Styx - The Grand Illusion/Pieces of Eight: Live

Styx – The Grand Illusion/Pieces Of Eight: Live
2012, Eagle Rock Entertainment

From 1977 to 1981 there wasn’t a bigger name in American Rock N Roll than Styx.  The first group to ever score four consecutive multi-platinum albums, Styx dominated AOR and pop radio, and tour box offices, like few others up until their first breakup in 1984.  Times change, and musical styles move on.  Styx has never recaptured the commercial success they had in their prime, and the revolving door of band members and side projects since the band’s reunion in 1996 has made for a sound that is dynamic but altered from the signature sound of the band’s heyday.  In 2011, Styx put on a short concert tour that included complete live renditions of the band’s classic albums The Grand Illusion and Pieces Of Eight.  That tour is memorialized now on DVD, Blue-Ray, and combined DVD and 2-CD set. 

The Grand Illusion/Pieces Of Eight: Live is a visually stunning and musically surprising performance.  Some of Styx’ greatest hits were featured on these two albums, including “The Grand Illusion”, “Fooling Yourself”, “Miss America”, “Come Sail Away”, “Blue Collar Man” and “Renegade”.  While the vocal mix has changed over the years, and Lawrence Gowan will never quite replace the voice of Dennis DeYoung, Styx managed to capture the same zeitgeist that made them the kings of Arena Rock for close to a decade.  The video presentation and audio quality are perfect, and Styx is entirely on their game on-stage.

The more things change, the more they stay the same.  Styx continues to be one of the highest grossing live acts in the U.S., and it’s easy to see why on The Grand Illusion/Pieces Of Eight: Live.  So while lesser acts are ensconced in the Rock N Roll Hall of Jann Wenner’s album collection in Cleveland, true Icons of rock music such as Styx continue to do what they do best:  Rock and roll.

Rating: 4 Stars (Out of 5)

Learn more about Styx at www.styxworld.com. 

   DVD/2-CD               BluRay                      DVD

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Styx - Regeneration: Volume I & II

Styx – Regeneration: Volume I & II
2011, Eagle

Like many classic rock bands subject to the avarice of labels who own the rights to their songs, Styx has seen a number of re-releases and repackages of their material over the years.  Since 2007 there have been no less than nine greatest hits/best of packages released in various countries around the world.  Not too shabby for a band that apparently can’t even get a grudging nod of respect from the folks at Rolling St…  I mean the Rock and Roll Hall of Fame.   Styx is back with another re-package of old hits, but this time it’s a bit more intriguing.  Regeneration: Volume I & II offers 15 new recordings of classic Styx songs, plus one new track.

Styx released Volume I and Volume II separately over the past year and a half, with the intent that the albums would be sold only at shows and on-line through the band’s fan club.  The secondary demand for the discs proved significant, however, and Eagle Records has packaged both albums in one set.  You can see our prior review of Regeneration: Volume I here.  Volume II runs in the same vein, with old Styx favorites getting new life from the current lineup.  Like Volume I, Volume II has a raw-but-polished quality, similar to a professionally produced live album.  Styx strives to capture the sound you hear in concert today on record rather than re-create the originals note-for-note.  The result is an exciting update to material that still seems vibrant even (in some cases) thirty-five years later. 

The band revives such hits as “Blue Collar Man”, “Renegade”, “Miss America”, “Snowblind” and “Too Much Time On My Hands”, with Tommy Shaw and James Young belting out classic vocal lines.  In the process, Styx digs out a wonderful gem in “Queen Of Spades”.  Lawrence Gowan does a great job with this classic album cut, even if it doesn’t have quite have the dramatic sense of the original.  Styx also gives life to two cuts Tommy Shaw performed with side project Damn Yankees (Shaw, Jack Blades, Ted Nugent & Michael Cartellone).  “High Enough” and “Coming Of Age” always sounded like Styx songs and work very well in the context of the current lineup of the band.

