, and he is clearly an excellent songwriter. I was not familiar enough with the set to keep a proper setlist throughout the show, but he and the band played some of my favourites from the album, including the excellent Dare You to Watch and a fantastic rendition of the riff-heavy Black Diamonds closed out the show. An extended version of Thin Lizzy's The Rocker was also included, which unsurprisingly went down well with the growing crowd - who in general seemed reluctant to warm to Mitchell. With a better sound mix and a keyboard player, Mitchell's set would have been really great - but as it was it was just 'good'. I will certainly keep enjoying his album however, and I hope I get to see him again sometime in the future.

After half an hour or so, the lights went down and Cats in Space took to the stage to Mud's The Cat Crept In - which should tell you all you need to know about the six-piece. It would be harsh to call Cats in Space purely a throwback to British 1970s rock, but there is no doubt that Queen, ELO, Sweet, Mud, Slade etc. are the band's main musical touchstones. The band do not seem to care how obvious the comparisons sometimes can be - and wear their influences proudly on their sleeves. This was obvious from the off, with Andy Stewart (keyboards/vocals) sporting a Mad Hatter-esque outfit and the first song of the night containing a chorus that could have been on a long-lost Sweet album. Johnny Rocket was a great way to open the show, with Pascall getting the chance to show off his voice early on while guitarist Greg Hart and bassist Jeff Brown also sung a few lines of lead. Hart is the band's main songwriter, but most of the solos throughout the show were handled by former T'Pau guitarist Dean Howard who seemed to be overjoyed to be up there shredding away. The main thing that was clear from Cats in Space's set was just how much fun the band seem to have, which is always great to see. Epic stadium-worthy tracks like Too Many Gods and Narnia showcased just how many great choruses and melodies the band have packed into their three existing albums, and even slower tracks like September Rain did not skimp on melody. Pascall seemed to particularly enjoy doing September Rain, and he said it was one of the first songs he ever sang with the band. A newly-recorded version of the song with his vocals was released as a single a few months ago to introduce him to the band's fans - and he already seems to have fit perfectly into the band's ranks. He still seems to be finding his feet somewhat however, with Hart doing some of the in-between song chat with the crowd - but I am sure that Pascall will continue to grow in confidence as he gets more gigs with the band under his belt. It was testament to the band's catalogue that the set contained no weak moments. Even older tracks like Mr. Heartache were great, with the big chorus hooking everyone in, while the more cinematic epics like Jupiter Calling showcased the direction the band has been taking for the past couple of albums. There are occasional moments in Cats in Space's sound that showcase something of a progressive rock influence, and Jupiter Calling is one of the most obvious in that regard with lots of Stewart's spacey synths. The band also shine when doing all-out rock, with the driving Hologram Man being a particular highlight. No matter what style the band are attempting, there is always a big chorus to be found - and that is always sure to keep me entertained. It was a set that kept rocking to the end, with Five Minute Celebrity bringing the main set to a rollicking close. The band left the stage, but it was not long before they were back for a two-song encore. The disco-esque Thunder in the Night kept the party vibe going, before the band's new Christmas single My Kind of Christmas rounded everything off. The song is a great old-school sounding Christmas song, and should be added to playlists with all the other Christmas favourites. It went down well with the crowd, who were covered in 'snow' confetti at the end, and it ensured the evening ended on a real high. The setlist was:

Johnny Rocket
Too Many Gods
The Mad Hatter's Tea Party
Narnia
September Rain
Mr. Heartache
Timebomb
Scars
Jupiter Calling
Silver and Gold
Hologram Man
Greatest Story Never Told
Five Minute Celebrity
-
Thunder in the Night
My Kind of Christmas

It was a fantastic night of rock in Tavistock with Cats in Space, and a night that ended 2019's gigging calendar with a bang. Cats in Space are one of those bands who I will now try and see whenever I can, as their shows are just so fun. I am also interested to see how the band progress with Pascall as their singer - so I look forward to hearing their next album whenever it is ready.

Alter Bridge - Nottingham Review

I have been to a lot of gigs this year, a few of which have been quite big affairs. I have seen a number of arena shows, as well as one big stadium gig, and I feel lucky that I have been able to see many of the biggest rock and metal bands in the world over the years. I ticked off Bon Jovi this year, saw Ghost's arena debut, and caught Kiss on their never-ending farewell tour. A band that has steadfastly been filling arenas here in the UK for a few years now however is Alter Bridge - a four-piece who might genuinely be one of the biggest rock acts in the world currently. Their success has been somewhat stealthy, with very little true fanfare or hype - instead building their reputation over time with a number of strong album releases and back-to-basics rock shows. The band have not reached these heights in their native US, but over here in Europe the band are a big deal. I cannot imagine the band will have to wait long to headline festivals here like Download, and they are truly the band to take the torch from the classic acts who are slowly winding down their activities. I have been a fan of the band since around 2008 or 2009. I remember hearing the Blackbird album around the time of its release and initially dismissing it. The first listen did nothing for me, but for whatever reason I revisited it a year or so later and loved it. Since then I have been a big fan of the band, and have seen them three times - with the best being a show at the Hammersmith Apollo in 2010, on the last tour they did in the UK before graduating to the arenas. Shows at Nottingham's arena followed in 2013 and 2016, both of which were great but neither reached the heights of that excellent night in Hammersmith. I felt that the band had not quite yet worked out how to play arena shows. Not every arena show needs to be a big spectacle, but I felt somewhat that the band seemed a little overawed by the situation. It must be strange going from large US clubs to UK arenas in the space of a month or so and, despite having the material to fill arenas, I felt that the transition never seemed to quite happen. Nevertheless, Alter Bridge are a band that I will go and see if I am able to - so when another UK tour was announced earlier in the year I picked up a ticket. I opted for Nottingham again as it fell on a weekend - and thought it the most appropriate considering it had been the venue for two of my previous Alter Bridge shows. In the interim period the band released the excellent Walk the Sky album, which I have been listening to a fair bit since its October release. The strength of the album made me look forward to the concert more, and I hoped that this would be the tour in which Alter Bridge fully transitioned to being an arena band.

Before Alter Bridge took to the stage however, the crowd were treated to a couple of support acts. Up first were The Raven Age - a British metal band that are making Iron Maiden fans the world over sick with their seemingly-continual support slots. George Harris (guitar/vocals) is the son of Iron Maiden's bassist Steve Harris and, with nepotism alive and well in the Maiden camp, The Raven Age have supported the band a number of times over the years. Ironically (or not), I saw The Raven Age a few years ago supporting Steve Harris' British Lion side project in Plymouth. I did not think much of the band then and, despite some line-up changes and a bit of an overall improvement in sound, I did not think much of them this time either. The band play that fairly twee sub-metalcore, but without all the heavy bits, which is somewhat popular these days - but it does nothing for me. The band were competent enough, and even had a few strong individual moments, but on the whole their songwriting was a bit bland and they did not really do anything to stand out from the crowd. There were some decent riffs scattered throughout their songs, and the occasional blistering burst of twin lead guitar, but everything else just fell a little flat. The band's current frontman Matt James certainly had a stronger voice than their original singer too, as I remember him being something of a weak link previously. James certainly belted out a number of strong notes, but the melodies all felt a bit lacking. There was not one chorus that really stood out to me, and for music with a poppy edge that is usually a big turn off for me. When the band were announced as a last-minute replacement for Sevendust who had to pull out due to illness, I was interested to see how The Raven Age had progressed. Unfortunately the band still do nothing for me, but I am glad I got the opportunity to catch up with them after a few years.

