Leaves’ Eyes – Sign of the Dragonhead (2018)

3.5 out of 5 Stars!

One thing I can say about Leaves’ Eyes—despite the occasional lineup changes through the years, the group possesses an unwavering style, and one that is moderately enjoyable, for the most part. This staunch consistency, however, is not without its problems, which I’ll address below, yet on a positive note, it makes the group instantly recognizable. High production standards, complex song arrangements, often-bombastic orchestrations with choirs and the inclusion of whistles, fiddles, bagpipes, and archaic instruments such as nyckelharpas, and stellar musicianship grace each new Leaves’ Eyes’s release, thus allowing fans to know exactly what they will be getting without even having to sample tracks before making the purchase.

Yet when it comes to Sign of the Dragonhead, there is one notable difference, one that had the power to seriously alter the band’s style since the previous album (2015’s King of Kings), and that’s the addition of a new vocalist. In general, a band altering a lead singer is always risky business. I mean, no one generally notices whenever a keyboardist, drummer, bassist, or guitarist is replaced in most groups, unless that particular musician is so utterly unique as to have a trademarked sound. But when a singer, the very voice of the band, changes from one album to the next? Well, things can (and often do) take a drastic turn when it comes to an act’s overall sound. Especially—as in the case of Leaves’ Eyes—a highly recognizable sound, thanks in no small part to singer Liv Kristine, who’d fronted the group since it burst onto the scene in 2004.

Now, although vocalist Elina Siirala is not entirely “new” (having already appeared on the group’s 2016 EP Fires in the North) she’s new to me since I hadn’t heard that particular release. So, with Sign of the Dragonhead being my first exposure to Ms. Siirala voice, I am happy to report that her range, tonal quality, and manner of delivery are in keeping with what I’ve come to expect on all Leaves’ Eyes’s albums. In fact, had I not known prior to hearing this album about the change in lead singers, I might not have noticed anything different. So bravo to the band members for selecting a gifted vocalist who could jump aboard ship (a Viking vessel, no doubt) without causing any serious disturbances in the otherwise calm and consistent waters.

And as always, the material the band chose to record for this new album is often spirited, typically melodic, and generally better than numerous other female-fronted groups in this genre, with several tracks going above and beyond. For me, a handful of tunes really stood out, their choruses and riffs proving happily memorable and annoyingly repeating in my head at the oddest of times.

In my estimation, “Riders on the Wind” is probably one of the finest songs the band has recorded since its inception, with Siirala’s melody lines floating atop both full and rich instrumentation and a driving and head-bopping rhythm. The tune also includes all the bells and whistles (literally) associated with the group’s sound—grand orchestrations and choirs and all those odd instruments the band adores employing, perfectly encapsulating—in the proverbial nutshell—the band’s overall style in the space of only four minutes. Actually, a similar state of musical affairs as described above revolve around “Jomsborg,” “Shadows in the Night,” “Across the Sea,” and the masterful “Sign of the Dragonhead,” all tracks representing everything the band is about within three to four minute bursts, with the title tune especially sounding even more imposing and ostentatious, if that were even possible.

Thankfully, the band successfully toys with dynamics as well, merging both lighter (acoustic piano and guitar) instrumentation with the typical “metallic” grandiosity on the more intricate “Like A Mountain” or the gentler “Fairer Than the Sun,” which add welcomed breathing space to the sometimes-overblown majesty of the other surrounding tracks.

Now, with all that said, there are, however, a few tracks that don’t quite work for me. For instance, the instrumental “And Waves” is basically a celebration of all things Celtic that I feel goes on, even at three minutes, a bit too long. Other tunes don’t ring entirely triumphant as well, such as “Völva,” with a chorus that simply doesn’t grab me, and “Fires in the North,” that seems a tad disjointed with different sections linked together and varying melody lines not quite gelling into anything cohesive or memorable.

Moreover, the album’s closer, the lengthier and ambitious “Waves of Euphoria,” suffers from an entirely different dilemma—and this is one of those negative consistency issues I alluded to in the opening paragraph—the continual inclusion (and an unnecessary one for Leaves’ Eyes and any other band that tragically includes them) of the horrific “grunts and growls” male vocals. Sorry, but these completely unmelodious and indiscernible explosions of demonic vomit simply annoy me to no end and always lessen the enjoyability factor of most tracks on which they appear, especially when they take center stage, which happens on this otherwise engaging epic. If I wanted to hear orcs spewing nonsensical words at me in some guttural foreign language I’d rather replay The Lord of the Rings trilogy, thank you very much.