Yes, there was much complaining on-line and in fan enclaves when Styx started releasing the Regeneration projects.  Fans who will never forgive the band for the departure of Dennis DeYoung scalded the remaining members for carrying on without him, but this is what bands do, like it or not.  Regeneration: Volume I & II isn’t about excising a former band member, it’s about putting Styx in a position to make a living off their own work, rather than having all of the licensing opportunities fall into the lap of a dying major label architecture more interested in profiting off its catalogue than actually building up artists for the future.  Regeneration: Volume I & II gives more than fair value; classic songs with an updated sound that’s as fresh and vibrant today as ever.

Rating:  4 Stars (Out of 5)

Learn more about Styx at www.styxworld.com. 

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Tommy Shaw - The Great Divide

Tommy Shaw – The Great Divide
2011, Pazzo Music/Fontana

Tommy Shaw is something of a rock n roll icon.   As one of the principal songwriters and vocalists for rock group Styx since 1976, Shaw (and the band) has cut a career path worthy of inclusion in the Rock N Roll Hall Of Fame.  Shaw has spent his share of time on other projects over the years, cutting four solo albums, two albums with Damn Yankees (Ted Nugent, Jack Blades) and three as part of Shaw/Blades.  Shaw has also appeared on a number of tributes and collections over time.  With a tenor voice that’s instantly recognizable, it’s no surprise that some Shaw’s songs (“Fooling Yourself”, “Renegade”, “Too Much Time On My Hands”, and “High Enough”) continue to be staples on classic rock radio.  Shaw’s latest album takes him down a new road.  Working with some of the finest bluegrass session players around, and with guest appearances by Dwight Yoakam, Alison Krauss and Brad Davis, Shaw’s The Great Divide is an absolute delight.

The Great Divide opens with “The Next Right Thing”, a wonderful blend of pop/rock songwriting and bluegrass style.  You could easily hear this tune appearing on a Shaw/Blades album or even as a rock number by Styx, but the bluegrass sound seems to fit perfectly.  The picking here is incredible; the backing band the real deal.  Yoakam sits in on backing vocals, adding his sound to a complex arrangement full of movement and zest.  Shaw is in fine voice here.  “Back In Your Kitchen” explores love as expressed through the culinary art.  Shaw’s songwriting is sharp and full of good humor, with a light feel that’s sweet and enjoyable.  The instrumentation here is deliriously good, and the vocal line is flawless.  “Sawmill” almost sounds like it could be Shaw playing with Union Station, matching the latter stylistically in a catchy, old-school country sound.

“The Great Divide” is sweet and melancholy; full of great hope and love.  Shaw manages to capture a bit of the high lonesome sound here at times in a ballad with a modern feel.  Alison Krauss adds her sweet voice on backing vocals.  “Shadows In The Moonlight” is a hauntingly tragic love story told in song.  Shaw manages an exquisite arrangement full of dark beauty.  “Get On The One” is a high energy turn about grabbing onto your dream and following it to fruition.  This is a theme that Shaw has revisited throughout the years in his songwriting, but remains fresh in an allegory of trains and contemporary bluegrass styling.  “Umpteen Miles” finds Shaw trying to sound like an Appalachian back-porch singer on the first verse.  It works to a degree, but the sound is much better when he graduates to his higher range for the chorus.  The story-song is brilliantly written and told; however, exploring the life of someone irrevocably tied to the land he grew up on. 

“Cavalry” is a sweet little love song built around traditional instrumentation and a wonderfully fresh pop sensibility.  “Afraid To Love” is pure Tommy Shaw; a pure pop ballad with bluegrass instrumentation.  “Give ‘Em Hell Harry” is a talk/sing number about Harry Truman’s musical career and how he stumbled into the presidency, suddenly communing with the likes of Stalin and Churchill.  It’s an entertaining turn; a nice change of pace.  Shaw closes out with “I’ll Be Comin’ Home”, an Americana/rock number done up in bluegrass instrumentation.  This is great songwriting, pure and simple, and Shaw’s iconic voice has never been better.  It’s the perfect close to a near-perfect album.

