Billion Dollar Babies - Die For Diamonds

Billion Dollar Babies - Die For Diamonds
2010, Esmerelda Music Group

I think I just relived my much-maligned childhood. Sweden's Billion Dollar Babies managed to capture the zeitgeist of 1980's hair-metal in 38 minutes of pure rock n roll glee on their latest album, Die For Diamonds, due out September 8, 2010. You'd guess the members of Billion Dollar Babies were raised on a regular diet of Alice Cooper, Motley Crue, Bon Jovi, Journey, Loverboy, Billy Squier, Whitesnake, The Scorpions and perhaps a bit of Ratt from the flamboyant flair and more than competent rock n roll they espouse. Just sit back and take Die For Diamonds in; you could imagine most any of these songs rolling out of the radio or showing up on MTV circa 1985.

Die For Diamonds opens with "Boy's Night Out" featuring a purely 1980's approach to hard rock complete with a horn section. Vocalist Frankie Rich is a dynamic and engaging front man even on CD, able to deliver lyric passages or work up a rasp that even David Coverdale would be proud of. "Boys Night Out" is very catchy and highly familiar although it appears to be an original track. "Highest Mountain" is a big rock tune that's deeply melodic but has enough of an edge to it to feel modern. This transitions into the big open arrangement and vocal triads of "Restless Minds", a great tune that soars. Rich sounds like something of a cross between Steve Perry and Klaus Meine here. Billy Squier fans will love "Lose It", which sounds like it might have been an outtake from one of his mid-1980's recording sessions. The song has an animalistic, urgent feel, and a melody so catchy you'll be humming it for days.

"Key To My Heart" is pure power rock love song, and would have made Billion Dollar Babies the kings of MTV at one time. "Right On Time" is all about the virtues of Friday night out with the perfect girl. There's some classic rock n roll piano work buried in the middle of this song that's worth checking out. You won't be able to help yourself from singing, tapping or even dancing along. Billion Dollar Babies show a bit heavier edge on "Stand Your Ground" and "Nineteen Ninety Four". The former is a solid album cut that would play great in a big stadium, while "Nineteen Ninety Four" is a catchy beast with one thing on its mind. The song isn't much on subtlety but certainly is entertaining. Die For Diamonds closes with "We Don't Live Forever", an energetic rocker reminding listeners that life is short and admonishing them to make the most of every moment.

Billion Dollar Babies may date themselves with their sound, but the songwriting is fresh and sharp and fun. This is a band that's having fun making music, and it shows on Die For Diamonds. If you crave 1980's hard rock/hair metal but want the sound of a band you haven't heard hundreds of times in the past twenty-five years then Billion Dollar Babies will be right up your alley. This is rock n roll at its best.

Rating: 4.5 Stars (Out of 5)

Learn more about Billion Dollar Babies at http://www.billiondollarbabies.nu/ or www.myspace.com/bdbabies.   Die For Diamonds drops on September 8, 2010.  You can order digital copies from Amazon.com.  The CD version can be order directly from Billion Dollar Babies on their website.

The New Czars - Doomsday Revolution

The New Czars - Doomsday Revolution
2010, Samson Records

The New Czars have spent significant parts of their careers supporting other artists. Various members have spent time working with Alice Cooper, Puddle Of Mudd, Bruce Dickinson, Courtney Love, Lita Ford and Pink. Now singer/guitarist Greg Hampton, bassist Paul Ill and drummer David “Chilli” Moreno have stepped out on their own as The New Czars. Over time working with artists, the men of The New Czars started developing some of their own musical ideas. These ideas come to fruition on September 14, 2010 with the release of Doomsday Revolution.

Doomsday Revolution opens with "Keep On Goin'", a heavy rocker toward the crevice between mainstream alt-rock and Nine Inch Nails. The energy is solid, and there is a catchy hook or two buried in the sound but in the end it sounds a bit contrived. "Confessions" has more of the breakneck approach you might expect from The New Czars; driven and powerful rock and roll with no apologies and no punches pulled. "So Sure" is commercially viable heavy rock with a heavily pop-oriented chorus. It's product that will sell but doesn't necessarily reflect high quality songwriting. "Abstract Prague" is a cut-and-paste rock instrumental allowing guitarist Hampton to create some aural chaos. Full of riffs, runs and noises with little sense of progression, melody or continuity, its guitar-players self-indulgence. "Doomsday Revolution" is the catchiest track on the disc; falling closer to 1980's MTV hair metal than modern rock. "Doomsday Revolution" lacks any pretension and is the more enjoyable track on the disc for its lack. The New Czars close out with two instrumentals, "Funky Detour" and "Crotch Critters" that attest to the bands sense of sound over song.