This last factor played a large part in not only forcing me to instantly lower the volume on my stereo, but also to lower my overall rating of the album. Additionally—and back to the consistency issue again—even though fans of Leaves’ Eyes will likely not be disappointed at this collection of tunes (or even those hellish male vocals) I wonder just how many new followers the band will muster with this release. Sorry to say, but even though most of the tunes are commendable and the musicians certainly know how to write some engaging melodies—and can orchestrate the pants off of many other groups in the Symphonic/Gothic Metal genre—I can’t help feeling that I’ve heard it all before on previous albums by the band. Yes, there is a high level of consistency in the group’s overall sound, and even in the Viking-inspired lyrics, but this begs the question as to whether Leaves’ Eyes is moving forward at all, or is the band simply parroting previous material?

These days, I can’t help feeling it’s mostly the latter since everything does seem a bit too samey from one album to the next. Yes, it’s enjoyable material for the most part, but unfortunately, it’s also nothing truly new.

Album Currently Not Available At Amazon
To Be Released 01/12/18

The Throbs – The Language of Thieves and Vagabonds (1991)

3.5 out of 5 Stars!

I still vaguely recall all the silly and preposterous hoopla surrounding The Throbs when the New York band first appeared on the scene in the early ’90s. The PR department at Geffen Records worked endlessly to make people believe how this band was destined for the big time, how The Throbs were the next Guns N’ Roses and would thoroughly and masterfully take over all of planet Earth with a debut album loaded with such infectious and rapturous music that even die-hard fans of Jazz, Soul, Rap, Country and even Classical, Opera, and every other genre imaginable would instantly switch allegiance to The Throbs, and only The Throbs, for the rest of eternity. Yes, the over-the-top hype pushed the notion that it would soon become the world of The Throbs, like it or not, with people of all races, all religions, all ages, and even America’s Republicans and Democrats, all banding together to honor the magnificence of this act, and (ultimately) praise Geffen Records for discovering such a life-altering musical treasure.

Well, needless to say, this grand and glorious destiny did not occur, not even close, even despite the fact the album was co-produced by the heavy-hitting team of Bob Ezrin and Richard “Dick” Wagner, or that it even included a guest appearance by Little Richard himself. I can’t help but wonder whether Geffen Records fired the head of its PR department for not making “instant worldwide fame” happen, or perhaps canned someone in the art department for approving an almost unreadable band logo to grace the way-too-cluttered album cover, or maybe even dumped someone higher up for not foreseeing the sudden advent of a monster genre called Grunge. Well, whatever the various fates of those record company “suits,” the band itself—fronted by a dude with the way-too-cutesy name of Ronnie Sweetheart—did seem to try its level best to leave a mark on the industry.

The Language of Thieves and Vagabonds, the group’s sole album, contained some fun music, mostly foot-tappin’ and sleazy rock ‘n’ roll loaded with hooks that (somewhat) had a Guns N’ Roses style and swagger. But to me, the rocking tracks such as “Sweet Addition,” “Come Down Sister,” “Rip It Up,” “It’s Not the End of the World,” “Underground,” and the Little Richard-enhanced “Ecstasy” sounded more like The Cult (Sonic Temple-era) with a touch of Hanoi Rocks, The Quireboys, and The Dogs D’Amour, whereas the two ballads included in this collection—”Honey Child” and “Dreamin'”—seemed to take on a similar vibe to The Rolling Stones, L.A. Guns, The Black Crowes, and other straightforward groups unafraid to include acoustic guitar into the mix.

So, even though The Throbs offered nothing at all innovative when it came to its music or its “hairsprayed and eyelinered” image, The Language of Thieves and Vagabonds did deliver some fairly decent tracks and a whole lot of attitude, thanks mostly to Sweetheart’s snarling lead vocals. But then again, so did countless other albums of the era by countless other equally talented bands. Unfortunately, after that “instant worldwide fame” thing didn’t happen for The Throbs, Geffen (no shock) dropped the group within the better part of a year and certainly went on to hype the “next big thing” that likely never occurred. Oh, well, it’s only rock ‘n’ roll, right?