Tommy Shaw takes a surprising and pleasing turn with The Great Divide.  While it’s not at all surprising for a rock artist to suddenly turn to more traditional musical styles as their career progresses, it’s unusual to make the transition so well.  The Great Divide deftly blends traditional bluegrass sound and modern songwriting to create what should turn out to be one of the best bluegrass albums of 2011.  Don’t be entirely surprised if Shaw gets serious consideration for at least a GRAMMY nomination this time around.

Rating: 4.5 Stars (Out of 5)

Learn more about Tommy Shaw and The Great Divide at www.thegreatdividemusic.com.  The Great Divide is available from Amazon.com on CD, Vinyl and as a Download.  The album is also available from iTunes.

Styx - Regeneration, Volume I

Styx - Regeneration, Volume I
2010

Born of The Windy City, Styx was forged of the last gasps of the 1960s. Influenced by rhythm and blues and rock n roll, Styx has undergone significant transformation, both musically and as a band. Much has been made of the public divorce of Styx and Dennis DeYoung, both in the press and among fans of the band, but both continue separately as vital and successful artists. This fall, Styx will engage in a once-in-a-lifetime tour, recreating two of their classic albums live: The Grand Illusion and Pieces Of Eight. In celebration of this tour, Styx will release Regeneration, Volume I, a seven song EP featuring new recordings of six classic Styx songs as well as one new track.

Regeneration, Volume I opens with a new Styx tune entitled "Difference In The World", a mellow rocker about the changing of perspective from youth to adulthood; the realization with time that we are responsible in some fashion for the world in which we live. It's a great melody, voiced by Tommy Shaw, and it's perhaps the first Styx song with a shot at real radio airplay in some time. While the new song is a solid add to the Styx songbook, Regeneration, Volume I is all about recreating the past. Lawrence Gowan takes lead on "The Grand Illusion", taking over for the departed DeYoung. Gowan gives a dynamic performance that is likely to appeal to all but the most hardened DeYoung supporters. Styx sticks with the original arrangement with slight variations in the synth and in the main guitar solo. "Fooling Yourself (The Angry Young Man)" sticks to the original script as well. The version offered here more closely reflects the energy and sound that Styx achieves in its live shows, although it should be noted that the vocal mix of Styx' trademark harmonies isn't quite the same with the current lineup.

"Lorelei" was a minor hit for Styx the first time around. Voiced by DeYoung originally, James Young takes the mic for the updated version. It's a pleasant surprise, as one might expect that Lawrence Gowan would have been the natural choice, but Young brings to "Lorelei" the raw exuberance that made the original work so well. "Sing For The Day" has long been a hidden classic better known to Styx die-hards but which never got a lot of play either on the radio or live. It's a "carpe diem" song; a musical paean to following your dreams. The subtle changes here won't be noticed by most, but there's a vibrancy to this version that cannot be ignored, and Tommy Shaw sings it with all of the passion he did when the song premiered in 1978. Shaw breaks out the 12-string guitar for what has become his signature song, "Crystal Ball". Once again, changes from the original are subtle, but where the original carried all the angst and uncertainty of a young man breaking onto the world at large, a knowing melancholy swirls in and blends with that angst in the current version. "Crystal Ball" turns out to be the most striking recreation on the album.

Regneration, Volume I closes with what is bound to be the most controversial track, "Come Sail Away". While this is perhaps the song Styx is most known for, it is also the one that is most distinctly Dennis DeYoung's. Simply put, there will be some fans who will never accept this version as a replacement from the original. That being said, Lawrence Gowan does a credible job in DeYoung's place, both vocally and in the atmospherics of his keyboard work. While there will be detractors, this is a solid update of a classic song and fits well with the sound Styx achieves in concert.

