Story Of The Year

'Page Avenue'

(Maverick)

I was first drawn to this album after being stunned by the cover artwork, getting a sighting of it on a full page ad on the back page of 'Alternative Press' magazine a few months ago. The band's music itself is equally impressive, although I fear that some might be a little put off by vocalist Dan Marsala's shouty vocal style, that turns some songs into a cross between Linkin Park, Jimmy Eats World and Mercyful Fate! In this respect, Give 'And The Hero Will Drown' a listen and see what you think! The 'shouty' bits would've been better left on the cutting room floor, because when he isn't tearing his throat up in almost impossible ways, Marsala does have a pretty good voice that compares well to his contemporaries in Linkin Park and Jimmy Eats World. And the more accessible 'Until The Day I Die' offers up a fine snapshot of emo pop rock.

The dying theme continues on 'Anthem Of Our Dying Day', while 'In The Shadows' is a fine metallic romp through the dark (if you'll excuse the pun). And 'Divide And Conquer' clearly pays homage to this quintet's poster heroes of old. I'd wager there's more than one fan of Iron Maiden and Judas Priest in this band!

The more tasteful 'Dive Right In' and the pristine orchestration of 'Sidewalks' are particularly welcomed, but I do prefer the vibrant title track, with it's Jimmy Eats World pop rock.

The closing 'Falling Down' is a Sum 41 style metallic blitz and is a bit too cheesy for it's own good, but with a crisp production and firm backing from the record label, Story Of The Year have a pretty good shot at establishing themselves with this record. (DR)

ZZ Top

'Chrome, Smoke & B.B.Q'

(Rhino)

This boxed set brings together 78 tracks from the legendary little ol' band from Texas' London and Warner Brothers recordings on 4 CDs.

Disappointingly there are no unreleased tracks, although a few 12" extended mixes and B-sides are tacked on to the fourth CD, almost as an afterthought. Three pre- ZZ Top tracks from Billy Gibbons' stint with The Moving Sidewalks open the first CD.

Still, the 'deluxe' edition is worth having, coming as it does in a B.B.Q. Shack shaped box complete with cut out figures, a flip book and booklet, featuring exclusive track listing notes from the legendary trio themselves. (DR)

Skid Row

‘Thickskin’

(SPV)

Skid Row return with, perhaps not a much anticipated, but a nevertheless long awaited new album. Indeed, it's the New Jersey quintet's first album release since 1995’s disappointing ‘Subhuman Race’ and also one that marks the debut of new-ish vocalist Johnny Solinger as replacement for Sebastian Bach.

To many, Sebastian was the main focal point of Skid Row; the archetypal youth gone wild. But as Seb has hit Broadway, become a target for 'Metal Sludge' and made a bit of a fool of himself on ‘Never Mind The Buzzcocks’ by forgetting the lyrics to 'Youth Gone Wild' (to his credit, he held his hand up to that one and laughed himself silly), Skid Row have regrouped, found themselves an extremely competent new singer in the aforementioned Mr Solinger, pulled in Phil Varone from Saigon Kick to replace the long departed Rob Affuso. And here they deliver a tidy record that, not only celebrates their past, but also fits in fairly neatly with contemporary acts like Nickelback.

Whereas opener ‘New Generation’ does hark back to earlier daze, the ensuing ‘Ghost’ and ‘Born A Beggar’ are more in keeping with the modern hard rock mood, with a rootsy, organic feel. Solinger having the perfect voice to pull the new direction off.

There is, however, a touch too much of the Nickelback vibe earlier on, but  ‘Lamb’ is extremely reminiscent of the old Skid Row style of up and at ‘em Metal. As is ‘Hittin’ The Wall’. And one of the best tracks of the record, ‘Thick Is The Skin’, is a very chunkier affair. Skid Row meets White Zombie, if you will.