The evening's special guests were Shinedown, a band that actually occupied the same position when Alter Bridge played the same venue in 2013. The band are one that I actually somewhat enjoyed around the time The Sound of Madness album came out, but I have long grown out of Shinedown and actually find them quite annoying now. Aside from the 2013 Alter Bridge show, I also saw the band supporting Iron Maiden (there is a theme here...) in 2017 - and it was that show that really turned me off. There have long been rumours that frontman Brent Smith lip syncs live and, while I do not think that he wholly relies on backing tracks, there was certainly a lot of 'help' going on. Over-reliance on backing tracks instantly puts me off a band - so Shinedown have long been out of my attention - and their set in Nottingham did nothing to push them back in. I can understand why they are popular, as they do have some strong songs and some truly stadium-worthy choruses - but they also really rub me up the wrong way and that is largely down to Smith. He must literally give the same speeches at every show about making friends with the person next to you etc., and after hearing it for a third time I have to say that I was extremely sick of him and his band. I just find him to be quite an unlikable and arrogant person - seemingly thinking that everyone was there to see him. While I am sure that many people in attendance were Shinedown fans, the vast majority of us were primarily there to see Alter Bridge. The fact that he is still supporting the same band six years on should give Smith a reality check, but he seemed oblivious to the situation and kept wheeling out his shtick throughout. I did not hate the whole set, but Smith's attitude just really turned me off. I have felt similar previously, but this time I had had enough of him a just wanted the band to play some songs. The thing is, when the band do get a chance to play they sometimes pull out a winner. There is no denying that songs like Second Chance are top quality modern radio rock anthems, but with a few middling tracks and a rather leaden version of Lynyrd Skynyrd's Simple Man making up a large chunk of the set it was all a bit of a mixed bag. Judging by the crowd's reaction, lots of people in attendance really liked Shinedown - but I was not one of them. I am hoping that I will not be forced to sit through another of the band's sets anytime soon, as I am really not sure I can cope with any more of Smith's arrogance.

Luckily after two support acts that did very little for me, Alter Bridge were on hand to really capture the night. The band did not really do anything differently this year, but I feel that 2019 was the year when Alter Bridge became a true arena act. Clearly buoyed by the reaction to Walk the Sky, the band seemed at home on the big stage, and rattled through a seventeen-song set with ease - with a loud and clear sound mix allowing all the nuances in their music to shine through. Kicking off with Wouldn't You Rather was a good move too, as the song really shook the building's foundations. From guitarist Mark Tremonti's opening riff to Myles Kennedy's (vocals/guitar) soaring chorus vocal - the song really heralded this new era of the band in a big way. What followed was a good mix of stuff from five of their six albums (2016's weak The Last Hero was ignored), with many of their best-loved tracks featured, alongside newer and deeper cuts. Early on the favourites came thick and fast, with the heavy Isolation and the riffy Come to Life whipping up some excitement during the set's opening moments. If I had a criticism of the setlist it would be that it is many of the same older songs make the set from tour to tour, with tracks like Ghost of Days Gone By and Rise Today seemingly ever-present, but with plenty of new tracks included the setlist still felt suitably shaken up. All of the new songs featured fit nicely in the set, with a few even fleshed out with a live keyboard player - something new for the band. The heavy Native Son and the anthemic Take the Crown were particular favourites of mine, and the sold-out crowd seemed to lap them up too - despite the newer songs not initially receiving strong receptions as Kennedy introduced them. Speaking of Kennedy, he seemed much more expressive than usual - another reason why I feel the band have finally adapted well to arenas. He was more like the Kennedy I remember from Hammersmith, and his demeanour really helped the band to come across well. It helped that vocally he was spot on throughout the night, constantly showcasing why he is one of the best-loved modern rock singers. He also had ample chance to show off with his guitar too, but thankfully the set was much more balanced towards Tremonti's leads and solos this time around. In 2016 Tremonti was largely a rhythm player for much of the set, but this time he had plenty of time to shine. He also took the lead vocally on two tracks: Waters Rising and a rare outing for Burn It Down from the band's first album. I think many forget that One Day Remains was essentially a Tremonti solo album with his ex-Creed bandmates and Kennedy on vocals - so it was appropriate for him to take the vocals on the track live. His solo during the epic Blackbird was one of the highlights of the evening, and his driving riffing during the closing number Metalingus again shook the venue to the core - ending the evening on a real high. The sold-out crowd's cheers brought the band back for a couple more, with the ballad-esque Godspeed, another highlight, kicking the encore off. It was great to hear the song float through the venue, and it only made the closing number Addicted to Pain feel much heavier in comparison. It was a tough ending to a dynamic and varied show - and the large crowd made their appreciation known as the band took their bows. The setlist was:

One Life
Wouldn't You Rather
Isolation
Come to Life
Pay No Mind
Ghost of Days Gone By
Burn It Down
Native Son
Rise Today
Take the Crown
Cry of Achilles
Waters Rising
Watch Over You
Blackbird
Open Your Eyes
Metalingus
-
Godspeed
Addicted to Pain

In my opinion, this was easily the best Alter Bridge show I have seen since the Hammersmith one a few years ago. I have always enjoyed the band live, but this time they really brought it and seemed to have a new-found confidence on the big stage. A sold-out crowd certainly helped, and if anyone was unconvinced by Alter Bridge's status before then this show should have easily put those doubts to bed.