Styx is certainly not what they once were. No band can lose 3/5 of its core (including one of the original songwriters and singers) without growing into something new. The good news is that Styx rocks with all of the vitality and working class gusto that made them superstars in the 1970's. If anything, Regeneration, Volume I proves what fools the Rolling Stone ed... oops, I mean the Rock N Roll Hall Of Fame board are for not enshrining Styx long ago. The vocal mix is a bit different, and Lawrence Gowan brings his own distinctive personality to the chair once held down by Dennis DeYoung. Tommy Shaw and James Young are both a bit older but none the worse for wear. Bassist Ricky Phillips (The Babys, Bad English, Coverdale/Page) is a competent sit-in for Chuck Panozzo, who still shows up and performs with the band from time to time. Of Todd Sucherman there's nothing I can say that hasn't been trumpeted by fans and critics all over the map, except to say that John Panozzo would be proud. From the creative angle, Regeneration, Volume I may seem a bit cynical. Styx and/or its current former labels have released at least fifteen albums since 1995. Of those, six have been live recordings; six have been compilations and only three of new material. This from a band who managed four consecutive platinum albums between 1977 and 1980, and a total of eleven albums of new material between 1972 and 1983. While that pace probably contributed in large part to Styx' original breakup in 1984, there must be a happy creative medium in there somewhere. Regeneration, Volume I proves that Styx still matters, but some new material (beyond the occasional token new track to sell a compilation) wouldn't hurt.

Rating: 4.5 Stars (Out of 5)

Learn more about Styx at http://www.styxworld.com/.  Regeneration, Volume I and Volume II will be released on October 4, 2011 on Eagle Records.  See the full review of the new release here.
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Review: Vangough - Manikin Parade

Vangough - Manikin Parade
2009, Clay Withrow

Who needs a sword when you carry an axe? Vangough front man Clay Withrow carries both on the band's debut CD, Manikin Parade, released in April of 2009. Pointed lyrics that cut to the heart are interwoven into a rock and roll matrix filled with heavy guitar, Progressive songwriting and a keyboard style that brings to mind Prog masters Styx, Yes and Genesis. Fans of Dream Theater and Styx will love the theatrical style Vangough projects through their music, and generations can come together over a mix of Classic and Modern Rock that does honor to both. Vangough is Withrow (vox, guitar); Brandon Lopez (drums); Abe Hartley (keys) and Carlton Dorsey (bass, cello, violin).

Manikin Parade kicks off with the Progressive Rock love fest Estranger. Vangough channels Dream Theater, Queen and Styx here. Using a 2-vocalist approach (one of who sounds more than a bit like Tommy Shaw) works incredibly well here, and the song construction is out of this world. There are no tricks here, Vangough has simply let the song develop as it might without trying to restrict it to a tight ABACAB format. The song rocks and yet has a very lyric flow from beginning to end that makes it a highly intriguing listen. Both vocalists are exceptional and Vangough could not have chosen a better opener. Manikin Parade berates the dumbing down of a society that prefers reality television to reality and tweets to conversation in a guitar-driven anthem reminiscent of Queensryche in their Empire days. Christmas Scars drives this point home, focusing on our obsession and glorification of celebrity. What begins as heavy, driven tune with growling vocals trends to a more serene state, passing through rap/vocals and the occasional return to percussive musicality along the way.

Disorder Quotient is a stark examination of both sides of the issue of abuse by priests in the Catholic Church; both the priests' and victims' perspectives are represented in surprisingly even-handed fashion, almost seeming to imply that both are victims of a larger entity (the Church itself, God?). Either way, the song is serious sociopolitical commentary wrapped inside of a dynamic Prog shell. Not wanting to leave anyone out, Vangough turns their eyes to the vaunted gates of Scientology on Paradise For The Lost, essentially calling it out as a business enterprise that sells salvation one course at a time. If possible, there seems to be more anger in Paradise For The Lost than in Disorder Quotient, pulling no punches ("Fail to see his hateful greed / like a church of fools we follow the rules"). Paradise Of The Lost is part one of a three song cycle called The Twilight. Part Two is Gabriel; looking at what can happen to a person when all else (hope, faith, love, self-interest) fails. The song exhorts the subject to move out of the darkness by letting go all these expectations and give in to the magic that is life.

