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: Carmine Appice's Guitar Zeus: Conquering Heroes

Carmine Appice's Guitar Zeus: Conquering Heroes
2009, Fuel Label Group
Carmine Appice has legendary status in the world of Rock N Roll. A founding member of Vanilla Fudge, Cactus and Beck, Boggert & Appice; Appice has also played with KGB, Paul Stanley, Pink Floyd, Stanley Clarke, Ted Nugent, King Kobra, Blue Murder and Ozzy Osbourne. Appice also played in Rod Stewart's band for a time, co-writing Young Turks and Do Ya Think I'm Sexy. In 1995, Appice created the Guitar Zeus project, an opportunity to do one-off performances/recordings with some of the best guitarists in the world. A total of three Guitar Zeus albums were released during the 1990's, featuring most of the top guitarists of the previous 20 years. Conquering Heroes, released August 25, 2009, compiles the best of those performances on two CDs.

Fans of 1980's Rock will have a field day with Conquering Heroes. Take your pick: Mr. Big's Paul Gilbert is here, Neal Schon (Journey), Brian May (Queen), Jennifer Batten (Michael Jackson), Elliot Easton (The Cars), Mick Mars (Motley Crue), Warren DeMartini (RATT), Richie Sambora (Bon Jovi) and even Steven Seagal. If the 1970's are more your thing, you can choose between Steve Morse (Sea Level/Deep Purple), Ted Nugent, Denny Laine (Moody Blues/Wings) or Bruce Kulick (KISS, Meat Loaf). Highlights include the Progressive guitar wizardry of Yngwie J. Malmsteen (This Time Around), Wayne DeMartini (Perfect Day), Ted Nugent (Even Up The Score, Days Are Nights), Ty Tabor (Killing Time, Trippin' Again), Slash (Where You Belong), Kenji Kitajama (My Own Advice) and Mick Mars (Under The Moon And Stars).

Conquering Heroes is a great opportunity to catch some of the biggest guitar heroes of the past two generations doing what they do best, and occasionally offering some surprise turns in the process. This is some of Appice's finest work behind a drum kit, and each tune runs over with the vibrant energy of a new relationship. If you yearn for the days of the strutting guitar god, then Conquering Heroes is for you. Very well done.

Rating: 4 Stars (Out of 5)

You can learn more about Carmine Appice and the Guitar Zeus project at www.myspace.com/guitarzeus or http://www.carimappice.net/. You can purchase a copy of Conquering Heroes at Amazon.com.

Review: Mile Marker Zero - Mile Marker Zero

Mile Marker Zero - Mile Marker Zero
2009, Mile Marker Zero

New Haven, Connecticut's Mile Marker Zero have been building to this moment since they formed in 2003. June 16, 2009 saw the release of a CD also entitled Mile Marker Zero. It's a mix of favorite tracks from their first 3 releases as well as newly written material. The new CD finds Mile Marker Zero riding a crest of creative depth and popularity that has been a slow-but-steady build over the last six years. Mile Marker Zero trolls the depths of Progressive Rock and Metal; everything from Rush and Dream Theater to Tool, Metallica and even Porcupine Tree. Vocalist Dave Alley is the ideal hard rock front man, able to shred the vocals when appropriate and sing almost lyrically at the other end of the spectrum. This is the album the makes Mile Marker Zero a name you'll remember.

Mile Marker Zero opens with the heavy, rhythmic guitar riff that announces A Thousand Nights. The song is constructed of free-wheeling verses that explode into a soaring chorus full of layered guitars and strong harmonies. Guitarist John Tuohy gives this song its heavy edge, while keyboardist Mark Focarile provides a swirling steadiness that holds the song on check. The rhythm section of Tim Rykoski (bass) and Doug Alley (drums) provides a solid and energetic base for the rest of the band to play off, both here and throughout the album. Laceration recalls some of the heavier rock that piggy-backed on Seattle's Grunge movement. The bass line to this song is killer, and Alley gives a vocal performance that's dynamic and alive. Alley reminded me a bit of the Tragically Hip's Gordon Downey on A Kiss To Fix. The sound here is a bit darker than on the first two tunes and perhaps a bit less accessible to the casual fan, but it's an intriguing piece of writing.

Passive shows a softer side to the band, a contemplative ballad for the first two minutes that slowly crescendos into a mournful power ballad. Crimson Red finds Mile Marker Zero in full-on Prog mode in the most dynamic song on the CD. The song examines war from a personal perspective, detailing the costs in human terms. The guitar work here in particular is notable, with Tuohy giving a performance that would make Malmsteen blush with pride. Maree is a more traditional power ballad, sure to make it to the mix-tape crowd, whereas In Loving Memory Of... is more of an epic ballad, with the sort of soaring grandeur that you used to find from groups like Styx in their heyday. Peril Aerial is a true epic, coming in at over 10 minutes and featuring some of the most inventive Prog work this side of King Crimson. Reaping Ride throws all caution to the wind; the guitar opening has the melodic metal sound practically patented by James "JY" Young of Styx but in a heavier setting than that band usually managed. The song itself is urgently driven in content but plays on the edge between classic and modern rock. Musically this is the most fun composition on the disc. Mile Marker Zero closes out with Hush, an acoustic composition that's quite beautiful and quite out of character with the rest of the album sonically. What is not out of character is the compositional depth, drawing on classical themes to construct a composition that could be played as easily in a concert hall as in a stadium. Hush is a true gift to fans, letting them see the depth of the talent Mile Marker Zero possesses both individually and as a group.

