We're starting off a little different this month, as I've got a Last Player right here for you already to go! After the power metal fest that was last month's article, I've decided to focus on more classic-rock-styled bands for this one. Still, I got to hear some really great music on these. Here's what I've been checking out lately.
So after Prisoners in Paradise was swallowed up in the grunge wave of the early 90s, Europe decided to call it a day. However, after a few reunion shows in 2000, they decided to really give it another go in 2004 with this album. Bringing back John Norum who hadn't worked with the band since The Final Countdown, you'd think it would be a return of the 80s pop metal sound, but they decided to go in a darker direction.
Right up front, they've got a heavier, grittier guitar tone, likely something borrowed from the post-grunge sound of the time, and the song structures do feel like something out of the 2000s alt-rock playbook. But then Joey Tempest comes in singing, and John Norum brings out some very classic guitar solos, and this odd mix of 80s pop metal and 2000s alt-rock sort of comes together. Looking at some of the history, I get the impression the band felt like they were starting over again, so they wanted to prove to newer audiences they could still rock.
It's an odd combination, but it almost works at times. Most of the tracks have some solid riffing, and Norum's solos are really nice. However, the keyboards are pretty limited, often put pretty far back in the mix, letting the guitars do all the work. I did like the title track, and "Wake Up Call" has a solid post-grunge vibe that I liked. Unfortunately, the second half of the album kinda lags, and feels uninspired at times. The fact that this isn't even on Spotify seems to indicate that it's a bit of a black sheep in the band's discography. It's an interesting comeback, showing a darker, grittier side of the band. However, I don't think this sound is where they really excel.
After enjoying Only Human a lot, I don't know why I didn't prioritize the follow-up last year. Maybe there was just a lot to cover or I was distracted with something else. With their new album Anarchy and Unity out already, I figured I should try to catch up real quick before I gave that a listen, and I'm glad I did.
Unsurprisingly, Vega brings more solid, 80s-inspired hard rock. However, the first thing I noticed is the production, which feels a little looser and allows the band to have a few different tones and vibes. Only Human had a solid sound, going for a thick, tight, anthemic style, but Grit Your Teeth feels more fun. Everyone is on point, with great riffs, solid layers from the keyboards, and Nick Workman's vocals dominating center stage. His voice is perfect for this kind of stuff.
As for stand out tracks, the first three are great! "Blind," "(I Don't Need) Perfection"), and "Grit Your Teeth" come out swinging and set the expectations for the album very well. "Save Me From Myself" and "How We Live" are some solid anthemic rockers, and I also quite liked "Consequence of Having a Heart," as it had a more mysterious vibe, making me think of the atmosphere in "Enjoy the Silence" by Depeche Mode, of all things! To be honest, looking back over my top 5 for 2020, I think this might have squeezed out Primal Fear. I honestly wished I had taken the time for this album last year, as it's a very solid set of melodic hard rock tracks!
I'm sure this is going to need some explanation. This is not the well-known post-grunge band of the late 90s, but rather a completely different group from the late 70s, and they play some really solid southern-fried rock. I admit I don't know a whole lot about this band, other than they're from Memphis, and they made this one album in 1978, but I'm honestly surprised they didn't go on, as they have a good sound.
What's interesting is that, while they're certainly in the same ballpark as bands like Molly Hatchet and Lynyrd Skynyrd, they have a simpler blues-rock sound, augmented with some interesting keyboards and synths, making them sound rather unique. At first, they start with some solid rock tunes with "Keep On Rockin'" and "Tied Down," but then with tracks like "Firecracker" or "Just Can't Stop," they have these lush keyboards and synthesizers, like the kind you'd hear on a Styx or Kansas album from the same time period. The rest of the album does pretty much keeps up the rock and roll, with lots of trading guitar riffs and some fun synths thrown in for good measure. The final track "Time and Time Again" even dabbles in some space rock before kicking it into gear and shredding those frets.
Honestly, this feels like a weird mishmash of 70s rock ideas, but it's all in this fun southern-fried rock framework that ensures the things keep rockin'. And I cannot stress enough how good the guitar work is here. Lots of tasty licks, solid riffs, and electric solos! This really is a solid, neat album that's worth listening to from top to bottom. Fortunately, this album isn't completely buried, being available on sites like Spotify and Amazon, so you don't have any excuse. Check this out!!
The big one! When your favorite band puts out a new album, you definitely pay attention to it. After their last album Heaven & Earth was an underwhelming pile of slightly proggy soft rock, I was hoping they would follow up with something more driven. As such, I've been cautiously anticipating this one ever since I was aware of it, and when "The Ice Bridge" (once the credit kerfuffle was sorted out) turned out to be a solid single with some great energy, my hopes rose a little. Now, for their first album of new material in 7 years (not counting the From a Page tracks that Oliver pulled out for us), where does Yes stand now? Unfortuntely, not much better.
Right off, I do think this is an improvement, and a lot of it has to do with the production and layering. Much of this album reminded me of parts of Tales of Topographic Oceans or "Awaken," as they have a stronger sense of the mysterious. However, the pace of these songs really do drag for me, as most tracks seem to start with a solo instrument before building up to a mid-tempo, soft rock atmosphere. I'd still consider it prog, as the tracks do have some interesting shifts and movements, but the rock part is debatable. Another problem I had is the vocals. While Davison is a good singer, he doesn't seem to give anything a memorable quality. It's more like his vocal lines are laid on top of the song at times.
That being said, there are parts I do like. "The Ice Bridge" is a great opener and definitely the best track on the album, with some solid riffs, a great bassline, and nice solo/jam section at the end. I can see that one doing well live, letting the band members rock out for a bit. "Leave Well Alone" has some interesting segments as they shift from a funky groove to a more pastoral vibe with mandolins. "Future Memories" has an interesting minimal approach, but I wish it went somewhere instead of just languishing in the mood it creates. "Mystery Tour" is an amusing tribute the Beatles, but really isn't much more than a novelty. Unfortunately, the rest of the album just passes in one ear and out the other.
Overall, I feel disappointed. What happened to the drive from songs like "Yours Is No Disgrace" or "Roundabout"? Even some of the later albums when Howe returned has some upbeat stuff, like "Lightning Strikes," "Finally," and "Spirit of Survival." I know some of the main members aren't getting any younger, but I feel like there are bands just as old as they are and they're still cranking out some energized material. Maybe as the years go by, I'll appreciate this album more, as the production makes this pretty listenable, but for now, this lineup of Yes only seems to show some slight improvements.
Well, that was an interesting mix of things. Some of it was great, some of it kinda lackluster. Still, I think it's worthwhile to go over all kinds of albums, as they broaden my perspective as to all the different ways people approach the concept of rock and what they want it to be. In any case, I've still got plenty to listen to in these last few months of 2021. Not only do I want to review things for the upcoming anniversary articles, but there are some major releases I need to pick up. It's gonna be a busy fall! At least there's a lot to look forward to. Until then, rock on! \m/
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