However, I'd question the inclusion of the rather dull ballad ‘See You Around’ . Not exactly ‘I Remember You’, is it? Which, rather neatly, brings us to the punky remake of the Skids epic from their monumental debut album. Cheekily titled ‘I Remember You Two’, is this an almost humorous link between the two versions of the band perhaps? But was it really necessary? Hmmm.

Still, 'Thickskin' represents  a good enough comeback to open chapter two of the Skid Row story. It may not please those fans who still want Sebastian in the band, but, trust me, by not by any stretch of the imagination anything like lame as you might think. Not by a long shot. (DR)

Five Star Iris

‘Five Star Iris’

(Hooptyville)

One of the finest new discoveries of 2003, it's definitely a case of hats off to Rob Gilmore of www.soundwerkz.com for alerting me to this Atlanta, Georgia based outfit.

Fronted by Alan Schaefer, previously a member of Another Man Down (a band that Mars Electric's Jacob Bunton sat in with from time to time), Five Star Iris are an exciting, modern rock band with a delightful set of songs, that could best be compared to a cross between Collective Soul, U2, Simple Minds and Cruel Story Of Youth.

The writing, in the main, comes from Schaefer and producer Dexter Green, although opener ‘Day In The Sun’ is written by Green and collaborator Chris Pelcer.

‘Day In The Sun’ is glorious, modern melodic rock that U2 would be proud of having recorded, Schaefer’s confident vocals prominent in the mix above some precise guitar, bass and drums and a pleasant dosage of keyboards.

‘Only Angel In L.A.’, a sweet, very Americanised slice of modern AOR from the pen of Schaefer alone follows, before ‘Is There Something I Can Do’ takes the pace down a few notches. A semi-ballad of sorts, with a nonetheless uplifting message.

The heavier, catchier ‘Still With You’ has more of a Tonic meets Collective Soul edge, with a finely tuned mixture of guitar and keyboards, but is overshadowed by the superb ‘All I Am’ and closing ‘World Needs Now’

Co-written by Alan Schaefer and Collective Soul’s Ed Roland, ‘All I Am’ is the most recent track on this record, with a twist of INXS added to a very Collective Soul flavoured number.

However, ‘World Needs Now’ is my favourite of the six on offer. The opening is highly reminiscent of late 80s New York outfit Cruel Story Of Youth, added to a Simple Minds vibe. Ironically, when I mentioned the CSOY comparison to Alan, he later related a tale that one of his brother’s friends used to play keyboards for that band. A small world!

A deal is only a matter of time for Five Star Iris. Superb stuff. (DR)

Sister Hazel

'Chasing Daylight'

(Sixthman)

Clearly, the members of Sister Hazel don’t agree with the sentiments expressed in Sheryl Crow’s 'A Change Can Do You Good'. The band found success in 1997 with their major label debut album 'Somewhere More Familiar' and their brand of highly melodic pop-rock is a formula that has helped them shift over one million records.

Undeniably middle of the road yet filled with powerful hooks and choruses, the album is actually a pleasant listen if this genre is your thing. Opener 'Your Mistake' is classic Sister Hazel, with a warm, inviting chorus and clean sound. The epic 'Life Got In The Way' develops into a heartfelt, solid rock tune and more irresistible choruses can be heard on 'Come Around' and 'One Love' despite the latter being a little too clichéd in the lyrics department.

'Best I’ll Ever Be' and 'Killing Me Too' are the album’s obligatory ballads, but despite the schmaltz, they are undeniably good examples of the genre. The rest of the album continues to play to Sister Hazel's strengths., except the god awful 'Everybody' which has what I can only call a "reggae vibe". Uggh.

There’s a reason why bands like Sister Hazel no longer have major label recording contracts (and listening to "Everybody" is as good a reason as any), but nevertheless, 'Chasing Daylight' should still have widespread appeal among pop-rock aficionados. (AE)

Dakona

'Perfect Change'

(Maverick)

I sincerely hope newcomers Dakona don’t end up like the majority of modern rock bands who have come before them.