Dance Of The Summer Mind is a nearly six-minute instrumental interlude, primarily of piano and acoustic guitar. It is a beautiful composition that never really soars but continually presses at the sky and serves as a lead-in for One Dark Birthday; focusing on self-exclusion and sorrow. The protagonist here is from all around him by his own choices but doesn't know how to reconnect to the world. Part Three of Twilight is the epic musical odyssey called Etude Of Sorrow. Etude Of Sorrow opens as one of the more straightforward songs on the album, but diverges into what sounds like a convoluted diatribe against God. The narrator turns his back on God because of all he's lost. This is followed by Halcyon Days, which appears to be a song commemorating passing the veil of death. Vangough closes the set with The Cosmic Bus Stop, a highly dramatic representation of what might be waiting after death.

I have to admit that I had a hard time connecting to the subject matter here; I was never 100% certain how much of Manikin Parade is tongue-in-cheek and how much is meant as direct social commentary (or perhaps a smidgen of both). What is clear is that Manikin Parade is a disturbing album full of grand musical compositions, devastating themes and intensely virtuosic musicianship. I may not like all Vangough has to say, but I certainly like the way they say it on Manikin Parade. Think of it as Faust done over for our modern age.

Rating: 4 Stars (Out of 5)

You can learn more about Vangough at www.myspace.com/officialvangough. You can purchase Manikin Parade as either a CD or download via CDBaby.com.

Review: Riverdies – Down Yard

Riverdies – Down Yard

2009, Riverdies

Riverdies is a Rio de Janeiro-based rock band with big dreams, big melodies and a wide variety of musical influences. Together since 2000, Riverdies has built a strong following in their native Brazil and is looking to spread their music beyond its borders. Featuring Alex Melch on vocal and guitar; Fil Buchaul and Leo Graterol on guitar, Gui Farizeli on bass/vox and Victor vonDraxeler on drums, Riverdies rocks with the best of them. Their latest album, Down Yard, just might have what it takes to make some noise in North America and beyond.

The slow burn intensity of Pearl Jam crossed with the harder edge of Soundgarden or Alice In Chains is an apt way to describe Riverdies; bringing back the days of Grunge with a melodic vengeance. Down Yard opens with I Wonder, a big angry rocker that only deviates from the Seattle sound by incorporating a classic rock guitar solo. Riverdies steps back a bit further, walking the line between 1980's Pop/Metal and Grunge on Background. Vocalist Alex Melch is an affable and competent front man with an ideal voice for this material, although he never seems to really push the limit vocally. Riverdies slows things down a bit on Morning Dies, something of a melancholy power ballad. The musicianship here is particularly notable with distortion stripped away; the layering of guitars creates a smooth sound with a lot of vitality and movement underneath.

Riverdies takes off the gloves with Build A New Life, a big dynamic rocker with guitar work reminiscent of Tommy Shaw & Ted Nugent in their Damn Yankees days. Melch finally makes the leap and goes to the wall on a demanding vocal line that stretches his limits. Fate is a sleepy tune that works well in contrast to Build A New Life. There's a lot of interesting stuff going on in the multiple guitar parts here, although it does get a little overcrowded at times. Riverdies says goodnight with Cliff, perhaps the most interesting and unusual track on Down Yard. Cliff takes a complex melody and builds it into a shifting musical framework is too involved to be improv but a little too wild to be set in stone. Cliff would allow for a lot of room to play, particularly in a live setting.