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Egg – The Civil Surface (1974)

3.5 out of 5 Stars!

When The Civil Surface appeared in 1974, it ended up being the third and (sadly) final album by the short-lived Egg, a sort of “retrospective supergroup” of the Prog-Rock/Canterbury Scene that featured keyboardist Dave Stewart, bassist Mont Campbell, and percussionist Clive Brooks—basically, the group Arzachel only without guitarist Steve Hillage on board.

After releasing its first two albums in 1970/1971 and having record company dilemmas along the way, Egg inevitably disbanded, with the members moving on to join other bands, such as Hatfield and the North and Groundhogs. But the trio briefly reformed several years later, however, to create this swansong release, which incidentally enough, also included some contributions from Hillage as a “guest star.”

From my understanding, many (if not all) of the mostly instrumental tracks included in this “reunion collection” were actually leftovers from the trio’s early years, compositions the group had performed during its concerts but—because of the record company woes—never got around to recording while Egg was in regular operation. But no matter the artist or the genre in which they operate, typically when it comes down to tracks considered “leftovers,” a few of them probably shouldn’t ever see the light of day, whereas others occasionally shine. The same is the case with this particular collection.

The longest compositions, the more sportive and intricate “Germ Patrol,” “Wring Out the Ground (Loosely Now),” and “Enneagram,” are pure gold in my opinion, generally matching the same lofty heights of inventiveness as the material that appeared on Egg’s first two albums. Yet on the other hand, most of the shorter tracks don’t come even close to equaling the same imaginative charm as the band’s earlier output. “Wind Quartet I” and “Wind Quartet II” are basically drawn-out exercises in Chamber Music featuring (no shock) woodwinds, and, in truth, bore me to tears. Then there’s the organ-heavy “Prelude,” another bland affair, but saved from being a total disaster in the middle section where guest female vocalists create pretty harmonies, which add a modicum of sparkle. Only “Nearch” offered up a bit of experimental verve to hold my interest, but unfortunately, still seemed way too underwhelming, especially for a band with an otherwise ingenious character.

Therefore, although not as intriguing as the prior albums thanks to a handful of tracks, The Civil Surface was nevertheless a welcome addition to the band’s legacy. And the longer tunes mentioned above include plenty of the same unexpected avant-garde whimsy, jazzy Proginess, and overall mesmerizing creativity that made Egg so delectable in the first place.

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Manfred Mann’s Earth Band – The Good Earth (1974)

3.5 out of 5 Stars!

Like on most albums from Manfred Mann’s Earth Band, the music is often difficult to pigeonhole. Although many music-related magazines both past and present (as well as websites of the modern age) categorize the majority of the band’s various releases as only Progressive Rock, I still find that sole tag fairly inaccurate and misleading. When first purchasing albums by this group in the ’70s, based on this lone genre description mentioned in various magazines, I had originally expected music along the lines of Yes, ELP, Genesis, or Gentle Giant, for example, the bands I considered “true” Prog-Rock acts of the same era. What I discovered on albums by Manfred Mann’s Earth Band, however, were basically tunes of melodic Hard Rock with only a smattering of Progressive Rock tinsel scattered over a handful of tracks.

The Good Earth is one of those albums I snapped up during my early days of record-buying, my teenaged self expecting one type of music, but getting another—or rather, finding a merger of styles instead of pure, out-and-out Progressive Rock. On this album, the majority of songs are basically melodic Hard Rock at their core. The Prog elements appear only periodically, thanks mostly to Mann’s always-impressive keyboard work, some overall atmospherics, and by the inclusion of more experimental passages on vocal songs such as “Earth Hymn” and “Earth Hymn, Part 2,” as well as “Be Not Too Hard” and “Give Me the Good Earth,” plus on the fantastic “Sky High,” an instrumental track where the musicians really cut loose with jazzy, Prog-Rock madness. But on other tracks, “Launching Pad” and “I’ll Be Gone,” the Prog-Rock elements are virtually non-existent.

Therefore, I remember being a bit disappointed at the time of purchasing this collection—not too horribly, thank goodness, since I did like the band’s overall sound, regardless if it wasn’t what I had expected due to those contemporaneous magazine articles and the few and insufficient album reviews I’d read. Nevertheless, I had vowed all those years ago that if I ever got the opportunity to write my own album reviews in the future, I’d do my best to properly designate genres and provide more substantial information so that potential listeners would know exactly what to expect when investigating any unfamiliar material.