Maverick signed the band after a host of major label offers and judging by the quality of the material on 'Perfect Change', it would be an almighty shame were Dakona to suffer the same fate as Nine Days and July For Kings. Like those bands, Dakona have the talent to be around for a very long time.

U2, Our Lady Peace and Creed are just a few of the bands who have undoubtedly influenced Dakona and vocalist Ryan McAllister sounds uncannily like Bono and OLP’s vocalist Raine Maida at times.

Produced by Rob Cavallo and (former Sheriff/Frozen Ghost keyboard player. later responsible for guiding Our Lady Peace in a production capacity) Arnold Lanni, Dakona’s major-label debut sounds as polished and hard-hitting as they could have hoped, and McAllister’s lyrics and themes provide a real depth and sincerity to the epic melodies that dominate most of the songs.

First single 'Good' is a terrific modern rocker, as is the powerfully evocative opener 'Waiting'. Dakona are clearly musicians with a Christian ethos, and tracks like 'Trampoline' and 'Revelation' reveal weighty themes which never overpower the songs themselves. 'Richest Man In The World' is another standout, but the highlight among many is the superb 'Trust', which is crying out to be released as a single.

If there’s any justice, you’ll find 'Perfect Change' in the Top 10 as opposed to the bargain bins, as Dakona deserve a long-term shot at success. (AE)

Closure

'Closure'

(TVT Records)

Tonic and Nickelback are just two of the bands Closure attempt to ape on their self-titled debut album, as they try to take bits of every successful modern rock band and fuse them into something that sounds remotely plausible. Unfortunately for them, it’s a tactic that doesn’t come off.

'Closure' doles out post-grunge rock by numbers in a breathtakingly generic and derivative fashion. There are at least a few good songs in evidence, but unless you have not had access to MTV or a radio for the past two years, you will have heard it all before.

The booming rock of 'Look Out Below' helps Closure burst out of the blocks in spectacular style but it’s all down hill from here. 'Aftergflow' sounds like a Tonic b-side, while 'Oxygen' shamelessly mimics everything that made Nickelback’s 'How You Remind Me' a hit.

And when they are not copying other bands’ sounds, Closure are just plain dull. Turgid ballads like 'Fragile' and 'Crushed' seem to push all the right buttons radio requires but like 'I Don’t Mind The Rain' and 'Live Again', are ultimately forgettable.

"We’ve been influenced by many people, but we follow no-one," says lead singer Brian Howes in the band’s press bio. But anyone who hears 'Closure' cannot possibly come to the same conclusion. (AE)

Year Of The Rabbit

'Year Of The Rabbit'

(Elektra)

Arguably one of the best releases thrown up this year, Year Of The Rabbit's self-titled debut is a glorious example of what could possibly be described as 'progressive nu-breed'.

Picking on elements of Foo Fighters, Zwan, The Cars, Nirvana and frontman Ken Andrews' former bands Failure and On, Year Of The Rabbit deliver waves of sound and colour that can only be described as brilliant.

After recording a good three quarters of this record, YOTR were picked up by Elektra following some impressive showcase gigs in Los Angeles, but whether Year Of The Rabbit gain anything like the recognition they deserve for producing this record is another matter. Still, grab it while you can!

Opener 'Rabbit Hole' (often likened to The Cars meeting Nirvana), with its almost lazy riff, is a perfectly weighted pop rock treasure. But it's quite deceptive, as the band subsequently drown the listener with sound courtesy of 'Lie Down' and continue to bombard the senses with the Foo Fighters-ish 'Absent Stars' and 'Vaporize', to name just two tracks that can be pinpointed as being amongst the album's best.

Oh, but let's not forget 'Hunted'! This is where Andrews and company (guitarist Jeff Garber, drummer Tim Dow and bassist Solomon Snyder) send the walls crashing down with a precisely layered aural assault that highlights Andrews' skills as a producer, as much as an artist in his own right, to the max.