The New Czars make a couple of real attempts at music with commercial legs on Doomsday Revolution, but generally fall into the musical cauldron where unguided self-interest and a lack of distinct musical direction meet. The result is an unfocused and surprisingly un-inspired performance. The loosest moment comes on the title track when The New Czars let their hair down and pay homage to their roots in early-1980's pop/metal, but even here there's a detachment that is somewhat frustrating. The New Czars seem to have talent, but still seem so fascinated with what they can do with their instruments to really explore how. Things will get more interesting once they make that transition.

Rating: 2 Stars (Out of 5)

Learn more about The New Czars at www.myspace.com/thenewczars or http://www.greghampton.com/. Doomsday Revolution drops on September 14, 2010.  You can pre-order the CD from Amazon.com.

Review: Sass Jordan - From Dusk Til Dawn

Sass Jordan - From Dusk Til Dawn
2010, RBE Music/Kindling Music/Fontana

Sass Jordan never goes away. The owner of twelve Top-40 singles in Canada (including two in the Top-10, keeps finding ways to express herself in the arts. The star of the off-Broadway hit Love Janis also served as a judge for six years on Canadian Idol. Her music has been featured on numerous television shows and soundtracks (including an iconic duet with Joe Cocker on The Bodyguard soundtrack. Jordan's toured with Aerosmith, Cheap Trick, Alice Cooper, Van Halen, Carlos Santana and Cocker, but always returns to her own solo performing as the root of her creativity. On March 16, 2010, Jordan releases her eighth album, From Dusk Til Dawn. Rather than coasting comfortably at a point her career when the Juno-Award winning songwriter might, Jordan sparks with the vibrancy that turned heads even back in her days with Montreal’s The Pinups.

From Dusk 'Til Dawn opens with the delicious Blues/Rock of What I Need. Jordan steeps herself in the roots of old school Rhythm & Blues with the sort of strong rock vocal performance she's become known for. It's a knock out track that could be a big winner over the radios and at the award shows. Fell In Love Again goes with a classic Motown feel. You could almost here Mary Wells digging into this one, and Jordan does a great job with it. Awake is a gorgeous ballad full of regret; a song about getting ready to move on. For a rocker with something of a rough edge to her voice, Jordan is surprisingly polished and nuanced on the ballads on From Dusk 'Til Dawn. Jordan's everywoman act continues on Why Did You?, where she slips in Americana shoes amidst a big hook and catchy arrangement.

Lonely blends Country, Blues and Rock, ala Bonnie Raitt. This is another tune that could conceivably be a big hit over the airwaves. Jordan goes for an almost Appalchian feel on Matter Of Time, using very basic song structure and minimalist arrangement accented by great vocal harmonies. The song is well written and expertly performed. Jordan aces her cover of Tom Waits' Ol' 55, going for a highly fluid and smooth rendition, which works wonderfully well with and in contrast to Jordan's rock diva rasp. Stronger is great Pop songwriting; perhaps not as elemental as the other songs presented here, but certainly a decent offering. Jordan closes with the folky Home Again, a solid closer that sees Jordan adding to her versatility as a performer.

I remember the days of Racine and Rats, when Jordan was challenging Lee Aaron for the title of Miss Thing on the Canadian rock charts. Jordan hasn't lost the edge that made her a hit in Canada back then, but as an artist she's matured; adding nuance and class to a dynamic voice and an ear for melody that goes well with her ability to blow the roof off a room. From Dusk 'Til Dawn isn't so much a mellowing of Jordan's style or sound as it is a broadening of horizons. It would appear several years of judging the performances of others has made Jordan even more astute in making her own musical choices. On From Dusk 'Til Dawn she executes nearly flawlessly without giving up an iota of the energy or passion that always gave Jordan her Sass.