Regardless, my thoughts of genre designations aside, The Good Earth ended up becoming one of my favorite collections from the group’s “early period,” prior to the band hitting the big time in ’76 with the mega-selling The Roaring Silence.

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Montrose – Mean (1987)

3.5 out of 5 Stars!

After leaving the band Gamma in the early ’80s, and prior to releasing a string of instrumental and experimental solo albums, legendary guitarist Ronnie Montrose joined up again with Gamma bassist Glenn Letsch, also snagged both drummer James Kottak (future Scorpions/Kingdom Come/Warrant) and vocalist Johnny Edwards (future Foreigner/King Kobra) from the band Buster Brown, and resurrected his famous namesake group from the ’70s. More importantly, he returned to his hard-rockin’ roots on 1987’s Mean.

And although the revamped group didn’t create another “classic masterpiece” to equal the original lineup’s stunning 1973 debut, it did produce a fairly enjoyable album nonetheless, with some stompin’, riff-heavy, and catchy tracks such as “M For Machine,” “Pass It On,” “Man of the Hour,” “Don’t Damage the Rock,” and “Flesh and Blood.” Although, in my opinion, the album contains a few filler tracks, the majority of the tunes feature pounding rhythms, powerful vocals, and the fantastic fretwork for which Ronnie Montrose was renowned, displaying the renewed lineup’s potential.

Unfortunately, however, the album dropped to almost zero fanfare, going by virtually unnoticed (and I can’t help thinking it had something to do with the horribly bland cover, the original version displaying only the giant “M”—the CD version at least had the group name added). Anyway, the foursome released no additional material after Mean, and Ronnie instead headed down the solo-album path, leaving behind (for the most part) the driving Hard Rock genre. Such a shame.

(RIP Ronnie Montrose, 1947-2012)

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Fruupp – Modern Masquerades (1975)

3.5 out of 5 Stars!

With its more laid-back delivery and frequent pastoral tendencies, and its inclusion of Folk, Jazz, Classical, and even a hint of Cabaret into its sound, Ireland’s Fruupp often reminded me of a cross between Symphonic-Prog groups such as Camel, Barclay James Harvest, and early Genesis, with more than a few touches of Caravan, Flash, Supertramp, and Grobschnitt included. Never mind-blowing or ground-breaking in any respect, the group did nevertheless release four rather enjoyable albums in the early ’70s before disappearing, with Modern Masquerades being Fruupp’s final studio effort and (to me) probably its best.

Yet when listening to this album (or any of Fruupp’s releases, for that matter) I can’t help thinking that being devoid of a strong singer with an instantly recognizable voice, as well as not possessing some instrumental “quirk” or a unique overall style, held Fruupp back from achieving greater popularity, and thus, the group remains highly obscure in most Prog-Rock circles.

Regardless, fans of the aforementioned bands who are unfamiliar with this oddly named outfit might savor much of its material, including Modern Masquerades. Here, tracks such as the upbeat and dramatic “Masquerading With Dawn,” the blazing and manic “Mystery Night,” the Mellotron-enhanced and luscious “Misty Morning Way,” the tempo-shifting and highly complex “Sheba’s Song,” and the lengthier Canterbury-like composition “Gormenghast,” offer occasionally whimsical and symphonic fare similar to the groups I mentioned above and show the gamut of Fruupp’s full potential. Moreover, King Crimson’s Ian McDonald not only produced this collection of tracks, but guested on the album as well, with his sax contributions adding to the periodic Canterbury-Prog style, while a gaggle of French horn players tooted out some orchestrations as well, adding to the richness of the short, quirky, Pop-like ditty entitled “Janet Planet.”

Now for a brief, non-musical aside…

Is there anyone who remembers the wild, multi-dimensional character of Janet “From Another Planet” Green—the shy accountant who became a psycho villain and held her sister Natalie captive in a well and impersonated her for months, then for a time (when taking her meds) turned borderline heroine, then (when going off her meds once and for all) turned back into the wacky murderess everyone loved to hate—from the classic American soap opera All My Children? Anyway, every time I saw that character on TV—yes, I was addicted to the show for nearly three decades—I thought of “Janet Planet” from Fruupp. Amazing where the mind goes sometimes, huh?