I think there used to be a saying that appeared with regularity in the legendary adverts 'Shades' record store used every week in 'Kerrang!' to perfectly describe an album like this. Three little words: Buy or die! (DR)

Shugaazer

'Shift'

(Atenzia)

After I heard 40ft Ringo’s debut album 'Funny Thing', I wondered if anything else Atenzia Records released in 2003 could top it. Then came Melodine’s superb 'Out of Your Hands' opus to do just that, and now Canadian rockers Shugaazer have delivered a record that surpasses both those albums.

Yes, 'Shift' is that good and builds spectacularly on the modern rock tracks Shugaazer vocalist and co-songwriter Paul Laine has contributed to Danger Danger over recent years to create one of the best rock albums of 2003 by some distance.

Opening track 'Kozmonaut' (the initial choice of band name - DR), with its irresistible melody, huge chorus and powerful nu breed groove encapsulates Shugaazer’s modern, melodic sound perfectly, while the punchy 'Beautiful' - a cynical look at the shallow world of celebrity - is even better and is driven by Laine’s incredible vocals and his flawless, glossy production. 'Stepped Into My Universe' is another superb rocker with a hint of a psychedelic edge to it and 'California' shares a similar vibe with Chris Matheson’s guitars cranked up once again.

But Shugaazer know just when to mix things up as well, with stunning mid-tempo tunes 'When Ya Gonna Break My Heart' and 'Song For Lennon' showcasing the band’s diversity impressively. 'Something Worth Waiting For' is a ballad of epic proportions, the pop-flavoured 'Here Without You' is something different altogether and album
closer 'Enough' picks up the pace once more to provide a final seal of quality to a magnificent debut.

From start to finish, 'Shift' is an album crammed full of great songs that oozes class, individuality and diversity. In an all too homogenous modern rock scene, Shugaazer are a welcome, refreshing alternative. As Laine himself sings on 'Song For Lennon', this is the choice of a new generation. (AE)

Diffuser 

'Making The Grade'

(Hollywood Records)

Presumably after bowing to pressure from the hierarchy at Hollywood Records, Diffuser have developed a more commercial sound on their latest release 'Making The Grade'. 'Injury Loves Melody', the band’s debut album, wasn’t as slick, mainstream or even contrived as parts of this latest effort are, but then again, it didn’t sell well, so a follow-up album containing a more commercially-minded set of tunes is no surprise.

Even though the punchy, anthemic opener 'New High' is as predictable and unoriginal as such bubblegum pop punk songs come, the good news is that overall, Diffuser still manage to display a more cerebral approach to the genre than artists like Sum 41 or Blink 182. 'Get It On' hints at that and like 'Only In The Movies', is deliciously infectious and melodic.

On tunes like these, though, it does seem as if Diffuser’s sole intention is to batter your brain into submission with a continuous barrage of high-gloss choruses, but although 'Here’s To You' again falls into that category, the sheer attitude of vocalist Tomas Costanza’s lyrics is undeniably appealing.

Why the band have attempted to mimic Sugar Ray on the awful 'Breakaway' is a mystery, but the likes of 'Far And In Between', 'Why' and the dark and brooding 'Long Way From Home' show a more welcome side to the band’s sound.

'Making The Grade' isn’t a bad album. There's plenty of melody and clever lyrics but its lack of continuity and focus shows a band caught between the poles of self-expression and commercialism, and as a result, they are unable to sound entirely convincing. (AE)

Hootie & The Blowfish

'Hootie & The Blowfish'

(Atlantic)

Ten years after their breakthrough album 'Cracked Rear View', it's surprising to see South Carolina’s Hootie & The Blowfish still releasing records, let alone releasing records on a major label.

Atlantic Records may still be the band's home, but on the evidence of the band's first album for four years, it won't be for much longer. Despite the presence of legendary producer Don Was, Hootie & The Blowfish still manage to churn out music as bland and dull as the new release's unimaginative title suggests.