The Big 3-0 Tour - Wolverhampton Review

Anniversary tours are very popular at the moment, and anniversary tours featuring whole albums played in full are the height of popularity. Tours of this nature allow bands to celebrate milestones and key releases with their fans, and they give fans a chance to hear some of their favourite albums played live on stage. I have seen quite a few album anniversary tours over the years, and they have always been great. They usually give bands a chance to play some songs that they would not usually play, as they can feature the deep album tracks as well as the big singles. Older bands often seem to be caught in the trap of just playing the hits all the time - and full album sets allow the band to change up their setlists and pull out some favourites for the real die-hard fans. It seems that many bands seem to really enjoy these tours, and they seem to be popular with the fans too - which is great to see. You will understand my excitement then when, earlier in the year, one of these tours was announced. Featuring not one but three bands, The Big 3-0 Tour was announced across a number of good-sized UK venues - matching the Dan Reed Network, FM, and Gun together. All three bands released an album in 1989, and all of the albums are seen as important releases in the bands' careers. Respectively, Slam, Tough It Out, and Taking on the World are all seminal, fan-favourite albums so it made sense for each band to acknowledge their milestone. Teaming up together was also a wise move. While all three bands certainly have good-sized fan bases, there is a certain amount of crossover between the bands. As I discussed recently in my review of Skid Row's recent show in Nottingham, big bills are becoming extremely popular. They allow bands to share touring overheads, and give the fans value for money. Being a big fan of both the Dan Reed Network and FM, making one of the shows was a must. I am something of a casual Gun fan too, which meant that the whole evening would be entertaining. I opted for the Wolverhampton show, as it fell on a Friday and it had been a while since I had visited the Midlands city. I think it was 2016 that I last visited Wolverhampton, so it was nice to return as I used to visit the city periodically for concerts when I was living in Leicester. The gig took place at KK's Steel Mill, a fairly new venue set up a couple of years ago by ex-Judas Priest guitarist KK Downing. It was a surprisingly large venue, with a big bar area out front and a good-sized stage which gave the bands plenty of space to move around. The only issue with the venue was the temperature inside, which was very cold. Considering the venue looked like a former industrial unit however, this was unsurprising. Things started to warm up as the evening moved on however, as there was a decent turnout and plenty of energy created by the bands.

The bands changed the running order each night, and in Wolverhampton it was the Dan Reed Network that kicked the evening off. All three bands had the same amount of time on stage, 65 minutes, meaning that no one act felt like the evening's headliners despite the running order. Of the three acts, the Dan Reed Network were probably my most anticipated set, as the Slam album has become one of my most-listened to albums of the past couple of years. As the album is about an hour long, the band's set consisted entirely of Slam, largely in its original running order. The only exception was the way the album opened, with the ballad All My Lovin' moved to the beginning which saw frontman Dan Reed taking to the stage alone to sing an abridged a cappella version of the track while his band's four musicians took to the stage - before the lights went up and they crashed into the riff-driven Make It Easy, with Brion James (guitar/vocals) really impressing early on. The sound was extremely guitar-heavy early on during the band's set and, although it did balance out somewhat as time passed, it mean that James' playing and soloing was extremely dominant. He is such a great player, mixing funky grooves with 1980s-style virtuoso shredding to help define the band's unique sound. Songs like the early single Tiger in a Dress and the funk-heavy Doin' the Love Thing really showcased his inimitable style perfectly - with the latter particularly striking up a infectious groove from the off with the whole band coming together to perform the vocal intro. It just goes to show that although Reed leads the charge, the Network is a proper band rather than a solo project - with everyone doing their bit to aide the show. Of course Reed was the centre of attention however, with the frontman dancing his way across the stage throughout the band's set - and injecting tonnes of emotion into songs like Stronger Than Steel. He also had plenty of chance to show off his dramatic, showman-esque style too, with the cinematic Cruise Together being a perfect opportunity for his expressive personality - while Melvin Brannon II (bass guitar/vocals) held everything together with his smooth, funk-influenced playing. Slam is one of those albums where many of the singles etc. are towards the beginning of the album, with the final portion including many of the deep cuts. The last few tracks were all lesser-played numbers, which was a real treat for those die-hard fans in attendance. Lover saw Reed strap on an acoustic guitar for extra depth, while a surprisingly weighty take on Come Back Baby saw plenty of movement from the crowd. There were clearly plenty of Dan Reed Network fans in the audience, with even the lesser-played songs all receiving strong reactions. This made for a high-energy set, probably the most kinetic of the evening, and the closing track Seven Sisters Road only enhanced this. The song has a high-tempo bluesy rock shuffle, with James riffing continually throughout - and Reed used the opportunity to prance around the stage one last time. The Dan Reed Network certainly kicked off the evening in fine style, and the large crowd made their appreciation known as the five-piece took their bows. The setlist was:

All My Lovin'
Make It Easy
Slam
Tiger in a Dress
Rainbow Child
Doin' the Love Thing
Stronger Than Steel
Cruise Together
Under My Skin
Lover
I'm Lonely, Please Stay
Come Back Baby
Seven Sisters Road

With the bands sharing part of the backline, drum kit etc., and the fact that all the necessary gear was already set up, the changeovers were short - which kept the evening moving along at a brisk pace. FM were up next - my next most-anticipated act - and they kicked off their set with the Tough It Out album in full. It was my tenth time seeing the band live, and they approached the evening with the professionalism and sense of fun that they always do. Tough It Out was an album where FM really pushed towards the big time. They wrote songs with go-to songwriters Desmond Child and Jesse Harms, recorded a couple of tracks that they themselves did not write, and just generally embraced the American AOR market in a big way. While the album was a success, it was not the shot for the stars that they had perhaps hoped for - hence celebrating the album's 30th anniversary in Wolverhampton rather than Wembley! Tough It Out is another front-loaded album, with all well-known tracks coming early on - with the title track and the bluesy stomp of Don't Stop kicking everything off. The band's current line-up has been intact for over ten years now, and the band are extremely tight. Steve Overland (vocals/guitar) still sounds almost identical to how he did on the original album, and it was his smooth vocal performance that really drove everything forward - with the whole band harmonising well to deliver those big 1980s choruses. Bad Luck has always been a favourite of mine, and it is always a treat to hear the track live. Overland and Jim Kirkpatrick (guitar/vocals) teamed up for the harmony guitar intro - before the latter launched into a great solo part way through. As with the previous set however, it was some of the lesser-played songs that really shone the most. The beautiful power ballad Everytime I Think of You, which Mr. Big's Eric Martin recorded before FM tackled the track, really soared - and Overland seemed to enjoy singing the song again after a number of years. Another highlight for me was the tougher Obsession, which was led by Kirkpatrick's big riff. It was one of the few songs on the album co-written by Mervyn Goldsworthy (bass guitar/vocals) and Pete Jupp (drums), with the rhythm section really doing their bit to bulk out the track. Tough It Out is a good mix of smooth AOR anthems and riffy bluesy rockers and, although the album leans towards the former, that means the album is always an enjoyable and varied listen. The Tough It Out portion of the set came to a close with the fabulous Feels So Good, a song I have wanted to hear live for quite some time, with Jem Davis (keyboards/harmonica/vocals) laying down some of the most 1980s-esque synths of the night during the catchy track. Unlike the Dan Reed Network, FM had time for a couple more tracks and went back further in time to 1986 for the anthemic I Belong to the Night which further whipped up an already-enraptured crowd, before coming right up to the present day for Killed by Love which prompted a big sing along by the large crowd. It was another well-received set from a band who always deliver live. FM are one of my most-seen bands and I am sure I will be attending plenty more of their shows over the coming years. The setlist was:

