MARTY FRIEDMAN - TOKYO JUKEBOX
15th Feb 2010 / Mascot Records

When one of the worlds’ best metal lead guitarists decides to release an album in the J-Pop style (that’s Japanese Pop for those not in the know) then you are right to feel a little trepidation.  However, if you look into what makes up J-Pop then you will discover it’s nothing like the pop we know in Europe or the USA.  Manufactured “pop idol” and gangsta rap don’t come into the equation in Japan, but rock does and it appears rock transcends all genre boundaries and fully embraces itself into pop culture – hoorah.    

So former Megadeth fret blisterer Marty Friedman (who is seen as a demi-god in the land of the rising sun) has not only moved to Japan to fully embrace its culture but decided to get himself a piece of J-pop action as it where (arguably the next logical step after moving there) and the results are on his new album “Tokyo Jukebox”, which is instrumental versions of popular Japanese tracks and in all honesty its not half as bad I feared it might be.   The songs were chosen in part by the readers of "Nikkei Entertainment!", Japan`s all time number one entertainment magazine, which features a popular page on Marty each month for over three years and still going strong.

Essentially this is big guitar melodies over rocking back beats (mostly supplied by  Steve Vai drummer Jeremy Colson), its modern in its approach yet also classic in its melodies and for guitar fiends this is all rather enjoyable, although it does feel a little “novelty” in places thanks to a lot of the programmed backings where it does sound a little karaoke, or should that be guitaroke?  Friedman however sounds more inspired that he did on his last solo album “Loudspeaker”, however whether this will manifest itself into big time spent on my jukebox remains to be seen as although its all good fun when its on I don’t find myself wanting to put it on again, yet when it is on I don’t find myself skipping.

Time will tell but for now this is competent enough and Friedman delivers strong lead work over a different format to what many fans may be used to.  Give it a chance.

Rating – 75%
 

WIG WAM - NON STOP ROCK 'N' ROLL
Out Now / Frontiers

Ever wonder what Steel Panther would sound like if it sucked? Now’s your chance.

The band recycles all the clichés and throws in some typical Euro metal influences. The result is safe, sanitized kindergarten hard rock. The musicians are competent, the songs are hooky, but the same can be said for every boy band out there. This reeks of manufactured product.

With a name like Wig Wam and a Eurosong performance to their credit, hopes weren’t exactly high to begin with.

Rating – 40% (because the execution can't be faulted)
Review by Sancho

KEEL - Streets Of Rock & Roll
Out Now / Frontiers

I suppose I’ll always have a soft spot for Keel. They were after all the first bonafide rock band I saw live. With their back catalogue notoriously hard to find, any new release is sure to grab my attention.

Much to my relief, the band has not opted for a modern sound. This album is the logical follow up to The Right To Rock. The twin guitar onslaught of Brian Jay and Marc Ferrari is a welcome flash back to the era of abundance. Ron Keel’s distinctive voice is a love it or hate it proposition, although he does seem to sound a bit more mainstream nowadays.

The band hasn’t fallen in the same trap most of their contemporaries can’t seem to avoid : “mature” drab, plodding songs. No sir! This album rocks in a big way! Just check the excellent “Come Hell Or High Water” for proof. Some minor influences from Ron Keel’s country career have snuck in, mostly in the couple of more mellow tracks. They serve to add some variety to the album. Of course, no 80s style album is complete without a big ballad. “Does Anybody Believe” fills the requirement nicely.

It’s always nice to see an old band return to form, and I’m glad to report Keel is back with a bang.

Highly recommended.

Rating – 88%
Review by Sancho

JON OLIVA'S PAIN - FESTIVAL
Feb 19th 2010 / AFM Records

The legendary Savatage vocalist is back with his fourth solo album and after a slight disappointment in the song writing on the previous effort “Global Warming”, the new effort sees the song writing come back up to par. Unfortunately this is hampered by a somewhat slightly muddy production where you get the impression the power is held back just a little. Fortunately this doesn't distract too much for this 10 tracks of metal goodness.