Opener 'Deeper Side' epitomises everything about the sound that launched the band to multi-platinum stardom a decade ago, and if you remember 'Hold My Hand' or 'Only Wanna Be With You' from Cracked Rear View, you’ll know it hasn’t changed much. The syrupy schmaltz of 'Innocence' doesn’t greatly experiment with the trademark formula either, and while it’s nothing new at least 'Space' is a relatively raucous track for Hootie and showcases vocalist Darius Rucker’s voice well.

Despite their limitations, these songs are vastly preferable to the band’s horrible attempt at funk on 'Little Brother' or the abomination that is 'Go and Tell Him (Soup Song)'. Elsewhere, more mid-paced rockers such as 'The Rain Song' and weak ballads like 'When She’s Gone' clutter up the running order of an album that couldn’t drag much more if it was attempting to pull a ten-ton truck behind it.

I’m sure there are fans out there who still appreciate what Hootie & The Blowfish have to offer on this mediocre album, but I don’t think there’s enough of them left to avoid the band’s next release after this being a farewell greatest hits collection. (AE)

Our Lady Peace

'Live'

(Sony)

Our Lady Peace are veritable superstars in their native Canada and the release of this, their sixth album, will cement their popularity still further in their homeland, recorded as it was on the cross-Canadian 'Fear Of The Trailer Park' tour earlier this year.

However, as with most live albums, 'Live' fails to adequately recreate the experience of actually being there and it suffers from a lack of fluidity -- the 14 songs are culled from three separate performances and the track listing is not as representative of the band’s decade-long career as it could be.

There are good points, though, especially the U2-esque segueing of the songs 'Naveed' and 'Life' in a particularly inspired ten-minute interlude, vocalist Raine Maida and new guitarist Steve Mazur bring an energy and urgency to the band’s delivery, and with the presence of 'Superman’s Dead', 'Clumsy' and 'Starseed' long-time fans will perhaps forgive the over-polished feel of the sound and the over-emphasis on making three separate performances sound like one whole show.

The success of last year’s excellent opus 'Gravity', means that five tracks from that album are included here, including the mighty 'Innocent', the heartfelt show closer 'Somewhere Out There' and the dark and aggressive 'Not Enough'. The previously unreleased 'Gravity' out-take 'Our Time Is Fading' is a welcome inclusion for hardcore fans as is oldie 'One Man Army'.

Overall, 'Live' is a decent effort at a live album, but could have been so much better. There are some good moments here but it’s certainly no 'Live at Leeds' and the forthcoming 20-track DVD may be a better option for the band’s long-time fans. (AE)

John Hampson

'Seventeenminutesandthirtyeightsecondsinthedark'

(Dirty Poet Records)

You’d have to be tone deaf to have never heard 'Absolutely (Story of a Girl)', the John Hampson song that launched Nine Days to fame and that was never off the radio in summer 2000.

However, since the halcyon days of smash-hit singles and a gold-selling album, 'Madding Crowd', things haven’t gone as smoothly for the Long Island-based band, with their drummer and keyboard player leaving, the termination of their Epic Records contract and completed follow-up album 'So Happily Unsatisfied' still shelved and unreleased.

However, Nine Days frontman John Hampson has not let such frustrations hold him back and the release of his debut solo EP, 'Seventeenminutesandthirtyeightsecondsinthedark' is an emphatic antidote to the industry politics that have plagued him over the past year and a half.

Hampson has not used his solo career to experiment with a radical sound, but instead has played to his strengths with five new songs that share a similar, sound to the Nine Days material showcased on 'So Happily Unsatisfied'.

The blatant pop hooks and melodies heard on 'Absolutely (Story of a Girl)' remain on opener 'Ultimate Love Song' but the sound is tougher, more aggressive and more electric but the song quickly becomes almost as infectious. 'The In Crowd' takes a swipe at the influence of TV while 'She Won’t Get Away' is a wonderfully delicate, acoustic-based track, reiterating once more Hampson’s immense song writing talent.