Tough It Out
Don't Stop
Bad Luck
Someday
Everytime I Think of You [Eric Martin cover]
Burning My Heart Down
The Dream That Died
Obsession
Can You Hear Me Calling?
Does It Feel Like Love
Feels So Good
I Belong to the Night
Killed by Love

Gun are easily my least favourite of the three bands featured on this tour, but I am something of a casual fan and have seen the band live a handful of times over the years - usually as a support act. Taking on the World was the band's debut album, and it sold well at the time - leading to the band having a decent career during the early 1990s. Soundwise, I have always found Gun hard to place. They are not heavy enough to be proper hard rock, and in some ways I feel that they are extremely early Britpop. A lot of rock fans like them though, so they are a band that are somewhat hard to avoid. I enjoy Taking on the World, but Gun's set was a very different vibe to the two upbeat sets that preceded it. Many of the songs on the album are quite downbeat, so the overall vibe was quite different - although the band still put on an enjoyable show. The songs from Taking on the World were not played in order, with a few other songs mixed in to make up the time. The set kicked off with the album's first two songs however, with Better Days and The Feeling Within starting the evening off. Better Days is a strong track, and frontman Dante Gizzi sung the song with all of his signature swagger while his brother Jools (guitar/vocals) churned out the simple riff. I am far less familiar with Taking on the World than either Slam or Tough It Out, but I still recognised many of the tracks. The groovy Girls in Love was an early set highlight, before the band's signature cover of Word Up! jacked up the energy in the crowd - with the Dan Reed Network's James clearly enjoying the song from the stairs to the backstage area. Gun's crowd was noticeably thinner than either the Dan Reed Network of FM enjoyed (which is an issue common at gigs such as this), but they still managed to whip up plenty of excitement in their fans and a few sing alongs. The slow-paced Taking on the World created some singing, as did the anthemic single Money (Everybody Loves Her). It was a set that got better as it went along, with many of the band's best early tracks coming towards the end. Inside Out was great fun, before one of the 'other' songs Steal Your Fire saw plenty of singing. There were only a couple of tracks this point, and the final Taking on the World song Shame On You was a set high point. The version played live was much more powerful than the original album version, with a much bigger chorus and plenty of soloing from Jools Gizzi and Tommy Gentry (guitar/vocals). It was left to the band's cover of (You Gotta) Fight for Your Right (To Party!) to round the evening out. Unsurprisingly the song went down well with the crowd, and it certainly ended the evening on a high. Gun will never be a favourite band of mine, but I enjoyed their set and I am sure I will run into the band again at some point in the future! The setlist was:

Better Days
The Feeling Within
Something to Believe In
Can't Get Any Lower
Girls in Love
Word Up! [Cameo cover]
Taking on the World
I Will Be Waiting
Money (Everybody Loves Her)
Inside Out
Steal Your Fire
Shame On You
(You Gotta) Fight for Your Right (To Party!) [Beastie Boys cover]

A great night was had by all in Wolverhampton, with three bands all putting on enjoyable sets for a large crowd. The band of the evening were the Dan Reed Network for me, but FM were also excellent and Gun also put on a strong showing. I was initially on the barrier, but after I was handed a Dan Reed Network setlist I gave up my spot to go and get it signed at the merch desk. It was worth giving up my space for, and still managed to get into another good spot for the rest of the evening. It was great to see these bands playing in a larger venue than they usually would, and I look forward to my next opportunities to see them live again.

Angel's 'Risen' - Album Review

Washington D.C.'s Angel are one of those bands that should have been much bigger than they were. With an ear for a catchy melody, grand arrangements, progressive flourishes, and a glamorous stage presence - Angel were almost like America's Queen. The band formed in 1975, just around time that Queen were probably starting to get some recognition in America but - despite gaining something of a cult following throughout their career - Angel just never really took off. The band's original run, from 1975 to 1981 saw the release of five strong albums - kicking off with the epic, progressive self-titled debut album in 1975. Later albums saw the band strip back their sound somewhat to a more commercial hard rock one - but the grandeur of Angel always remained in some form or another. Following the release of the double live album Live Without a Net in 1980, an album that the band hoped would break them in the way that Alive! did for Kiss a few years previously, the band soon split up - with none of the members ever really surfacing again in other projects in a big way (with the exception of keyboardist Gregg Giuffria). In many ways, Angel are one of those 'what if' bands and it really surprises me looking back - and as a relatively new fan of the band - that they just never really 'made it'. It is a travesty that the band was not selling out arenas throughout the 1980s, as they had all the ingredients to do just that. For whatever reason though, the band just did not catch on and they instead live on through their undeniable influence and through their cult following. With the exception of their original run, Angel have largely been quiet ever since. A few short-lived reunions with various combinations of original and new members followed, with the album In the Beginning also being released in 1999, but these tours have been few and far between. It seems however that the band have more to say, as 2019 saw the release of the first Angel album for twenty years - Risen. Founding members frontman Frank DiMino and guitarist Punky Meadows started touring together again last year, with their live band eventually becoming the latest incarnation of Angel. DiMino has led all the various Angel incarnations over the years, but this is Meadows' first true involvement in the band since the very early 1980s - making Risen his first Angel album since 1979's Sinful. He did release a solo album Fallen Angel in 2016 however, which seems to have been something of a catalyst for this new Angel reunion. Sadly Giuffria has not rejoined the band to complete the original songwriting trio, as he seems to be doing well enough for himself with his Fruit Machine business, but with the band's original frontman and lead guitarist the new Angel is an extremely authentic beast. Four new faces round out the band, with rhythm guitarist Danny Farrow, bass guitarist Steve Ojane, keyboardist Charlie Calv, and drummer Billy Orrico completing the new Angel - all of whom performed on Risen. Farrow has taken Giuffria's place in the songwriting triumvirate - and with two guitarists now in the band the material on Risen is certainly weightier than any Angel of old. The band's trademark style is still evident throughout however, and the vocals of DiMino are as strong as ever. The only downside here is the album's length. 17 songs (including two re-recorded versions of old songs) is too long, and a few could have certainly been saved for a future release without harming Risen at all.