Rating: 4 Stars (Out of 5)

You can learn more about Sass Jordan at http://www.sassjordan.com/ or www.myspace.com/sassjordan. From Dusk Til Dawn sees its US release on March 16, 2010. Expect wide availability, if you simply can’t wait, the album was released in the Fall of 2009 in Canada, and is available through numerous resources on the web, including MapleMusic.com.

Review: Dick Wagner - Full Meltdown

Dick Wagner - Full Meltdown
2009, Desert Dreams Records

Dick Wagner is a quiet legend. You've heard him play guitar many times, and you've heard many of his songs over the years even if you have no idea who he is. Wagner was Alice Cooper's musical director and guitarist in Cooper's heyday, co-writing some of Cooper's biggest hits. He's played lead guitar on or written songs for folks such as Aerosmith, KISS, Peter Gabriel, Ringo Starr, Lou Reed, Meat Loaf, Hall & Oates, Tina Turner, Etta James, Air Supply and Burton Cummings; appearing on 150 albums (14 platinum, 16 gold, 5 silver). Wagner is also the recipient of several BMI songwriting awards over the years. Wagner writes for himself on his latest album, Full Meltdown, showing a much softer touch than you might have expected.

Full Meltdown opens with Still Hungry, a surprisingly reserved opener considering the subject matter of the song. The title suggests a drive that just isn't represented in the easy-listening rock arrangement. The song is decent enough, just something of a dichotomy. Blue Collar Babies is a youthful fantasy about fast cars, parties and all that comes with being wild and young. It's a tuneful song, catchy in demure fashion, but has a bit of midlife crisis feel to it. Insatiable Girl feels more like classic Rock N Roll, like something you might hear on AOR radio. Wagner captures a sweet sound on Another Twist Of The Knife, hitting stride like a 1980's glam rock act. You could almost picture Whitesnake or someone of similar ilk ripping into this tune. Wagner breaks into a cover of Stagger Lee, a classic rock take that's most similar to Lloyd Price's 1959 rendition. Wagner's guitar work here is particularly sharp, and the rendition in general sounds a bit like Elton John.

Wagner gets back to that Elton feel on These Days, a piano and voice ballad that carries the prettiest melody on the album. Wagner digresses into dreamy, melancholy rock on I Might As Well Be On Mars before revving things up a little for Steal The Thunder. The energy here is still a bit low-key but works in the guitar-revved sound. The dreamy sound returns for Darkest Hour before getting shoved gently aside by Motor City Showdown and its Elton John style theme. Wagner closes out with the dark ballad Feel It All Over, taking it up to mid-tempo in the chorus and dropping in some great guitar filler along the way.

Full Meltdown is a pleasant listen but never reaches critical mass. Dick Wagner is very capable with a guitar in his hands, and possesses a voice that deserves to be heard, but Full Meltdown feels like a project that was never fully committed to. The intensity in the vocal line often doesn't match the lyrics or the musical drive of a given tune. This is late-stage Boomer rock; keen enough on the tricks of the trade to sound relevant, but once you get beneath the surface the water isn't terribly deep. A pleasant musical snack, but not enough for a meal.

Rating: 2.5 Stars (Out of 5)

You can learn more about Dick Wagner at http://www.wagnermusic.com/ or http://www.desertdreamsllc.com/. You can purchase Full Meltdown as either a CD or Download from CDBaby.com.

Review: Paris-Keeling - End Of Ride Revisited

Paris-Keeling - End Of Ride Revisited
2009, Surgeland Records

Paris-Keeling has been around the block a time or two, both together and individually. Vocalist Kelly Keeling started out as the lead vocalist of Baton Rouge back in 1990, signing to Atlantic Records and releasing two albums. Later working with Alice Cooper on Hey Stoopid, Keeling co-wrote Snakebit with Cooper. He's also spent time in studio or on the road with Don Dokken, Roger Daltrey, Carime Appice, Yngwie Malmsteen and Michael Schenker, among others. Guitarist Marty Paris is (somewhat obviously) a co-founder of Paris-Keeling, and also helped start the Independent musicians group in New Jersey known as the Skulls Project. Bassist Rick Van Benschoten is an award-winning engineer and sound designer who's worked with the likes of Celine Dion, Amy Grant and Madonna. Cellist Matt Goeke walks in both the pop and classical worlds, playing with everyone from Church Of Betty and Voltaire to Musica Sacra and the Stamford Symphony. Drummer Gintas Janusonis has gigs with Carlos Santana, Erykah Badu, Angelique Kidjo and Tony Bennett on his resume. Suffice it to say the band is talented. Surgeland Records recently released End Of Ride Revisited, the latest offering from Paris-Keeling. Featuring guest appearances by Don Dokken, Carmine Appice, George Lynch, Shane Gaalaas, Erik Norlander and Al Pitrelli, it's an explosive album from a band we never seem to hear quite enough from.