'Sweeter Than' ups the tempo once more and 'Anywhere' makes sure the EP ends on another superb note of quality with some passionate, pleading vocals and some wonderfully evocative lyrics.

Impecably written, produced and packaged, 'Seventeenminutesandthirtyeightsecondsinthedark' proves that there’s more to John Hampson than one hit song, and is an excellent hint at what will come on a full-length solo release in 2004 and a forthcoming brand new Nine Days album this November. (AE)

The Juliana Theory

'Love'

(Epic)

Previously signed to Seattle Christian label Tooth And Nail, The Juliana Theory never sounded as good as this on either of their previous two albums.
The reason for the improvement is clearly producer Jerry Harrison. The former Talking Head has worked closely with the quintet and given them a classy, ballsy sound extremely reminiscent of his work with criminally ignored label mates The Mayfield Four.
Based around the concept that the inspiration for everything in the world is the drive or desire for love, this record finds TJT at their creative peak. Highly melodic yet clothed in fat riffs and tight rhythms, every track is an absolute peach. The guitar hungry 'Bring It Low' sets the standards and is followed by the more radio friendly 'Do You Believe In Me?', segueing into the delicate 'Shell Of A Man' that is strangely evocative of 'The Real Thing' era Faith No More merged with Dream Theater! From here it just gets better and better. Need I carry on?
Few albums will be released this year finer than this one. (DR)
 

Mercury

'Mercury'

(Mercury)

If Sheffield gave the world Def Leppard, then Pittsburgh - that other well-known steel city, gives us Mercury.

Surely, this band is just too damn good to bask in relative obscurity for much longer? Opener 'Superhero' is already a hit on the coolest of Internet sites, but it isn't even the album's best track. Dig deeper and more gems are there for discovery.

Like a mixture of Mars Electric, Vertical Horizon, Splender and even Diving For Pearls in places, Mercury offer a set of melody filled, modern rock songs with hooks aplenty and a confident, gritty vocal performance from Justin Morris.

The songs have a familiarity about them that is sure to enhance their chances of heavy airplay on radio. 'Falling Star' is amongst the best of these.

But Mercury's diversity in their writing approach is captured with the happily metallic 'Paralyse' and the carefully woven tapestry of light and shade that is 'Ghosts And Angels' that show just two extremes of the band's sound. (DR)

The Elms

'Truth, Soul, Rock & Roll'

(Sparrow)

There has always been more to Christian rock music than the scene has been given credit for. The Elms are amongst a number of new acts - including the excellent Tait - currently vying for attention and could be perfectly equipped to make the transition into the secular market that has, for one reason or another, so often been denied their predecessors.

'Truth..' is the second album from this American quartet. The debut, 'Big Surprise', went for a more pop rock approach. This new album finds the Owen Thomas fronted group strapping on big guitars and cranking out some tremendously soulful rock songs - including 'Speaking In Tongues' and the spiritual 'You Saved Me' (not so cheesy sounding as the title might suggest) = that conjure up images of Little Angels jamming with the Black Crowes. There's also a real low-slung guitar moment on the Stones-ey  'You Got No Reason To Talk!' that should find many admirers too.

But they haven't totally abandoned the nu-breed pop of the first album, as 'All The While Having Fun!' clearly demonstrates. (DR)

Jag Star

‘Crazy Place’

(Jag Star)

Jag Star – short for Just A Girl Singing To A Radio – are Knoxville, Tennessee’s best-kept secret.

You could describe them as a band akin to The Corrs gone nu-breed, with the talented Sarah Lewis in the Andrea Corr role.

The award winning ‘Mouth’ opens. A perfectly weighted pop rock number, with a jangly guitar line and some cute harmonies. Meanwhile, ‘Home’, ‘Music Box’ and ‘Make Believe’ often bring the Massey Sisters led, early 90s Chicago-ites Tami Show to mind

‘Better Girl’ is the closest Jag Star get to an up-tempo punk rock groove as the rest of the material wanders between balladry and mid-paced pop rock. However, ‘Ran Away’ combines an almost R’n’B approach with contemporary rock hooks. It’s certainly an interesting combination that, to an extent, Destiny’s Child’s Kelly Rowland (of all people) toyed with on certain areas of her recent ‘Simply Deep’ album to fine effect too.