Oops, my apologies for changing the subject. Now, back on my own meds and returning once again to Modern Masquerades…

So, regarding this final Fruupp album—apart from the lead vocals, which I find limited, somewhat lackluster, and a tad off-key in sections, and one filler tune (the piano and vocal-only piece “Why”) that could have easily been eliminated, there’s nothing truly off-putting on display here. Indeed, I’m almost certain that lovers of Prog-Rock created in the mid-’70s will find much on Modern Masquerades to embrace.

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Shooting Hemlock – Big Green Monster (2010)

3.5 out of 5 Stars!

Shooting Hemlock, a little-known band out of Boston, eventually came to my attention based on the presence of guitarist Joe Stump (Reign of Terror/HolyHell) as well as singer/guitarist Brian Troch, a former member of a defunct Chicago group I used to know and see play on a regular basis. Although Shooting Hemlock released its debut album in the late ’90s, then seemingly disappeared, the band’s sophomore collection, Big Green Monster, suddenly popped onto the scene more than a dozen years later, and this is the release I finally tracked down several years ago.

To my ears, Big Green Monster is a rollicking, down ‘n’ dirty collection that often brings to mind a sort of “Tesla meets Soundgarden meets Anthrax” sound/style. Most of the twelve tracks, including “Minutes in the Sun,” “Whitewash,” “Brain Candy,” “Death & Taxes,” and “Payback,” offer up extremely raw and grungy Heavy Metal, typically loaded with a rebellious atmosphere and an almost Stoner-Metal or Heavy-Psych delivery (the latter never more apparent than on the band’s cover of Black Sabbath’s “Electric Funeral”). On the other hand, the tunes “Clockwatcher” and “Ride the Rusty Rig” are laid-back ballads that show another, more sensitive side to the group, and oddly enough, ended up being two of my favorite tracks.

Generally speaking, the material on this release delivers little in the way of innovation, but is rather perfect for when you need a good morning jolt or are in the mood for something loud, fun, and raunchy just to piss off the annoying neighbors. In other words, turn the volume up to eleven, bang your head, and let the Big Green Monster shake the rafters!

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Beautiful Creatures – Beautiful Creatures (2001)

3.5 out of 5 Stars!

Chancing upon a band with a name such as Beautiful Creatures, one could easily assume the group played wonderfully sweet and melodic pop music, but that’s so darned far from reality. Instead, what we have here is some dirty, sleazy, greasy, and kick-ass Hard Rock/Glam Metal in the same realm of groups such as Guns n’ Roses, Vain, L.A. Guns, Roxx Gang, Faster Pussycat, or a host of other loud ‘n’ rude “hair bands” from the ’80s.

Indeed, led by gruff vocalist Joe LeSte (formerly of the talented Bang Tango) and including musicians from several of those aforementioned groups, including guitarists DJ Ashba (Guns n’ Roses/Bulletboys) and Anthony Focx (Bang Tango), bassist Kenny Kweens (L.A. Guns), and drummer Glen Sobel (Bang Tango/Impellitteri), Beautiful Creatures delivered two albums of slamming, glamming, and catchy Hard Rock with a touch of Grunge, Blues, and Industrial Metal.

Fans of “hair bands” from the ’80s and the early ’90s will likely find much to enjoy on this debut. Tunes such as “Wasted,” “Kick Out,” “Goin’ Off,” “1 A.M,” “Step Back,” and “Kickin’ for Days,” blast from the speakers with wicked riffs and thundering percussion, and thanks to LeSte’s vocals, a ton of attitude that could easily match the furious punches thrown by any of the acts that found themselves heavily rotated on MTV during that channel’s heyday. Additionally, the band includes several ballads/semi-ballads for variety—”Time and Time Again,” “Wish,” and “Blacklist”—where the inclusion of acoustic guitar and the occasional background keyboards make for a nice change of pace.

In truth, there’s absolutely nothing innovative or profound on this album, just pure, loud, and rebellious fun. So once again, be warned: these particular “creatures” are far from “beautiful.”

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Gravity Rain – Artifacts of Balance (2016)

3.5 out of 5 Stars!