This sort of Prog Rock isn't going to find a lot of room on the radio dial, but there's a very hungry community of fans out there who love it, and if you're part of that community, then Mile Marker Zero is just what you've been waiting for. Fire up that CD, Maestro, I want to listen again.

Rating: 4.5 Stars (Out of 5)

You can learn more about Mile Marker Zero at www.myspace.com/mmz or http://www.milemarkerzero.com where you can purchase a copy of Mile Marker Zero.

Review: Gary Stuart King & Amigos - Life Of Its Own

Gary Stuart King & Amigos - Life Of Its Own
2007, Gary Stuart King

Guitar maestro Gary Stuart King lets loose with some ripping Progressive and Classic rock solo guitar work on Life Of Its Own. Influences from Eric Johnson to Yngwie J. Malmsteen abound, with occasional bows to Jeff Beck, Joe Satriani and even Steve Howe. King finds a serious groove on songs such as Schmack, Ruf Tup and Little Dreamers, throwing around riffs like nobody's business. King even shows a softer, melodic side on Spring Rituals and Song For Sheila, although the latter breaks out into some pretty serious lick trading in the middle. Beyond X, the lead track, is probably my favorite, with its urgent, post-jazz fusion and sensibility and mellotron accents.

Life Of Its Own is one of the better rock instrumental albums I've heard. Gary Stuart King can play guitar with the best of them, and doesn't waste your time with endless runs when he can use his prodigious skills to construct, destruct or accent inherent melody line of each composition. Of course, he does get some pretty mean runs in as well. This one is a must for novice guitar rockers. This is how you do it well.

Rating: 4 Stars (Out of 5)

You can learn more about Gary Stuart King at www.myspace.com/garystuartking. You can purchase a copy of Life Of Its Own at www.cdbaby.com/cd/garystuartking.

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.

Review: Monte Montgomery - Monte Montgomery

Monte Montgomery - Monte Montgomery
2008, Thirty Tigers

Monte Montgomery is a throwback to a time not so long ago when technical proficiency on guitar was only half of the equation. Guys like Jimi Hendrix, Eric Clapton, Yngwie J. Malmsteen, Mark Knopfler and even Eddie Van Halen were technically proficient but also played with a fire in their soul that was otherworldly. As rock has moved away from solo-driven guitar works, the heart required for virtuosic play has largely been left behind in favor of a number of technically proficient but musically cold guitar players. Monte Montgomery flies in the face of that trend, playing with a technical proficiency that is stupefying but also a creative genius and intensity nonpareil. As luck or fate or whatever prime mover you choose to credit would have it he's also a fine songwriter with a lyrical touch and a sense of theater that would make Dennis DeYoung proud. On his latest release, 2008's Monte Montgomery, Montgomery offers up what may be the last great guitar god album until his next release.

Montgomery opens with River, an acoustic blues rocker with significant slide work. On top of everything else, Montgomery has a wonderfully soulful voice that can rise to a scream or drop to a whisper without notice. Listening to Montgomery's fretwork is mind-numbing. You'd swear at times there are at least two, maybe three guitars playing, but it's all Montgomery. Let's Go has the sort of intricate guitar progression that makes your head spin. Guitarists will have a ball trying to pick these recordings apart and recreate them, and a good number will come up against their own musical mortality trying. Montgomery is truly in a class by himself.

Company You Keep is an instant classic. I was blown away by the virtuosity and lyrical impact of this song, all delivered with that vibrant blue-eyed soul voice. Montgomery even shows his mellow side on the sweet ballad Loves Last Holiday. Montgomery plays around with amazing runs and harmonics on You Can't Fool Everyone. The song has a distinctive pop feel in conjunction with some of the most amazing guitar work thus far on the album. Could Have Loved You Forever is destined to be a classic song for somebody. If it doesn't become a hit for Montgomery then someone will pick it up and re-record it a few years down the road to great effect. Other highlights include Be Still, How Far, Midlife Matinee and the amazing ten-minute take on Jimi Hendrix' Little Wing.

To listen to Monte Montgomery play you might assume he's playing an electric guitar throughout Monte Montgomery. In fact all of his guitar work is acoustic; frenzied fretwork, neck bends and all. Monte Montgomery is a lightning bolt to the music industry. This sort of album (or artist, for that matter) doesn't come along very often. A generation from now young pop music stars will be lining up to play with Montgomery on duet or tribute albums. For now, enjoy watching an icon in the making. Amazing album, amazing guitar playing, amazing talent. Monte Montgomery is a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

You can learn more about Monte Montgomery at http://www.montemontgomery.com/. You can purchase a copy of Monte Montgomery at Amazon.com.