Down Yard is an impressive if somewhat dated offering from Riverdies. The primary style here is the Seattle Grunge sound although it's been tempered by touches of 1980's Rock and lyric, singer-songwriter styles. Riverdies is dynamic and different enough to get attention. Their melancholic presentation usually works in Rock N Roll, and the songwriting is strong enough not to get stuck in a rut thus far. Take a chance and check out Riverdies; they just might surprise you.

Rating: 3 Stars (Out of 5)

You can learn more about Riverdies at www.myspace.com/riverdies or http://www.riverdies.com/. No online outlet could be found for Down Yard, but if you contact the band through their MySpace page I’m sure they’ll

Review: John Batdorf - Old Man Dreamin'

John Batdorf - Old Man Dreamin'
2009, BatMat Music

John Batdorf has been pleasing audiences since his early days with Batdorf & Rodney in the 1970's. Over the years Batdorf has refused to stand still musically. He's been a top-flight session singer in L.A., a composer for TV shows such as Touched By An Angel and Promised Land, and continued to write and record songs both as a solo performer and with folks such as Mark Rodney and Michael McLean. Batdorf has always had a touch for acoustic pop/rock songwriting but in recent years seems to have developed a deeper love of melody and harmonies and a penchant for story-driven songwriting. These qualities are omnipresent on Batdorf's latest CD, Old Man Dreamin'.

John Batdorf sounds like a cross between The Eagles and Shaw/Blades on much of Old Man Dreamin'. His voice is golden, and the vocal harmonies border on angelic at times. The CD opens with What D'Ya Got, a musical treatise on what love really means to each of us, particularly in tough times. If Batdorf had written this song thirty years ago he'd own half of California by now. Love: All I really Know About It sticks with a similar theme. The harmonies are amazing and the song is intelligently written without getting mushy or cliché. That Don't Seem Right To Me is an anthem for the days we are living in. Batdorf starts with the fact that the current fiscal crisis finds the banks and bankers who caused it getting rescued by the folks it most affects (all of us), while we struggle to make ends meet with disappearing jobs, falling wages and high prices; he goes on to detail a number of things about modern life that just don't fit together. The song is wonderfully written in a strong and steady pop style that could gain it some real attention.

Will I Love You Forever is an honest song about love and what it should be. Old Man Dreamin' is bluesy classic rock gone acoustic. The arrangement on this one is amazing, and the sound highly reminiscent of Shaw/Blades. I Thought I'd Try A Love Song is a cute tune that takes a darkly ironic turn in the closing moments. Ain't No Way turns out to be my personal favorite, with a vibrant bass line to the instrumental magic created by the violin and acoustic guitar. The vocals and harmonies here are gorgeous. Don't Tell Me Goodbye has a classic country heartbreaker sense to it as a plea from a man on the verge of losing all he wants. Sixteen changes pace and gears significantly in a disturbing but well-told bit social commentary. I don't know the specific premise behind the song but a few would apply quite well. I Will Rise closes out Old Man Dreamin' in a musical version of Jack Nicholson's line from As Good As It Gets, "You make me wanna be a better man". This is pure mix-tape material for the more mature crowd; a wonderfully well-written tune.

John Batdorf has always had a distinctive talent for songwriting and a golden voice to deliver those songs, but over time he's really grown into his songwriting in a fashion that borders on transcendental. Old Man Dreamin' is an incredibly vibrant set of songs based in honest thought, word- and song craft and some of the prettiest melodies you're likely to find in Folk or Pop music. Make sure you take some time to spend with John Batdorf's Old Man Dreamin'; it's quite an album.

Rating: 4.5 Stars (Out of 5)

You can learn more about John Batdorf at http://www.johnbatdorfmusic.com/ or www.myspace.com/johnbatdorf. Old Man Dreamin’ is available for purchase through Amazon.com, or available for download through Amazon MP3.