‘Crazy Place’ is by no means perfect, but the potential is here for Jag Star to improve their lot. Could it be only a matter of time before they’re on a major label? (DR)

Socialburn

‘Where Are You’

(Elektra)

One of Elektra’s entries into the nu-metal cum modern rock market, Socialburn don’t really seem to know who they want to be Nickelback or Our Lady Peace.

Certainly Neil Aiday’s vocal inflections seem to want to mimic the latter’s Raine Maida on the stirring ‘"U"’ and ‘Everyone’: the former being so authentic OLP will be gobsmacked when/if they hear it.

‘Break Back’ is the moody opener that certainly sounds familiar, with perfectly placed riffs and drop outs that are no doubt influenced by Nickelback. ‘Down’ is even more familiar and more commercial and sure to be one of the tracks American radio goes for. Interestingly, ‘Pretend’ evokes images of ‘Nevermind’ era Nirvana.

‘Ashes’ is the nu-metal equivalent of the 80s power ballad. Third song in it’s traditionally placed too.

Success all depends whether Elektra are behind the band enough, and if the record buying public really want an album that’s full of well played, decently produced songs, albeit that they sound as if you’ve heard them all before from other sources. Won’t be the first time though, will it? (DR)

Supermint

‘Off To Stupidsville’

(Insurgence)

The long awaited follow up to Supermint’s well-received self-titled debut; their return is marked with a move towards a significantly up-tempo direction. In many ways this is a happier record over the more sober subject matter of the first release.

The Enuff Z’Nuff comparisons are possibly more pronounced this time round, opener ‘Making Me Mad’ especially bringing forth images of Chip Z’Nuff and the boys.

Where ‘Paige One’ is a bit Jellyfish-esque, ‘Next Ex-Girlfriend’ is EZN crossed with Butch Walker (who almost produced this record, as it happens) and if you want mature sounds then ‘Feel Myself Again’ and ‘Change Due’ verge towards AOR waters: the latter with a Beatles-esque feel.

All said and done, this stuff is simply great power pop, with Kerry Ridout’s vocal work very reminiscent of Donnie Vie. Indeed, Ridout’s performance is solid throughout and he, like the rest of the band, are clearly relishing the opportunity to record these songs in the knowledge that, second time around, they know there are people out there into their music. (DR)

Mike Tramp

‘More To Life Than This’

(UlfTone)

Counting the ‘Remembering White Lion’ tribute album – on which the world’s favourite Danish gooner covered his own work – this new record is Tramp’s fourth solo effort since the break up of the undervalued Freak Of Nature.

It’s certainly a better record than last year’s rather dour ‘Remembering The Wasted Years’. Why? Better songs, although Mike still seems intent on pursuing a Tom Petty-like direction with stabs at Springsteen thrown in. On a steel horse he’ll ride. Oh, sorry, that’s some other guy…

The bulk of the record is particularly strong and heartfelt. Indeed, the third track - ‘Don’t Want To Say Goodnight’ (an apt title for those who complained about the length of Tramp’s sets these past few years!) - is like an organic White Lion song!

Though standards tend to dip with the rather ordinary ‘Nothing At All’ and ‘Day By Day’, Tramp picks it up again with the Stones-y ‘Live For Today’ and from here on he rocks like only he knows how. Saving, of course, a tear-stained ballad to close. (DR)

‘The One’

(Ripper Mojo Music)

Is Xoch really the one? Well she certainly has all the right credentials to be taken pretty seriously. Indeed as I write, a number of labels are showing a great deal of interest in her vocal talents and songwriting partnership with long-time guitarist Vince Ripper.