The album opens with a newly re-recorded version of the short keyboard-heavy instrumental piece Angel Theme (Prelude), which has appeared on at least two Angel studio albums previously, before Meadows launches into the strident, bluesy riff that leads Under the Gun. The song is very typical of the sound found throughout the album, with the guitars sitting front and centre - and Calv's keyboards taking on more of a supporting role. Much of the song sounds quite tough, with Meadows and Farrow laying down weighty riffs throughout - and the former occasionally breaking into a soaring lead - but the chorus takes on a bit more of an AOR vibe with a retro-sounding synth pattern and plenty of vocal harmonies to back up DiMino's powerful delivery. It is amazing how great both DiMino and Meadows sound after such a long time away from the scene - and Under the Gun is certainly a statement of intent from the modern Angel. Shot of Your Love has a bit more of a 1980s melodic rock sound, with DiMino's vocal melodies driving everything and the guitars providing a meaty backing rather than driving everything. It is a real shame that the band never made it as far as the 1980s, as this track is the sort of thing that they really should have been putting out during that decade! It is a real melodic feast, with another soaring AOR-esque chorus that would have been a huge hit on FM radio back in the day. Calv's keyboards are ramped up throughout too, helping to give the song a really melodic sheen that only enhances the overall vibe. Slow Down is initially a bit heavier with a barrelling opening drum and guitar combo that soon moves into a stop-start verse section with a percussive beat from Orrico. This is a track that plays with a structure a little more than average, and manages to pack a lot into a fairly short time. The subtle changes of pace and beat create something of a dynamic feeling - and the inclusion of another strong chorus makes the song another enjoyable few minutes of music. It is not quite as strong as the opening couple of tracks however, but showcases a slightly different side of the band which is good to see. Over My Head is more typical and returns to the sound of the earlier two tracks with another AOR-esque chorus and a strong guitar foundation. Meadows is no virtuoso, but he is the perfect player for this kind of material. His riffing is extremely strong throughout the album, and whenever he breaks into a solo it always adds to the song. He still looks every bit the rock star too, so it is great to see him spearheading some new Angel once again. Over My Head is one of the tracks that initially stood out to me when I first listened to the album, and it is still a favourite. The chorus is just so catchy, with DiMino sounding great, and the riffing throughout is very strong. An occasional synth break from Calv also adds to the fray, showcasing a bit of an old-school sound in the process. 1975 is a little more progressive and recalls the band's very early work at times. It opens with a lengthy keyboard intro that is a real throwback to the Angel album, before a gentle acoustic guitar pattern takes over. It is something of a autobiographical song, telling the story of the band's early days - so it is entirely appropriate that the song echoes that era of the band perfectly. Calv really shines throughout the track, with lots of synth soundscapes that create a big atmosphere, as does DiMino who sounds extremely strong vocally despite sounding very exposed without the big hard rock backing he is used to. Not to be outdone, Meadows lays down a lengthy guitar solo part way through the track. It is a great representation of his style, and full of expressive bluesy phrases that really ooze out of the speakers.

We Were the Wild is something of a single, with a lyric video being produced for the track, so it unsurprising that the track is another that is fairly typical of the album's core sound with a screaming lead guitar intro and a pacy verse with some of DiMino's best vocals on the album and the occasional burst of double bass drumming to up the urgency. With so many of DiMino's vocal peers now sounding quite ragged, it is amazing how great he still sounds. He can still hit some pretty high notes when he wants to, and his voice is just so smooth. He has clearly looked after himself really well, and he shines on each and every song here. The melodic chorus is anther showcase for his ability, with lots of subtle harmonies to back up the powerful melodies, before a synth solo from Calv showcases some more of his playing. I.O.U. is gentler, with sparkly keyboard textures throughout and plenty of big acoustic guitars. It is a bit of a ballad, although does ramp up a little during the choruses, and overall ends up sounding a bit like ELO. The melodies are quite sappy, but they just about stay the right side of the 'cheese' line. As a result however, the song does end up sticking out quite a bit. Much of the album up to this point, and beyond, is much heavier so the ballad certainly is easily noticeable. It is a welcome change of pace however. Considering the album's length it is important to have a diverse selection of songs, so this sugary ballad is a decent addition to the album without being one of the overall standout moments. (Punky's Couch Blues) Locked Cocked Ready to Rock is one of the highlights for me and, despite sounding a bit close to AC/DC's Back in Black at times, really showcases the simpler side of the band's sound. The track kicks off with some guitar pyrotechnics from Meadows, before a big riff kicks in and DiMino starts to belt out the lyrics. The guitars form the verse's staccato rhythm, while Ojane and Calv provide additional melodies with their bass and keyboards respectively in between the stabs of guitar. It is very effective, and the space between the notes really allows DiMino to command the track. He also leads the way in the chorus, which is one of the album's instantly memorable moments in my opinion - and makes use of some subtle gang vocals to create a big sound. Turn Around also showcases a bit of an ELO vibe too, although in more of a rocking way. Big acoustic guitars feature throughout the verses to bulk out the sound, while Calv's synths create a strong atmosphere. I do wonder if the band are fans of ELO, as there are certainly some strong vibes of the English band to be found here - especially in their slightly more laid back pieces. The chorus here has a strong Jeff Lynne vibe - with the sort of harmonies he has been using for years - which helps to make the song memorable in a kind of enjoyable background music way. Desire is somewhat meatier, with a flurry of keyboard notes early on before another AOR-esque track gets underway proper with a brisk pace and lots of harmony vocals throughout. It is not as heavy as the guitar-led pieces, but it certainly sounds grittier than the previous track. It is another song that really showcases DiMino at his best, with the frontman giving a strong performance throughout - with some really lengthy notes holding the chorus together. It is another strong track in an album full of good moments.

Our Revolution is more of a guitar-led piece, with a machine gun-esque riff early on backed by some urgent Orrico drumming. Most of the tracks here are fairly mid-paced, so it is great when the band come racing out the blocks riffing in this manner. It really injects some energy into the verses, with the choruses slowing things down a little to create something of a dynamic sound. The chorus is actually very different to the rest of the track, with more of a precise pace and some excellent keyboard work from Calv. It is great to hear him laying down old-school synth lines here, but the best moment of the song for me is Meadows solo which is one of the album's fastest. He shreds up a storm throughout the track, which fits in nicely with the song's pacier nature. Tell Me Why sounds a bit more like the stuff Angel started writing towards the end of their original run, with a much poppier overall sound present and a prominent guitar line which is anything but heavy rock. This is clearly supposed to be a more fun and laid back piece of pop rock however, but the track does end up sticking out a bit as a result. It is a great carefree attitude, and DiMino certainly shines again with all of the poppy melodies to play with, but overall it is not one of my favourite cuts. Don't Want You to Go is a great slab of AOR, with Calv's piano dominating early on before the rest of the band kick in with a simple verse rhythm. Calv then switches to his synths for occasional bursts of retro goodness. His playing becomes more apparent with each listen to the album for me, and I think that he might be the unsung hero of the current Angel line-up. He has filled Giuffria's big shoes perfectly, and knows exactly when to hold back and when to showcase himself. This song is a perfect example of his talents, and the big chorus is sure to keep you coming back for more! Stand Up is a bit more laid back, with plenty of acoustic guitars present again, but it is not a ballad - more of a mid-paced bit of semi-acoustic rock. Another powerful chorus holds the piece together, while the band work hard throughout to create a big sound. This is another song where there is really a lot going on throughout, with the acoustic guitars constantly adding depth and Calv moving around his bank of keyboards for a mix of sounds - before laying down a warmth synth solo towards the end of the track. My Sanctuary is the last of the new songs here, and is the end of the album proper. The result is another strong, up-beat rocker with some strong synths early on and a strident guitar-led verse that sees Meadows and Farrow churning out one last simple, yet powerful, guitar pattern. It is very similar to Under the Gun to my mind, just with a greater keyboard presence, which means the album opens and closes on a similar note - which always pleases me for some reason. DiMino really pushes himself vocally here too, especially during the choruses, really going for it at the end of the album! It is not the album's true ending however, as a re-recording of the Angel classic Tower finishes everything up. It is a decent new version of the song, but certainly not essential listening as it does not sound all that different from the original. Nevertheless it ends the album well enough and, if anything, just goes to show how strong DiMino still sounds. Overall, Risen is a really strong comeback album from Angel that showcases the current line-up in a great light. I was not expecting a new Angel album this year, so to hear one after so many years is a real treat. It is too long however, despite having no downright awful songs, so I feel a few could have been removed to create a more concise experience.