From the Russian Federation comes Gravity Rain, a relatively new band that plays melodic Progressive Metal in a similar vein as Fates Warning and Redemption. Indeed, overall, the vocalist (who sings in English with no detectable accent) sounds similar in style, tone, range, and delivery as Ray Alder from the aforementioned groups.

I wouldn’t say, however, that Gravity Rain is as Progressive as those other bands. For the most part, tracks such as “Ikameshii (Jotun’s Rage),” “Temple of Haste,” “M.A.D,” “Closer,” and “Sunfire” contain a fairly “traditional” Metal sound, yet both Symphonic-Metal and Progressive-Metal touches do blaze forth from time to time, while the musicianship is typically at a high level. The riff-driven material is fairly thick with crunchy guitars and pounding rhythms, and although keyboards are included, they are basically added for only tinsel or atmospheric enhancement, relegated mostly to the background with only occasional piano or synth fills brought to the forefront.

One criticism I have, though, is that the majority of the ten tracks included on Artifacts of Balance are mid-tempo and composed in the same key, thus giving several of the tunes an almost “samey” feel. This is why I appreciate the occasions when the band employs those Symphonic and Progressive influences I mentioned, which lends some periodic distractions and keeps the album from becoming too mundane. Regardless, should Gravity Rain further develop its skills, include more diverse tempos and extra alterations in chord patterns regarding its songwriting, even experiment with more adventurous arrangements on future releases, the band apparently has the talent to give those aforementioned Prog-Metal bands a run for the money.

Nevertheless, Artifacts of Balance, the band’s first album (not including a three-song EP from 2014 called The Shining Silence, with which I am unfamiliar), is a fairly good introduction for an act with a ton of potential.

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Alice Cooper – The Eyes of Alice Cooper (2003)

3.5 out of 5 Stars!

After the original and legendary band fell apart midway through the ’70s, Alice “Vincent Furnier” Cooper went on to produce an endless string of solo albums that, for the most part, never really impressed me. Apart from one or two releases (most notably Welcome to My Nightmare, his first solo outing), none of his material from the late ’70s and through the ’80s/’90s truly brought to mind the high level of creativity, amusing theatrics, or raw “garage band” energy of that original lineup. Instead, typically backed by a slew of faceless and glossy studio musicians, Furnier’s music often proved too slick, too sanitized, too over-produced, and sometimes even too “Bon Jovi-ish” for its own good, despite the often “dark” lyrics, which (aside from the spidery eye makeup) seemed about the only holdover from the olden days. Plus, since I still continue to replay the classic albums from the original band (Killer, Love It To Death, Easy Action, Muscle of Love, etc.) on a surprisingly regular basis, Furnier’s solo material just never could compete for my attention.

But thankfully, and finally, 2003’s The Eyes of Alice Cooper album comes close, or at least it does when talking about a more “garage band” sound. That became crystal clear the moment I heard the blazing opener, “What Do You Want From Me?” followed by another driving tune, “Between High School and Old School.” The guitars are thick and loaded with feedback, while the bass is thumping and the drums are slamming, just like the good ol’ days of the original group. Although for a variety of reasons, some tracks still don’t work for me on a guttural level (such as “Man of the Year,” “Be With You Awhile,” or the overly poppy “Novocaine”), there are enough old-school rough ‘n’ rowdy rockers like “I’m So Angry,” “Detroit City,” “Love Should Never Feel Like This,” “Spirits Rebellious,” and “Backyard Brawl,” plus the weird track “This House is Haunted,” that periodically mirror the original band’s glam rock/shock rock/garage rock genius. Indeed, after all these many years, with the punchy and punkish sound quality and the (mostly) consistent style of the songs, I can almost imagine guitarists Glen Buxton (RIP) and Michael Bruce, bassist Dennis Dunaway, and drummer Neal Smith wielding the instruments and backing up Furnier’s snarling, rebellious vocals.

Granted, I still feel this album lacks an ultra-snappy single as strong as (for instance) “Eighteen” or “Under My Wheels” or “School’s Out,” and no song comes close to resembling the creepy magnificence of a classic such as “Halo of Flies” or “Ballad of Dwight Fry” or “Dead Babies,” yet the stripped-down sound of the original band has been somewhat replicated on The Eyes of Alice Cooper, so to me it’s one of most enjoyable of Furnier’s solo albums since the original Alice Cooper’s Muscle of Love from 1973.

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