Review: Lelio Padovani - Chasing The Muse

Lelio Padovani – Chasing The Muse
2007, Lelio Padovani

Lelio Padovani is a guitar player and teacher originally from Parma, Italy. With a life-long love of guitar influenced by the likes of Eric Johnson, George Lynch, Vinnie Moore and Joe Satriani, Padovani has developed a sound that ranges from sweet and melodic to hard-rocking alternative. Padovani’s fourth release, Chasing The Muse covers the entire spectrum, but focuses primarily in the soft rock/muzak range.

Chasing The Muse is a collection of eight songs written in an almost ambient classic rock style. Padovani’s guitar is the vocalist here, providing melody lines in the form of solos and flourishes against a bed of keyboard, bass and percussion. The opening track, Invitation, sounds like guitar work you might find on a Tommy Shaw/Jack Blades album on in a slower song from the post-DeYoung Styx catalog. Chasing The Muse is more of an Eric Johnson hybrid; the Rock N Roll version of elevator music, if you will. Rainy is a wonderfully moody composition featuring melodic guitar work, whereas Light And Shadow is more of an 80’s arena rock tune that begs for a vocalist to be added. Other highlights include New Day, Ballet and the alt-rocker Better Days.

Lelio Padovani steps forward with the highly entertaining and well made album Chasing The Muse. Guitar players will love this disc as Padovani makes the rounds of Classic, Alternative and Melodic Rock styles, always with that air of ambience close by. A few of the songs here scream to be more than just instrumental pieces. It would be interesting to see what Padovani might do in an ensemble format with a good singer and a strong rhythm section. The possibilities are staggering.

Rating: 3 Stars (Out of 5)

You can learn more about Lelio Padovani at http://www.leliopadovani.com/. You’ll have to contact Padovani directly through his website to get ordering information, as I was able to find no online outlets selling his CD.

Chantry – The Emancipation Of Elizabeth
2008, Alessandro Monopoli

Chantry is the musical alter-ego of Italian guitarist and videogame programmer Alessandro Monopoli. Based in Southam, Midlands, England, Monopoli creates his own brand of gothic/melodic guitar compositions that verge at times on the edge of progressive rock. Chantry has previously produced music for videogames and a demo, but The Emancipation of Elizabeth is their debut album. Chantry features guest artists such as Riccardo Crespi and Enrico Vicario.

Monopoli looks to enroll in the pantheon of guitar rock gods with The Emancipation of Elizabeth. Mixing the melodic lyricism of 1970’s guitar rock with the harder edge of Prog, Chantry bedevils and beguiles with their musical creations. Shades of Malmsteen, Jeff Beck, Clapton, Tommy Shaw/James Young and Eric Johnson rear their heads throughout the ten tracks presented here. Be prepared to be blown away as Chantry opens with Shine, and aggressively rhythmic guitar work with angelic vocals. Monopoli showers and sparks notes, phrases and runs from his guitar like a transformer on fire, filling the listener’s ears with a visceral sense of the music.

Emergence finds Chantry opening up the floodgates on a melodic tear that hint at both the technical proficiency and creative passion poured into the music here. Flawed Archetype plays across the Prog/Classic Rock paradigm with big harmonic guitars, a driving rhythm and neo-Classical construction. My personal favorite track here is Red Roses In The Snow, an epic guitar ballad that won’t leave you alone once you’ve heard it. You’ll also want to check out Velvet Darkness They Fear and L’Amor Per L’Ultima Volta.

Monopoli creates musical fireworks on guitar in a way that is both reminiscent of the classic guitar icons of the rock era and refreshingly new sounding. The Emancipation of Elizabeth is perhaps the most exciting guitar album of the decade, in that it not only allows the guitar virtuoso to show off his chops, but drives musical constructions that are more complex and complete than many in the same genre. Chantry is a must for up-and-coming rock guitarists.

Rating: 4 Stars (Out of 5)

You can learn more about Chantry at www.myspace.com/chantrymusic. The Emancipation Of Elizabeth is available digitally at http://www.tunecore.com/. CDs are just becoming available. Contact Chantry through his MySpace page for availability.