The album was released on 25th October 2019 via Cleopatra Records. Below is the band's promotional lyric video for We Were the Wild.

Phil Campbell's 'Old Lions Still Roar' - Album Review

With the exception of a stint with the NWOBHM also-rans Persian Risk in the early 1980s, the Welsh guitarist Phil Campbell, until recently, dedicated his whole career to Motörhead. When Campbell joined the British hard rock/metal pioneers in 1984, it is fair to say that Motörhead were really on the ropes. 1983 had seen the release of Another Perfect Day, the only Motörhead album to feature ex-Thin Lizzy guitarist Brian Robertson, an album that failed to connect with the band's fanbase and ended a run of extremely well-received releases that started in 1977 with the release of the band's self-titled debut album. Another Perfect Day has since been reappraised and many fans are now enjoying it in retrospect, but at the time it was not popular. A year later, both Robertson and drummer Phil Taylor were out of the band - leaving Lemmy as the sole-standing member. Lemmy put together a new Motörhead line-up later that year, and one of the new recruits was Campbell. With the band expanding to a four-piece, with Campbell one of two guitarists in the new-look band, Campbell was originally just part of the furniture - but over the years he proved himself to be an extremely capable guitarist, songwriter, and road dog. In fact, with the obvious exception of Lemmy, Campbell is the band's longest-serving member - having given 31 years of service. It must have been difficult for him then when, in 2015, Motörhead came to an end following the sad death of Lemmy. Motörhead had essentially been all that Campbell had ever known, with a handful of guest solos on other artists' albums being the extent of his side ventures. He never really had any side projects, instead giving everything to Motörhead and their seemingly never-ending world treks and regular album releases. In fairness to Campbell, he immediately bounced back from the downfall of Motörhead with a new band, Phil Campbell and the Bastard Sons, and kept up his road dog lifestyle by shipping the new act around the clubs of the world. It did not take long for The Bastard Sons, made up in part of Campbell's three sons, to establish themselves on the rock circuit - and the release of last year's The Age of Absurdity (which I briefly discussed here) showed that they could write strong material on their own terms. While The Bastard Sons seems to be Campbell's focus these days, over the past few years he has often talked about releasing a proper solo album, enlisting the help of many of his industry friends. Back in October, this album was finally released and it seems to have been a real labour of love for Campbell. Old Lions Still Roar, as the album is called, is a fairly diverse collection of songs that shows sides of Campbell's playing not previously seen with Motörhead or The Bastard Sons. In that respect it is a true solo album, although with plenty of A-list help from many big (and small) names in the rock and metal worlds that Campbell has gotten to know of his years globe-trotting.

Those expecting the album to race out of the blocks will be surprised by the opening track Rocking Chair, a slow-burning piece of semi-acoustic blues featuring the vocal talents of Leon Stanford (The People The Poet) crooning over some laid back bluesy riffing and excellent slide work. Much of the album is raw and hard-rocking, but clearly Campbell wanted to also showcase some other vibes here. This song is one of the starkest contrasts to his usual style however, so it brave to put it up front. The risk works though, and gently draws the listener into the album with Stanford's storyteller-style vocals and lots of bluesy slide playing. I would love to hear more blues from Campbell in the future, as his take on the genre really works and the song kicks off the album in fine style. Straight Up is more typical of Campbell's usual style, and has in fact been featured in The Bastard Sons' setlists over the past few months. Some of The Bastard Sons appear one some of the album's tracks, with Tyla and Dane Campbell handling the bass guitars and drums respectively here, but the star of this song is Rob Halford (Judas Priest; Fight; 2wo). Campbell really has rustled up a strong cohort of collaborators here, and Halford - fresh from last year's excellent Firepower - sounds great. The song is not as heavy as Judas Priest however, instead taking on more of a strong hard rock sound, with a simple pounding bassline and a stuttering power chord riff. Sometimes a straight ahead sound is the way to go, and Halford's vocal delivery shines with class rock strut - especially during the simple chorus. Faith in Fire is heavier, and features Ben Ward (Orange Goblin) who's throatier vocals really help the track to stand out. Given Ward's vocal style, this song is probably the closest thing on the album to Campbell's work with Motörhead. This is not a fast and furious track however, but a song that moves at a slower pace that echoes early Black Sabbath at times. Motörhead occasionally slowed things down, so this track is akin to one of their rare doomier outings - although the track does speed up as it moves on with with Campbell launching into a meaty riff and fast-paced solo, as Tim Atkinson (Leader of Down) lays down a busy bassline. Swing It features Alice Cooper, another of the album's biggest name guest stars, but it is less theatrical than his usual fare. Instead the song is a modern-sounding metal track with juddering riffs and a crashing drum track once again courtesy of Dane Campbell. Considering that this is his solo album, Campbell is often fairly restrained throughout. He solos in most of the tracks, but it is always done with the finished product in mind. He does not use the album as a cause for lots of showboating, which is great to see, but he does see fit to cut loose a little more than average throughout this track with occasional bursts of bluesy lead guitar and a couple of tasteful solos. Cooper sounds great vocally as always, and sounds at home in the somewhat heavier territory.