End Of Ride Revisited opens with Tears Of Heaven, wrapped in crunchy guitar, arena rock vocal triads and a pointed vocal about the evils of war. This is a great bit of ear candy for classic rock fans with Don Dokken sitting in, but has enough commercial sense to find a niche even today. Head Straight is a live recording that gives you a good idea of how the band sounds in concert; it's a decent sound that's right at home in an arena. Free is a poignant musical moment, built on piano and some gorgeous instrumentation wrapped around Paris' dynamic vocal line. End Of Ride (Suite) sounds like David Coverdale or some other icon of 80's glam rock singing with the Beatles. The structure and composition is pure Fab Four, but the iconic flair of the 1980's is overpowering. This is a great tune that stretches the stylistic boundaries in unexpected and welcome directions.

Morning Song is a bit befuddling. It could be a love song or a prayer, and it's never made entirely clear throughout. It's a lovely song, with orchestration and a melody that will stick with you. These Days is a tuneful rocker that features some blistering guitar work from Dokken axeman George Lynch. These Days has a swaying quality to it that makes it stand out, but Lynch provides an unbelievable solo here that absolutely makes the song. I've Found is a gorgeously arranged celebration of finding that special someone. The Beatles-style evident earlier on End Of Ride Revisited rears its head again here in a song with harmonies that are to die for. Don't Disturb The Occupants is a rollicking good bit of Rock N Roll; a let-it-all hang out tune perfect for a live show. This is most fun Paris-Keeling has on the entire disc based on the sound and energy and features Carmine Appice on drums. Telephone Line, written by legendary musician, producer and ELO front man Jeff Lynne, is perhaps the biggest highlight of the disc. Keeling works magic on the vocal line, and the arrangement/instrumentation is perfect. Paris-Keeling says goodnight with Alive, celebrating the things that really matter, regardless of the whims of day-to-day life. It's a grateful song for all that has come and for still being here to enjoy it all.

I have to say I was surprised by End Of Ride Revisited. I'd never heard the original End Of Ride, but was expecting a straight classic rock album from Paris Keeling. What they delivered is much more textured and nuanced than your typical 1980's Rock band experience. Paris-Keeling a true song smiths, writing in a sound that is undervalued at times for its quotient of significant, lasting songwriting. End Of Ride Revisited has a couple of holes here and there, but as a listening experience it transcends expectations and delivers a sound and style that crosses generations, boundaries and demographics in the way that most modern rock bands never even imagine much less produce. This is great stuff!

Rating: 4 Stars (Out of 5)

You can learn more about Paris-Keeling at www.myspace.com/pariskeeling or http://www.pariskeeling.com/, where you can order a copy of End Of Ride Revisited.

Review: Evil Farm Children - Evil Farm Children II: The Evilling

Evil Farm Children – Evil Farm Children II: The Evilling
2008, Dad’s Favourite Records

When Evil Farm Children step on stage it’s like introducing alcohol to a party, literally anything can happen. The Ottawa, Ontario, Canada power trio segue from Punk to Surf to Metal to Americana like runway models change their outfits and nothing ever sounds out of place. Dave Kerr (DeadBeatDads, WizzleTeeth) plays guitar and sings on most tracks, while Janice Fitzsimmons (The Ambassadors, Revv Engine) plays bass and sings; Jeb Bond (The Restless Virgins, Screaming Bamboo, Fenton Brothers, Purple, Evil Knievel, Tall, Freudhammer) beats the skins and keeps Evil Farm Children on track. Any of the three members might be musically impressive, but when they come together as Evil Farm Children something special happens. 2008 saw the release of their second album, Evil Farm Children II: The Evilling, which raises the bar from their self-produced debut EP Knuckleduster. When playing live EFC has been known to cover such diverse artists as Dick Dale, Black Sabbath, Tom Waits, Conway Twitty & Loretta Lynn, Link Wray or Alice Cooper. Their original material is as unpredictable and fun to listen to. You’ll come to the conclusion that either they’re mad, or Evil Farm Children is a product of collective genius. We’re not ruling out either one.