Jon is fine voice screaming out the best I have heard him in a few years with opener “Lies” seeing all kinds of spite and vitriol hitting the mic. “Death Rides A Black Horse” is suitably epic and a highlight, being home to a superb middle solo section where the dark vibe is lethally good. The title track continues the good work with a Blackmore-ish riff. “Afterglow” sees the band get slow and doomy and this wouldn’t be out of place on the last Heaven & Hell effort. “Living On The Edge” doesn’t offer up any relent from the sonic assault and its nice to see Jon keeping the level balls to the wall for the first half of the album. “Looking For Nothing” sees some respite for this acoustic ballad whilst the prettiness is blown out the water with the pounding “The Evil Within” which is a riff-fest pure and simple. “Winter Haven” is about as close as the album gets to later day Savatage and even has a little Led Zep about it in places and is a very nice addition. “I Fear You” is back to the more straightforward sound, yet has a nice dose of melody to it whilst the delicate “Now” offers a nice sense of closure to album being the kind of power ballad Jon excels at.

With his fourth solo effort Jon Oliva is right back on course where the first couple of Pain albums left off, for the most part straight ahead and powerful. Classic Metal done with a nod to the present but an appreciation of the past. Jon’s voice is one of the most unique and soulful in metal and it’s nice to hear him belting it out once again. Savatage and TSO fans will enjoy this as will the casual metal fan.

Highly Recommended.
Rating – 88%
 

STEVE MORSE - Out Standing In Their Field
Out Now / Eagle Rock

Steve Morse should need no introduction to readers here at Virtuosity One.  If you do suffice to say the guy came to prominence with Dixie Dreggs, won all major guitar magazine accolades in the 80’s, is the main influence for John Petrucci, joined Deep Purple as Blackmore’s replacement in 1996 and since increased his profile considerably.  Out Standing In Their Field is Morse’s first new solo album in 5 years and rocks harder than previous efforts.

On this entirely instrumental album, Morse joins forces with long time SM band bassist Dave LaRue and drummer Van Romaine to pound out un-tethered creativity.  This is enjoyable stuff from start to finish and is in my opinion the best Morse solo album to date from the grooving Purple-ish riffs of opening brace of Name Dropping and Brink Of The Edge to the more mellow timbres of Here and Now and Then right up to the superb Flight Of The Osprey and the closing classical piece of Baroque N Dreams  this is a fine collection of Morse’s wide ranging pallet. All exceptionally well played and more to the point than offerings on previous albums Morse has delivered a compact album that is about write in length with a good flow throughout.

Opinions are divided on whether Morse is right for Deep Purple, but there is no debate as to whether Morse is a true guitar legend.

Rating – 85%

ANGELS OF BABYLON - Kingdom Of Evil
January 29th 2010 / Metal Heaven

Angels Of Babylon are a new band consisting of drummer Rhino (ex Manowar), bassist Dave Ellefson (ex Megadeth), vocalist David Fefolt (who sang on the Masi album Downtown Dreamers back in the late 80’s) and guitarist Ethan Brosh (who released an instrumental offering last year). A promising line-up in terms of personnel who have come up with 10 tracks on their debut “Kingdom Of Evil”.

Unfortunately the album never really gets out of mediocre in the song department with a collection of classic metal inspired tracks that don’t really say anything to me. The performances are generally good throughout, although Fefolt’s vocals are gruffer than I remember and do grate a little after a while. Brosh delivers some good lead work but never does it show anything other than competence with little personality. Rhino and Ellefson do little more than keep things solid and there is an overall lack of flair in the material here making this heavy going for the most part with only the middle trio of heavy metal ballad of “Tear Out My Heart”, the driving “Oh How The Mighty Have Fallen” and the grooving “Tarot” pulling themselves out of the department marked mediocre.

Whether there is enough quality here to sustain a career is in serious question, on paper everything looks good but this debut is filled with too many plodders, one dimensional performances and an overall lack of excitement – not helped by a dark production which does little to add excitement to the proceedings. Be sure to check out some clips on the bands myspace before shelling out your pennies.

Rating -50%