Left for Dead strips things back somewhat, and showcases the sort of thing that Campbell might have ended up writing if he had joined Whitesnake instead of Motörhead. This is a bit of power ballad, with lots of keyboard work thanks to Danny Owen, and a really emotionally-charged vocal performance from Nev MacDonald (Skin; Hand of Dimes). There are definitely parallels that can be drawn between this track and the ballads on some of those early Whitesnake albums; with Campbell taking the opportunity to lay down a lengthy and emotional bluesy solo, and MacDonald's vocal style echoing the constant heartache of David Coverdale. For me, this song is one of the album's highlights. One of the reasons is that I just love this sort of music, but it is also because it is so different from Campbell's usual style. As much as I enjoy songs like Straight Up, it is very similar to the material found on The Age of Absurdity and some of the previous Motörhead albums. Left for Dead sounds like nothing I have heard from Campbell before, and the washings of Hammond organ throughout just elevate things to the next level. Walk the Talk is a punchier modern metal track with a commanding drum presence from Ray Luzier (Korn; KXM) and vocal lines being traded back and forth between Danko Jones and Nick Oliveri (Kyuss; Queens of the Stone Age). I do quite like the song, but at times it does sound like it is trying a bit too hard to sound modern and relevant. The best tracks here are the ones that sound natural, but I am not sure that Campbell's style really suits this kind of music. There is a bit of a nu-metal vibe to be found in some of the vocal delivery too, which is never a good thing as far as I am concerned. It just makes the song stick out like a bit of a sore thumb, so in my opinion it is one of the album's weaker moments. These Old Boots is the exact opposite however, and is one of the strongest cuts here for me. Dee Snider (Twisted Sister; Widowmaker; Desperado) handles the vocals, and does so with all the charisma and aplomb that you would expect from him, as Chris Fehn (Slipknot) pounds the drums. It is a bit of an old-school heavy metal track, with a strong driving riff and a stadium-worthy chorus that Snider of course makes sound effortless. It is interesting to see that Snider also co-wrote the track with Campbell. Considering that he deliberately does not even contribute to his own solo material these days it seems strange that he would write a song for someone else's project - but it is great to see him being creative in that manner again after a good number of years! A strange, but manic guitar solo appears part way through courtesy of Mick Mars (Mötley Crüe), which is the icing on top of an already tasty cake.

By this point all of the album's best tracks have been and gone, but there are still some strong moments appearing throughout the album's home straight. Dancing Dogs (Love Survives) is a weighty number that again recalls The Age of Absurdity although there is a bit more of a bluesy rock vibe thanks to Whitfield Crane's (Ugly Kid Joe; Another Animal) vocal style. This is easily the best of the last three songs for me, as it just races out of the blocks and lays down strong Campbell riff after strong Campbell riff - with some excellent bluesy touches such as the use of wah throughout the slightly grungy choruses. I like the fact that the album includes both familiarity and new flavours, with this song easily being the former. Considering the album is fairly short, not much longer than 40 minutes, there are a lot of vibes and styles packed in here - which is great to see. Dead Roses is another ballad, and sees Campbell largely switching over to the piano. He is of course known as a guitarist, but he is clearly a proficient pianist too, as this song shows. He is not simply just hammering out a few chords on the instrument, but instead bases all of the song's main melodies around it - only really switching over to his guitar for an aching solo. Benji Webbe (Dub War; Mass Mental; Skindred) sings the song, who does a good job at creating the ballad-esque vibe. He has never been a singer that I have particularly liked, but he does well here and sounds strong. It is a decent track that showcases Campbell's playing and songwriting in a new light, but is not one of my favourite pieces here. The album comes to a close with the instrumental Tears from a Glass Eye that is a collaboration between Campbell and Joe Satriani. It is a fairly ambient piece, and not the shred-fest that you might expect from Satriani - instead letting layers of delicate acoustic guitar lines and keyboards meld together to create the strange piece. It is interesting the album opens and closes with two of the most 'out there' songs in the context of Campbell's usual style. I have never heard anything like Tears from a Glass Eye from him before, and it goes to show how diverse a writer he is. Until recently all anyone knew him for was Motörhead, so people could be forgiven for thinking he was quite a one-dimensional musician. It is clear that that is not the case however, as some of the songs here really demonstrate. Overall, Old Lions Still Roar is a strong solo debut from Campbell that showcases lots of different moods and styles throughout its fairly short runtime. Whether we will see any more solo material from Campbell with The Bastard Sons taking off in the manner in which they have - but it is a fun, revealing album that I have been enjoying listening to a lot over the past couple of months.

The album was released on 25th October 2019 via Nuclear Blast Records. Below is Campbell's promotional video for These Old Boots.

Ray Alder's 'What the Water Wants' - Album Review

As the frontman of Fates Warning, as well as stints with Engine and Redemption, Ray Alder is one of the most recognisable voices in progressive metal. Along with peers Queensrÿche and Dream Theater, Fates Warning have been shaping the genre since their 1982 genesis, and Alder has been helping to steer the ship for 32 of the band's 37 year career. He was not the band's original frontman, that accolade belongs to the enigmatic John Arch, but he is definitely the most recognisable. Under Alder's watch the band rose from cult favourites to big hitters in the metal world, with 1991's Parallels being something of a commercial high point, and while the band's star has faded somewhat over the years Fates Warning are still firm favourites in the progressive rock world. Alder has contributed to nine of the band's studio albums, along with a number of live albums, and has become a strong writing foil for bandleader Jim Matheos. Despite making significant writing contributions to the band over the years, Fates Warning has always been Matheos' baby. Alder has clearly always been content to contribute to Matheos' vision when required, but occasionally he has seen fit to cut loose and do his own thing. He led the short-lived band Engine which put out two albums between 1999 and 2002, which showcased Alder's writing in a more overt way than your average Fates Warning album, but since that band's demise he has not seen fit to put out an album under his own supervision - until now that is. Considering the length of Alder's career, it is amazing therefore that 2019 saw the release of his first ever solo album. Released back in October, What the Water Wants came out without any real fanfare but I imagine that fans of Alder's previous work immediately went out to purchase a copy. Fates Warning have had a relatively quiet year, with Matheos teaming up with Arch once again for the second album under the Arch/Matheos banner, so Alder clearly used this downtime to write and record What the Water Wants. He clearly thought it was time to showcase his songwriting again, and the result is a strong album that showcases his emotional and smoky voice perfectly. While there are certain songs that share similarities with Fates Warning's sound, especially their more recent works, What the Water Wants is not Fates Warning-lite. The songs here are much more concise and vocally-focused - unsurprisingly - but still contain enough interesting riffs and musical ideas to appeal to the progressive metal crowd. To help write and perform the album, Alder has recruited both Michael Abdow (Fates Warning) and Tony Hernando (Lords of Black; Restless Spirits) - who perform the guitars and bass guitars on the songs that they each co-wrote. They are joined by drummer Craig Anderson (Seven Witches; Crescent Shield) who performs throughout. This tight-knit foursome have managed to come up with a strong, flowing album that is sure to appeal to fans of many different kinds of metal.