The Evilling opens with Code Of Silence, a classic surf guitar rock song with a hint of rockabilly swing, like something from a Ventures session. Border Blaster follows a similar retro vein, getting back to Roots Rock N Roll in a classic party song. Booze Can is an interesting Garage/Punk/Surf hybrid that its feet firmly planted in the 1960’s. Much of the material here is fun to hear on CD but seems like it would be much more vibrant live. Valley Justice is interesting; written like a trail rider’s song to the slow beat of a plodding horse. The song has a dark and vaguely ominous quality with a bit of a “pulp fiction” sound to it. The highlight of the disc is the cover of Max Webster’s Hangover. While lead vocalist Dave Kerr isn’t quite as dynamic as Kim Mitchell, he manages to capture the gritty drunken essence of the song. Other songs of note are Knuckle Duster and Straight ‘N Narrow.

Evil Farm Children have a unique sound, call it punkabilly if you want; its close but not a complete description. I can’t say I was blown away by Evil Farm Children II: The Evilling, but it was a fun listen. I strongly suspect, from all that I’ve read about the band, that the live show is the thing here. Evil Farm Children did an excellent job of capturing a live sound on The Evilling, but the charisma of the live show is much harder to translate to a CD. Nevertheless, the songs presented here are bound to whet your appetite for more from Evil Farm Children.

Rating: 3 Stars (Out of 5)

You can learn more about Evil Farm Children at www.myspace.com/evilfarmchildren. You can purchase a copy of Evil Farm Children II: The Evilling at www.cdbaby.com/cd/evilfarmchildren.

Review: Erik "Eski" Scott - Other Planets

Erik Scott - Other Planets
2008, Eskimusic Productions

Erik "Eski" Scott has a long history of raising a ruckus. After sixteen years raising the rough reveille of youth with Sonia Dada, Scott has taken a little break to pursue other musical avenues. Along the way he's played with Alice Cooper, Flo & Eddie, Kim Carnes and Mavis and Pop Staples, just to name a few. Erik Scott's latest release, Other Planets, finds him dabbling with steel guitar, melodic bass and what he terms as "interstellar strings". Tranquility abounds on Other Planets, but that wild energy that has run through everything Scott has touched over the years is here, deep within the still waters of this musical moment.

Bartalk is built of the sort of ups and downs one might see in any microcosm of society. A bar is as good a random sample as any, and Scott captures the swell and release of human interaction perfectly in rise and fall of the musical passages within. Guitar and keyboard carry on the main conversation here, while passersby (keyboard, bass, drums) provide the background noise and occasionally spill over into the main conversation. The sonic imagery is almost perfect. Sundogs takes its name from the scientific phenomenon called a parhelion. Parhelia are the mock suns you sometimes see to either side of the actual sun usually shortly after sunrise or shortly before sunset. Sun Dogs were debated as portents in the middle ages, and have even been used as signed to start wars. They are coronal objects that result from sunlight reflecting off of ice crystals in the atmosphere; illusions. Scott's musical interpretation seems to play with the concept of illusion while perhaps implying a purpose unknown or unseen.

Peace On Saturn is one of the most pleasant surprises I've heard on an instrumental album in some time. Scott uses pedal steel here in an almost ambient setting that could be described as some sort of "heavenly" country music. The pedal steel sighs and wails its way across a serene musical landscape provided mostly by a conversation between bass and guitar. Despues De Guerro is my favorite track on the disc because it perfects the theme that Scott seems to be trying to draw out of all the songs on Other Planets. It's music as a conversation between instruments. This concept was put forth bluntly on the opening track, but the underlying theme is not so much of instruments playing together as conversing. On Despues De Guerro Scott achieves a near-perfect conversation where guitar, bass, drums and pedal steel all find perfect rhythm, pacing and content and lift the whole project to enlightened speech. (Not to mention that Pink Floyd fans will be very pleased with some of the passages in this one).