The duo started out in Hudson Valley, New York’s The Fuzzies and recorded their debut EP with John Regan (Peter Frampton, Ace Frehley) and erstwhile Kiss producer Eddie Kramer involved.

The title track, ‘My Desire’ and ‘You’ really should find Xoch on the same level as Avril Lavigne and Pink in terms of popularity. Yes, she’s that good. Actually, vocally, rather better! ‘The One’ is perfect for heavy rotation on MTV and The Box. Why she hasn’t been picked up by anyone before now is probably as much a mystery as her real name!

For those with more melodic tastes, the semi-AOR of ‘Let Me In’, ‘Invisible People’ and ‘Faith’ will surely please, but Xoch’s future lies with the more contemporary nature of her best material that may crown her queen of the nu-breed yet! (DR)

‘Inertia’

(Virgin)

What a difference a major deal and the attentions of producer Matt Serletic (Collective Soul, Matchbox Twenty) can do for a band! The Exies’ 2000 debut album on Ultimatum was an interesting curiosity, but not as slick or as punchy as ‘Inertia’.

Taking their name from the term John Lennon coined to describe Hamburg’s art student existentialists, The Exies are fronted by Scott Stevens (formerly a guitarist with long defunct glamsters The Bang Gang). The quartet combines the pop rock sensibilities found on the debut with a more caustic, industrial approach that’s akin to Stabbing Westward.

They could, with full record company backing, become absolutely huge. If not with first single ‘My Goddess’ - the video for which cunningly makes The Exies appear to be playing in the middle of a busy L.A. freeway – then perhaps via potential singles such as ‘Can’t Relate’.

‘Kickout’ and ‘Creeper Kamikaze’ meanwhile are the 21^st century’s answer to the 80s, lighter assisted power ballads. Sweet.

Can American rock music get any better than this in 2003? Of course it can, but what a way to start!! (DR)

‘Planet:Fame’

(TB Records)

Glam is back and it’s coloured black! By the time you read this Canada’s own Robin Black And The Intergalatic Rockstars will have made their UK live debut.

What makes them rise above being just another trashy, throwaway modern glam rock troupe is the fact that the record is produced by Moe Berg (of The Pursuit Of Happiness) alongside Gggarth Richardson. Indeed, Berg’s influence has certainly rubbed off on the material, which has a quirkiness reminiscent of TPOH allied to the bad boy rock’n’roll of Poison, Big Bang Babies and Pretty Boy Floyd, with an image that should even keep Marilyn Manson fans happy.

Musically Robin Black and company are as sleazy, stupid, brash and plain ol’ rock’n’roll as they come. The choruses are addictive, the chords heavy and the bubblegum very sticky. To quote one of the album’s best tracks, ‘Some Of You Boys (And Most Of You Girls)’ are gonna love it.

Incidentally, there are two unlisted live tracks on here that find this crew REALLY kicking out the jams. You’ve been warned! (DR)

‘On The Rise’

(Frontiers)

Despite the fact that you don’t hear much about it unless you know where to look the melodic rock scene continues to roll its way merrily along, yet arguably devoid of truly memorable albums of the type that dominated ten to fifteen years ago.

On The Rise, essentially a duo from Norway consisting of Terje Eide and Bennech Lyngboe, are here to try to address this state of affairs with a record of such quality that, in places, its reminiscent of ‘After The Rain’ era Nelson. Okay, perhaps that comparison may have more to do with the fact that both Nelson and On The Rise are a case of two heads being better than one and that both records have a real ‘feel good’ factor than any real similarities musically. However, this is AOR at its finest. With songs more memorable than anything on, say, Journey’s ‘Arrival’!

‘Beat Of Your Heart’, ‘Running In The Night’, ‘Stay Away’ and ‘Sadness Hits Like A Stone’ are the cream of this particular crop. But also pay attention to ‘The World Of Change’, with its Toto-esque rhythms.

Class. (DR)