The ten-track album kicks off with Lost, a melodic track that is fairly typical of the rest of the album. Alder's voice these days is much smokier than it was in the late 1980s and early 1990s, and the material written here reflects the change. Out of all of the 1980s metal singers still regularly touring and putting out new music, Alder is perhaps the one who has most comfortably adapted their singing style to accommodate for their ageing voice. There are no high notes to be found here, but a rich, warm vocal display that showcases all the emotional depth of Alder's voice. The track is co-written by Abdow, Fates Warning's current touring guitarist, who has helped Alder to pen the majority of the album. The song opens with some percussive drumming from Anderson, and some chiming guitar melodies that recall Empire-era Queensrÿche somewhat. In fact the Queensrÿche comparisons are somewhat apt here, with the song mirroring the darker, melodic tone of tracks like The Thin Line and Della Brown from the aforementioned album. Alder's verse delivery is very gentle, which sits nicely alongside the prominent bassline, before the song moves into a heavier chorus with walls of droning guitar chords and layers of tortured harmony vocals. Although this is Alder's solo album, the musicians he has hand-picked to help him out all turn in strong performances - with Anderson's groove-based drumming here really setting the tone and an effects-heavy Abdow solo adding extra melody. Despite the album as a whole being a more concise effort, there are still some progressive moments and Crown of Thorns is one of them. The song is extremely bass-heavy, with a deliberate groove coming from Abdow's playing really holding the whole piece together. His guitars add colour here rather than dominating, with some lines and textures replicating keyboard-esque sounds. The song is a mish-mash of different sounds, but it all seems to hang together nicely, with Alder's voice perfectly cutting through the mix - sounding particularly powerful during the weighty chorus. While the music throughout the chorus is less angular than the rest of the song, the bass is still extremely high in the mix, which helps to marry to the two sections together. It is one of the most diverse tracks here, and Fates Warning fans should immediately enjoy it. Some Days is more laid back, with gorgeous chiming guitar melodies and a smooth bass sound throughout that often - again - provides some of the main melodies and grooves. Considering that both Abdow and Hernando are primarily guitarists, the fact that the album is so bass-focused comes as something of a surprise. It is no bad thing however, and it really helps the album to create its own identity and set it aside from Alder's day job. Matheos is a great riff writer, so it is unsurprising that Alder wanted to showcase a bit of a different sound here. There is still plenty of great guitar work throughout the album, such as the spacey leads and eventual solo that pepper this track, but often the spotlight is shined on the bass.

Shine is the first of Hernando's efforts, so unsurprisingly it sounds different to the opening three numbers. Hernando is more of a power metal artist, so the fact that the track opens with a muscular guitar riff, complete with some screaming pinch harmonics, should not come as a surprise. It is a testament to Alder's songwriting however that the track does not sound out of place here, and instead serves to give the album a shot of energy. The pace generally is upped, with Anderson laying into his drum kit with a bit more venom and Hernando never far away with another chunky riff. The strong bass presence is retained, but the guitars certainly dominate more here. The pace allows for some more overt, catchy melodies too - with a chorus that recalls Parallels-era Fates Warning with some rather commercial-sounding vocal lines before Hernando adds to this vibe with a dual-guitar solo. Under Dark Skies hands the musical duties back over to Abdow, so the more atmospheric vibes that he creates earlier return but with a little more added weight from the guitars. The song opens with some heavier guitar drones, which do surface again occasionally throughout, but largely things stick to the template established early on. A melancholic bassline drives the verses, while the guitars moan away in the background - and the chorus sticks to the same feeling. It is a song with a very distinct sound and one that really seems to sum up the direction that Alder was pursuing overall with the album. His voice sounds excellent here, and it is clear that songs like this are how best for him to showcase his current vocal abilities. His emotional delivery suits the murky music perfectly, and Abdow has certainly created a strong soundscape for his croons. A Beautiful Lie is another Hernando piece, which is obvious from the moment the song starts and a faster-paced riff kicks in. Anderson's drums have a lot more punch about them during Hernando's songs, which suits the more overtly-metal vibe, and he never really lets up throughout the track with his fast-paced beat setting the tone. The riffing and leads are much more in-your-face too, with the verses constantly being backed by snaking guitar leads before beefy riffing takes over for a much more anthemic chorus. There are not too many anthemic moments to be found throughout the album, as this is not that kind of collection of songs, but it works really well here - and Hernando's lengthy, shredded solo is one of the album's best instrumental sections. The soloing here is mostly quite to-the-point, but Hernando was afforded more time to shred here and it elevates the track to the next level. The Road strips everything back to the bare bones, and opens with some very simple guitar lines and Alder's rich vocals. While drums and other layers of instrumentation do join in occasionally, largely this is much more of an atmospheric piece with Abdow's guitar textures creating a strange vibe and some electric harp courtesy of Katie Pachnos adding further chiming melodies that mix in perfectly with the guitars. The song is a ballad, but it still manages to create a strange, unsettling tone throughout. This is no sappy love ballad, but instead something that is filled with emotion and unsure feelings. It all comes together nicely, and a spacey guitar solo from Abdow is the icing on the cake.

Wait is the last of Hernando's three contributions to the album, and it picks up where his previous two tracks left off. Initially the track does not seem to be has heavy, as it does not immediately kick off with a heavy riff - instead choosing to build up more slowly like Abdow's contributions. It is not quite as heavy as his previous songs as a result, but it is still pretty weighty with some stabbing guitar riffing that surfaces throughout and some double bass drumming. It is certainly the most dynamic piece of the three though, with bass-heavy sections sitting nicely alongside more conventional riffing - and a screaming, shredded solo that races out of the blocks with a flurry of notes. The album's pseudo-title track What the Water Wanted is the album's penultimate number, and probably the heaviest of Abdow's contributions. There is a really strong Fates Warning vibe here, and it could have easily fitted on any of the band's recent albums. It kicks off with a muscular guitar riff, but the main highlight of the instrumental portion of the track is a tasty guitar lead that provides one of the song's main hooks. It is a classic progressive metal hook, and it really helps the song to stand out and provide a late-album shot of energy. It is another more anthemic piece too, with a great chorus that sees Alder lay down quite a few layers of harmony vocals to boost his singing during the song's main melodies. If these songs ever make it to the stage then this one is going to be a sure fan favourite, with a hooky chorus that can be sung easily and some great guitar leads to draw everyone in. The album comes to a close with The Killing Floor, a great mix between heavy and atmospheric with some really dirty-sounding heavy guitar chords kicking everything off before a groovy verse takes over with a funky bassline and some laid back guitar patterns. It is another song typical of the album's overall sound, and therefore is an excellent closing track. There is a bit of everything here, with nearly every sound that has been flirted with throughout the album finding its way into the mix. Everything seems to hang together well however despite this mix of sounds, and Alder really puts in a stellar vocal display as a result. The track contains some of his most earnest vocals here, with a section before Abdow's excellent guitar solo showcasing what he can still do with his voice. The aforementioned solo is one of the album's best too, and showcases what a great player Abdow is. I would be interested to hear him contribute more to Fates Warning going forward, as I think him and Matheos could really come up with some interesting riffs and songs if they chose to write together. Overall, What the Water Wants is a great debut solo release from Alder and one that allows him to showcase his voice and songwriting style in a different way to your average Fates Warning album. Fans of the band are still sure to love this however, and anyone into hooky, but murky progressive music should also check it out.

The album was released on 18th October 2019 via InsideOut Music. Below is Alder's promotional video for Crown of Thorns.