Not to drive a point too hard, but Erik Scott brings out his inner Floyd in flashes on Bassque Revolution (particularly in the opening). Bass is the primary voice in this wonderful composition, taking center stage while piano and keys egg it on and trill laughter throughout. Make sure to listen carefully to Foggy Bridges when you get there. The opening distorts sound like fog distorts sights seen in the distance, but the bass leads you where you need to go and the piano is as beautiful as sunlight illuminating the world through the mist. Bathing Maui comes across as a bit of a musical joke, delivered with a wink and a smile. Chaos ensues both in the tub and in the music, although in a much more refined fashion that fans of Scott may be used to. Bass guitar provides the laugh track for this one, while the keyboard suggests the sense of adventure that any dog owner will recognize come bath time. Scott gets full into the space rock ethic with Aliens Made Me Do This, the closing track to the album. Space age strings and a mischievous bass line make for quite a listen.

Erik Scott has always been known for his raucous side as part of Sonia Dada. On Other Planets he shows us a much more musically mature aspect that is both surprising and welcome. Instrumental rock albums always end up having something of a limited reach, but this is far and away one of the best instrumental rock albums I've come across. In the art of composition Scott has found a voice, one that speaks clearly and quietly to the listener. You must listen carefully to hear this voice, but the reward is well worth the effort. We here at Wildy's World sincerely hope for the continued vitality and success of Sonia Dada, but we also hope that Erik Scott continues to find time to explore his instrumental muse.

Rating: 4.5 Stars (Out of 5)

You can learn more about Erik Scott at http://www.erikscottbass.com/. You can purchase a copy of Other Planets at www.cdbaby.com/cd/erikscott or http://www.wishingwellonline.com/

Review: Wensday - Torch Rock

Wensday - Torch Rock
2008, Desert Dreams Records

Wensday was quietly pursuing her music as a jazz vocalist in her native Providence, Rhode Island. Along with being the director of a children’s theater, Wensday found time and energy to front several projects in a short period of time. After her discovery by none other than Alice Cooper, Alice embarked on a whirlwind of musical self-discovery. Working with the likes of Dick Wagner (Alice Cooper, Lou Reed, KISS, Air Supply, Aerosmith); Fred Mandel (Elton John, Queen, Cooper); Nils Lofgren (Springsteen) and Bobby Flores, Wensday was able to craft an album that runs the gamut from jazz to rock with all stops in between. Torch Rock defies classification while welcoming praise.

Wensday runs the stylistic gamut on Torch Rock, with elements of Country, Jazz, Blues and Rock N Roll mashed up into a silky mix that perfectly complements her sultry, soulful voice. Torch Rock opens with Arizona Man, an utterly forthright and brazen letdown with country trappings and gorgeous, classic-rock style harmonies. After You follows up as a gorgeous piano-based ballad. Wensday's voice is charmed and full of delicious color in this regretful goodbye song. The Rise And Fall Of Love lifts from the ashes like a 1980's arena rock ballad, full of guitar and synth. The almost classical form of song construction here is intriguing, and Wensday absolutely soars on the chorus.

Heartbreak is a soulful torch song that will stick in your head for days afterward. Only Women Bleed is a classic country take on the Alice Cooper classic. This may be song with the greatest commercial potential on Torch Rock; a highly licensable tune that should be destined for placement in at least one chick-flick. Decorations leans a little bit into classic R&B styles and is perhaps the best pure pop song on Torch Rock. What sounds like a series of double entendres turns out to be a song about tattoos. The song is very well written and is bound to grab your attention.

Be sure to give a listen or six to Seventh Level, a gorgeously orchestrated opening turns into a classic soul rocker that draws lines of comparison between Love and Hell. Seventh Level is highly theatric and could easily be a key song in a musical. It's an amazing composition and by far the best overall performance on Torch Rock. Other highlights include Bulldog Blues, Predatory Gentlemen, My Fantasy Life and Pirate Love.

Wensday is unique. She has the charm of a country girl, the craven sensuality of a torch singer, and the theatric nature of a thespian. Add all of this to great material and an amazing voice and you have the complete package that is Wensday. Torch Rock may suffer a bit on the commercial side as it really does run all over the musical map, and some music consumers just don't have the musical vision to encompass it all. But from a music perspective it's absolutely sublime. Wensday comes out of left field with an instant classic.

Rating: 4.5 Stars (Out of 5)

You can learn more about Wensday at http://www.wensdaymusic.com/. You can purchase a copy of Torch Rock at Amazon.com.